Night Train (1998) - full transcript
A man released from jail, where he had served time for doctoring the books of a gangster, has to go into hiding from the gangster's men. He moves into a Dublin boarding house run by a woman and her timid daughter. The timid woman immediately takes a shine to the new boarder and to his train sets, which they each use as an escape from reality. However, her mother doesn't like their relationship and they both are chased by the gangsters.
foodval.com - stop by if you're interested in the nutritional composition of food
---
[music playing]
[music playing]
[tires squealing]
[music playing]
Hey!
[music playing]
Hey!
[music playing]
LIZ (ON PHONE): Hello.
Is Billy there?
He's in the meeting.
You screw me friend, and I'll screw you.
Ahhhh!
Hold on.
[man screaming]
Blake.
Have you found him?
Have you?
I don't want excuse.
Shut the fuck up!
BLAKE (ON PHONE): Don't worry.
I'll get him, Billy.
Just find him.
[music playing]
Now, I'm going to show you step one and just a few others.
And chops are very adaptable.
I mean, you can cook one chop, or you can cook 20.
Like-- it's not like a roast where you're
struck with an amount of meat.
MAN (ON TV): Those-- those are fine, thick chops.
WOMAN (ON TV): Aren't they?
MAN (ON TV): And fairly well-tuned.
WOMAN (ON TV): Yes, they are fairly well--
I'm-- I'm here about the flat.
You have a flat here, right?
Yes.
Yes, of course.
Sure.
Is it awkward?
I can come back later.
I'll just turn down the telly.
There's no plug in the bath.
I can't get out, you see.
And my daughter Alice, well, she doesn't
get home till nearly 7:00.
The, uh, toilet makes a rattle when you use it.
Alice says there's something clogged.
[toilet flushing]
Handy with your hands there?
Uh-- uh, yes, a little.
Well, I'll have a look at that blockage for ya.
Hmm, would you?
Everything all right then?
Yeah.
It's nice.
Now I really like it.
It's perfect.
Well, when will you move in then?
Now.
[music playing]
Where is it?
[knocking on wall]
We have, uh, colors colors.
I think that one wanted to have a little go at me.
MAN (ON TV): We have yellow colors
for the mares and red colors--
What's he like?
Quiet.
MAN (ON TV): Yellow colors for the mare.
Is he single?
Looks it.
Oh.
What does he do?
I haven't got that far yet.
Mami Ryder was broken into again.
Oh?
What did they get this time?
The same.
All her undies were gone.
Perverts.
[banging from roof]
What's he doing up there?
Is he moving a wardrobe or something?
Do you think he might be funny?
Well, weren't you a tad bit foolish to let in a stranger?
We need a lodger, Winnie.
We got someone for the flat.
A Mr. Poole.
Ooo, good?
He's upstairs, doing something strange.
Like tearing the place apart.
I better go and get Walter his tea.
See you tomorrow, dear.
You tell me the latest about his nibs up there.
He likes the room then?
Sh.
[knocking from roof]
Why would he want to shift around the furniture?
He's only settling in.
I'm starving.
There's a chop in the fridge.
Is that all?
What do you expect?
You don't bring home the messages.
You know very well I can't get out.
Of course you can get out if you want to get out.
Nothing the matter with you, except
that infernal television.
Nothing the matter.
You know I'm a nervous wreck.
Mr. Poole.
Yes?
Oh, you must be, um, Alice then.
Yes.
Yes.
Uh, I wanted to fix up the rent with you.
Yes, of course.
Right then.
[music playing]
WINNIE: Walter, I'm home.
D-- d-- d-- d--
down in a minute.
MAN (ON TV): Now, um, obviously the government, uh,
wants to be popular.
And the idea that Dublin will be at a standstill because
of preparations for this game--
Well, you're stuck with me for a month anyway.
Right.
If you need anything, just give me a shout.
Right.
The Mooneys knew a lodger.
Seems odd.
Odd?
Yeah.
[piano music]
[cows mooing]
All right, this way.
Here we are, the slaughterhouse.
You'll get used to the mess.
There, you see.
[piano music]
It's up the stairs.
Thank you.
Does he have much?
Six boxes, misses.
Six.
Will you sign for them, misses?
Well, I suppose it's all right.
They're luggage, aren't they?
Well, "toys" it says there.
Toys?
That's what it says, ma'am.
Your job will be to collect the offal after butchering,
bring it outside.
Give this place a good clean.
[piano music]
I asked him in for a cup of tea.
He just gave me a queer look and went up the stairs
without as much as a thank you.
I think he's strange, Alice.
He minds his own business.
Boxes of toys?
Well, a lodger was your idea.
Well, we wouldn't need one if we weren't so hard up.
Oh, here we go.
[inaudible]
Every evening when I come in--
God, Alice, you buckets of brains.
--it's the same mad, mad, mad--
If you'd only smarten up, you might get--
Shhh.
[knocking]
Oh, I, uh, hope I'm not disturbing you.
I-- I was wondering if you had a hammer.
There's one in the drawer.
There's a fresh cup in the pot.
Come in, Mr. Poole.
Oh, well, all right then.
Thank you very much.
Here you are.
Oh.
That's it.
I-- is everything all right then?
Oh.
Yes, the room's ideal.
It's, uh-- uh, everything I need.
ALICE: Sugar?
Four or five spoons please.
You've enough room then, for your things?
Oh, yes, all the space I need.
Thank you.
Mother won't relax until you're settled in.
You'll have to get a bath plug.
And more sockets.
Sockets?
Would you like a cigarette?
She doesn't smoke.
I do, sometimes.
MRS MOONEY: Well, I've never seen you.
At work.
She's a lawyer, you see?
Don't mind mother.
Well, she trained as one, with Burton, Sheen, and Farrelly,
you know.
Oh.
Oh, thank you.
And wh-- what do you do, Mr. Poole?
Well, less than that.
Well, Alice reads a lot of books, don't you, love?
Fiction.
That's my life I'm afraid.
So you're a scholar then?
No, hardly that.
No.
I like Graham Greene, Evelyn Moore, people like that.
There's a murder film on tonight, Winnie says.
Do you read much, Mr. Poole?
No, I'm afraid not.
But, uh, I'd like to start, though.
Would you?
Yes, I would.
I'd like to read your sort of books.
Her eyesight is going because of all that reading.
Mother, do you have to have the television
blaring all the time?
I'm sorry.
And can I get you something to eat, maybe a sandwich?
Oh, lovely.
Thank you very much.
WOMAN (ON TV): And if all that wasn't enough,
I'll be going to Toronto shops with fashion television's
one and only Jamie Baker.
But first, here's my report, behind the scenes
at the Fashion Awards.
And to kick off the program, we're
going to start with the Smirnov International Fashion Award,
because they're basically the reasons that we're in Toronto.
Instigated in '91, they were set up to propagate student
fashion, design, and create--
Well, you have a lovely home here.
Yes, it's quiet, usually.
ALICE: I have a room full of books upstairs, Mr. Poole.
You can borrow one any time.
What would you recommend?
Oh, Graham Greene, you must start with him.
I'm sure Mr. Poole is too busy to be
reading those sort of things.
No, I'd love to, honest.
Uh, I always meant to join a library.
I never got around to it.
Not even as a child?
No.
Now, now, we'll have to make up for all that now, won't we?
Yes.
WOMAN (ON TV): It's going to be a lot of competition,
so you might as well get used to it.
Well, things are getting so pent up
inside that we've, in fact, come outside to have a few words--
It's all right.
WOMAN (ON TV): Maggie, can you tell us a bit
about your interpretation of--
Supper.
[music playing]
[dog barking]
[dance music]
This scene is gruesome.
Shh.
Oh, it's him.
What's he doing?
I heard that humming noise earlier.
It sounds like he's shaving, Mrs. Mooney.
But the ceiling's moving.
There's no socket in the floor, Winnie.
Is he on his own?
Of course he's on his own.
Well, he's acting very strange if he is.
Will I go up and see?
Well, he might certainly be shaving.
On the floor?
No, I'd better go up.
Maybe he's doing something, personal.
Winnie's radishes are delicious.
Sure you won't eat one?
No thanks.
Hmph, suit yourself.
Aren't you in a hurry.
I'll be late.
Oh, goodness.
Good morning.
Good morning, Mr. Poole.
Oh.
Thank you.
[music playing]
Trains?
Monsters.
Oh, Winnie, I never got such a fright in all my life.
Oh, dear oh dear.
He must be a model train buff.
There's even mountains up there.
Mountains?
And he plays with these things like a child.
It's a hobby.
Mountains and telegraph poles?
It's a very strange hobby.
Millions of grown men play with model trains.
Oh, Jesus, there he's off again.
Don't upset yourself.
Next, they'll come through the ceiling and topple me.
It's like Kingsbridge Station in here.
I can't even move this leg now because of the shock.
And the telly's gone altogether,
all because of them things trundling across the ceiling.
Mountains in a quiet terrace like this?
Alice, will you go up and talk to him please?
Oh, the pair of you are impossible.
The poor man's only having innocent fun.
Innocent?
Nearly killed your mother.
She can't move.
[toy train whistling]
Alice, please.
This can't go on.
Go up and tell him to stop.
Oh, this is ridiculous.
She doesn't care about me anymore.
Worse than her father ever was.
MICHAEL POOLE: Yes?
It's me, Alice.
MICHAEL POOLE: Just one second.
Uh, just a second.
[music playing]
You don't think she fancies the station
master up there, do you?
I do.
Oh.
Now, this is the Orient Express,
which is my pride and joy.
It's beautiful.
Yes.
You see, uh-- well--
that's-- it starts over here in London,
comes across to our stand.
Then from our stand, all the way around across the country
into Paris, and then through the Alps--
watch out for this one--
into Prague, and along to Vienna.
You see the Danube?
The blue Danube.
Oh, uh-- see, these are the Habsburg soldiers
guarding the royal palace.
It's great.
So Prague, Vienna, and this must be Sobotka.
Yeah, it is.
That's in Stamboul Train by Graham Greene.
I'll just borrow that.
ALICE: Just look at the detail.
It's all out of books and maps I'm afraid.
Well, it's better to imagine places I think.
You were never in these places?
Not really.
I was in Paris once.
Well, good night, Mr. Poole.
And thanks for showing me your trains.
Uh, can I offer you a drink?
Sure.
Thanks.
Well, you should.
Yeah, quite.
Oh, I'm going over this way.
OK.
All right.
Bye.
[music playing]
Good morning.
[music playing]
Woo-oo-woo!
[music playing]
Yoo-who!
[music playing]
This is the night mail crossing the border."
Do you remember that?
Afraid not.
"Bringing the cheque and the postal order.
Letters for the rich, letters for the poor.
The shop at the corner, the girl next door."
No?
WH Auden?
Uh huh.
The coffee's ready.
How did you take up this hobby?
Oh, I--
I was at a loose end and--
Have you no family?
No.
I must get some more carriages for the Orient Express.
I've been building this up bit by bit.
My ambition's to have the biggest set in the world.
I'm sorry about mother always complaining.
She just gets upset by the noise.
Well, it does make a bit of noise going under the Alps.
But I could easily reroute it.
No, don't bother.
If it wasn't the trains, it'd be something else.
No, just change a few points, take it
across the tip of Italy.
No, please, I shouldn't have said anything.
No, I don't want to be disturbing her.
Alice?
Alice?
She never goes out, you see.
Just stays in and watches television all the time.
It's her entire world.
Only now, she wants me to stay in
with her all the time as well.
I'm sorry.
You don't want to be listening to my problems.
It's peaceful here, though.
MRS MOONEY: Alice!
Thanks, Mr. Poole, for everything.
Oh, it's a pleasure.
I was calling for ages.
This leg has gone stiff again, all
because of those stupid trains.
Act your age, will you?
All you had to do was just tell us,
and we'd all live happily ever after.
[music playing]
Nobody double crosses me!
You should have know that, you stupid bastard!
You got to tell her what you are.
[bell tolling]
[knocking]
What's wrong?
Your washing is all gone.
I didn't put out any washing.
Alice's clothes were on the line this morning.
I saw them.
Did you take them in?
No.
Winnie, what's this?
Her clothes are all gone.
It's that pervert again.
The police will have to be told.
No.
Why not, Winnie?
What if it's someone we know?
[piano music]
Have you gone mad?
Yes, Mother.
I won't be staying for my dinner.
WINNIE: Please yourself.
You're up to something, I know.
Sneaking in and sneaking out.
[music playing]
And it's springtime.
No, September.
The colleges were opening again.
Paris in the fall.
The nun said Paris was the city of the damned.
God, I thought we'd never get there.
Should we leave Paris then?
No, not yet.
We only just got there.
Sorry.
No, I was trying to remember something
that happened back then.
Huh?
Something sad?
No.
Oh, yes.
I relish sadness, Mr. Poole.
I'm just like mother in my own way.
1969.
God.
It's only yesterday.
I just left Cabra Convent, and I met this young man in a bistro.
He was a student from Berlin.
Yes.
We talked all evening.
He was to go to the Sorbonne.
God, we were so intense.
We talked about Serge and Simone de Beauvoir.
Do you like people?
Why do you ask?
You don't say very much.
Said it all, I suppose.
People seem to bother you.
I'm sorry.
I talk too much.
No, no, you've got nothing to apologize for.
With Mother, there's nothing much to talk about anymore.
What happened in Paris?
Nothing.
That's just the point, you see.
I came home to this.
It's a pain, isn't it?
I hate the past.
I suppose I fell in love.
You're not really a lawyer, are you?
That's just Mother and her silly airs.
Well, it's safe here.
It's like a sanctuary.
Have you always lived like this?
That's it.
Digs landlady stretching back to infinity, cold lino
on the floor.
Lingering smell of grease.
Oh, sh--
No, tell me.
Well, there's nothing to tell really.
Just a banal little life with--
ALICE: With what?
No center, meaning.
It's always been drift, Alice.
From one dingy room to the next, one job to another,
from this to that.
No core.
No family.
No sense of being somebody.
Have you no family at all?
Well, vague memories of a mother once.
Smell the perfume on her silk stole.
[music playing]
[inaudible] call me Michael.
Michael.
I'm sorry.
No, don't be.
Hey.
Erm, erm-- into the mountains then.
Why do you need sanctuary?
Because I've got to stop this drift somewhere.
Well, you may not be too happy here.
I've seen the tension between you and your mother.
But it is a home.
It's a home, Alice.
Well, you can't possibly know what
that means to someone like me.
Yes, I can.
Well, I think I can.
Michael, are you in some kind of trouble?
I am.
Oo, careful.
It's all right.
I won't get lost.
I say, what are you doing?
Out of my way.
You really have gone over the top this time.
I can't believe you'd do such a thing.
He's using up all the power with those silly trains.
Mother, why don't you like him?
He's a chancer.
Oh, he reminds you of Dad.
Isn't that it?
I am only thinking of you, love.
You're not.
I'm sick of you interfering in my life, and I'm--
I'm sick of being cooped up here,
listening to you, and Winnie, and her pathetic husband.
What do you mean?
Mr. Poole is--
is a gentleman.
I wonder what he sees in you then.
Well, more than you do anyway.
[dog barking]
"Italy For Lovers."
Stupid girl.
[knocking]
Yes?
[door opening]
Oh.
ALICE: Hello.
I brought you this.
Oh.
Well, open it.
Oh.
Thank you.
Thank you.
I was just hoping it was the right carriage.
Oh, it is.
Really is.
[piano music]
Billy wants his money.
But not in here.
Now!
[inaudible].
He wants this money back, doesn't he?
Where is it?
How about you're an intelligent man.
You know how long it takes to organize
these sorts of operations.
We're going to see Billy.
All right.
All right.
OK, OK, I'm coming.
[music playing]
Move!
Come on, boys.
[cows mooing]
[music playing]
Oh, I-- I ran.
I thought you'd stood me up.
No, never.
No, we're doing, uh, a bit of stock-taking in the plant.
Sounds very important.
Oh, uh, a brandy for me.
A vodka.
And a vodka.
What is your job exactly?
Uh, well, kind of scientist I suppose.
Really?
Meat inspection, that sort of thing.
Only I think it's time to move on.
Oh.
Yeah.
Maybe travel a bit.
The real thing?
Yeah.
Maybe.
Well, I'll toast to that.
Mothers.
You had another round?
No.
I told her about us.
Oh.
Oh, let's forget about her.
Look, why don't I bring you on a pub crawl, hmm?
I've always wanted to go on a pub crawl.
You should start doing what you want to do.
I am.
Then she looks at me with those offended eyes.
I've no right to have feelings for anybody else but her.
You can never leave me, she's thinking.
I'll always be with you.
You're stumbling, awkward, nervous, inadequacy.
That bad?
Oh, you have no idea.
If I ever even looked at a boy, she'd have
one of her famous nervous fits.
Always felt trapped, ever since my father went away.
Ever think of leaving her?
All the bloody time.
I did leave once.
I rented a bed set in Phibsborough for three months.
Only I didn't fit in anymore.
I mean, I'm hardly a student any longer.
Nurses, parties, the stench of dirty socks-- gone.
And then, of course, I started to feel guilty.
Why?
Well, for leaving her, especially since Dad left.
Oh, you don't want to be hearing this.
I'm sorry.
You're very special, you now?
You don't realize it.
Thank you.
She don't much care for me.
ALICE: She thinks you're some sort of danger.
Oh, I am.
I know-- trains, romance, a mysterious past.
You are a mystery man.
No.
I'm nobody special.
I see.
I'm just a silly old dreamer.
You're so different from other people.
In what way?
I think you just read things right.
I know you're not all that you seem to be.
But then who is?
Alice--
Oh, no.
Don't disappoint me so soon.
I have enough regrets already.
Think we should have knocked?
Stop.
Hey, hang on to me.
I want to find the switch.
I'll lead us.
Hey, [inaudible]
Go on, go on.
I'll make you some coffee.
Hey, you're waking her.
What's the surprise you have for me?
Hmm?
All in good time.
I hope you don't think I'm a lush.
Why would I think that?
Holding on to you as if you were some sort of life raft.
I'm sorry.
It's the vodka.
I think you're rather beautiful.
What's so funny now?
You.
I don't know if you're for real or not
or that you haven't stepped out of one of those trains.
Well, you are.
She wants you to leave.
Leave with me.
I hardly know ya.
Well, you hardly knew that boy in Paris.
Yet--
I'm older now and sensible.
Oh, fuck that.
Mr. Poole, where's that gentleman
I met on the Orient Express?
I'm sorry.
I-- I'm sorry.
Oh, I'm sick of being sensible.
Well, then come with me.
ALICE: Where?
Anywhere.
Start a new life together.
You are running from something.
So are you.
I couldn't.
Alice, leave her.
I can't.
It'd be best for both of you.
[music playing]
Look, Alice, you're bright.
You're special.
You deserve more.
You make me feel like an old fraud.
You?
Well, I am an old fraud, so I can recognize
the real thing when I find it.
But you read books, you know about places.
I mean, all I can do is imitate, create sort of fakery.
But you make me want to find more.
Come with me.
Where?
You don't mean the Orient Express?
Look.
Go on, open it.
I mean, it-- it was just an impulse.
I walked into the travel agency and bought them.
But these are for tomorrow.
Yeah.
But my job.
Well, ring in sick.
I would have no clothes.
[inaudible]
We can get everything you want in London.
I do have a passport.
Oh, honestly, I'm sure--
Now, I just said to myself, go for it.
Don't think about it anymore.
Just go for the real thing.
But tomorrow!
Oh, look.
Today, Alice.
I need you.
I haven't needed another human being before.
Come with me.
Say you will.
Oh my God.
You want to?
Yes.
Well, then say you will.
Yes.
Yes, you will?
Yes, I'm mad.
Oh, thank you.
Oh, thank you.
Thank you, thank you, thank you.
God, you make me feel like I'm saving your life or something.
Alice, you are.
[music playing]
God, you're shaking.
And I thought you were such a man of the world.
BILLY: You found him, and you let him go?
You have that bollocks here by tomorrow or you're dead.
Fuck.
[music playing]
Fuck off, mad man!
What are you doing?
I want him out of here now.
Oh!
Stop!
Think!
They're only trains!
I will remove all traces of that man from this house.
What, like you did with Dad?
I only want to protect you.
From what?
Oh, Jesus.
[music playing]
Look at you.
You've become a stranger.
I just can't live with you anymore.
Why do you hate me so much?
I don't hate you, Mother.
I just want a life of my own.
I heard you last night with that creep.
He's not a creep.
He's kind, and he's caring.
God, you've sucked everything out of my life.
Oh, you've found your father's tongue at last.
You drove him out of my life as well.
He walked out on us, Alice.
I wonder why.
He rejected us.
He rejected you, too.
I won't listen to this.
Well, it's the truth.
It's your bitter and twisted truth.
God, you've made me feel unwanted always.
I didn't want you to get hurt like me.
Well, I was hurt!
I've never had friends.
No one was ever good enough for your Alice Mooney.
Christ.
Throwin' me life away in this gloomy house.
I had to be strict.
He left us with nothing.
I thought I was doing the right thing.
You gave me nothing.
He might have been a ne'er-do-well, but I
do know that he did love me.
Did he?
Oh, no.
No, Alice.
Listen, where are you going?
We're going away.
Think, you don't even know this fellow.
Alice, he could be some kind of criminal.
He could be just using you.
Mother, listen.
I love him.
[music playing]
[dog barking]
Ferry port please.
[music playing]
Where's he gone?
Upstairs.
Look, I have no time to argue with you, miss.
Where is he?
MRS MOONEY: Dear God!
BLAKE: Where has he gone? MRS MOONEY: I don't know!
BLAKE: Tell me!
Ah!
Stupid-- MRS MOONEY: No!
No!
Stupid fucking bitch!
[sobbing]
[music playing]
Sorry.
Give me your bag.
What were you doing in their garden?
Oh, God.
It'll all come out now.
I don't have to say that I was there.
Why did you marry me?
For years, I've wondered.
I tried to control it, Winnie.
Honestly.
Oh, poor Mrs. Mooney.
[music playing]
Mrs. Driscoll?
[music playing]
Give me your coat.
[music playing]
Here's to madness.
Run off with that fella?
No wonder poor Mrs. Mooney was at her wit's end.
She knew what the pair of them were doing upstairs.
[music playing]
Thank you.
To us.
To us.
Our old friend.
Beating up old ladies, it's hardly his style.
You never know.
Get on to Interpol.
These old cons, they always manage to meet a lonely woman.
[music playing]
You're a devil.
Hey, come on.
[piano playing]
[music playing]
I think I'll have the duck.
No, I won't.
I'll have the venison.
I've never tasted venison.
I need to tell you so much about me.
Let's enjoy all this first.
You mean so much to me.
What are you going to have?
Haven't thought.
You all right?
Sure.
[music playing]
What is it, Michael?
What trouble are you in?
Why can't you tell me?
Is it me?
You are the only decent thing in my life.
I've sensed trouble all along, you know?
I know you did.
I said to myself 100 times, where's the snare?
It's all too good to be true.
There had to be a snare.
I'll have to tell them.
What?
It wasn't Poole that I saw attacking Mrs. Mooney.
It will all come out then.
I don't care.
I am sick of living a lie.
Before I met you, I was in jail
for embezzlement, three months.
Before that, it was years and years of dodgy accounting
with dodgy people.
Always running from the law and I'm bloody tired.
Thought I'd found peace in your home--
trains, make believe.
You.
ALICE: Who's after you?
Some very nasty people.
What do they want?
Do you have it?
No.
What paid for all of this?
I had some savings, really.
So you'll keep running.
MICHAEL POOLE: Yeah, I suppose so.
And me--
I suppose you want me to keep running with you.
You can always go back, Alice.
Oh, sure.
Sure.
Paris in 1969.
Christ.
I only said all this, because I--
I couldn't lie to you anymore.
You have lied to me.
Is this all a lie?
Oh, I'm so sorry.
Look, I could have gone on dodging--
No, I can't believe anything you say anymore.
Your job, for instance--
are you a scientist?
No, I cleaned out offal in abattoir.
And these people, did they find out where you worked?
Yeah.
And where you live?
Maybe, I don't know.
No, Alice, listen.
It's me they want.
You actually conned me into coming away with you.
I didn't.
You did.
I could have just vanished and turned up in another town.
Christ, I want to spend the rest of my life with you.
Where, on the Orient Express?
A jailbird, a con artist.
Christ, Mother was right after all.
Oh, your mother is always right.
Even the fucking pope isn't good enough for her daughter.
How could I have been such a fool?
What are you doing?
I'm getting off in Vienna.
You'll have to give me the plane fare home.
Well, I-- well, yeah.
Magic, he said.
I fell for it all over again.
We can still make our own magic, Alice.
Could you not have kept it from me
until we got home at least?
No.
For years, in jail, I was--
dreamed of meeting a woman like you.
Some silly old fool.
No.
Some washed out doormat.
Alice, listen!
Someone special.
I'm not special.
I'm just--
Blake's a hired killer.
They're both in danger.
[music playing]
WOMAN: Oh!
BLAKE: Excuse me.
Excuse me.
MICHAEL POOLE: There is no money, Blake.
It's all been frittered away on fooli--
Billy wants something--
a finger, an ear, some trophy.
You know what Billy's like.
Get it over.
Fuck!
I'm too old for this sort of thing.
I know.
Venice?
Poole's gone to Venice?
I'd love to go to Venice, Billy.
We will.
We will.
Poole must have known that I'd figure that out by now.
I think that wankers got to you.
He always got caught, right from the start.
He went down for every scam.
The ultimate fuckin' failure.
Will you marry me?
You are an old con.
Does that mean you will?
On one condition.
What?
ALICE: That you tell me where the money is.
Look, I thought you wanted to go straight.
Oh, I do.
Well, then tell me.
It's in the bank, in Venice.
Give it back.
Otherwise, you're going to be running
for the rest of your life.
I-- I can't.
But it's stolen.
Strictly speaking, it's not.
It's just a bit of creative accounting
while I was handling Billy's books.
Billy.
Who's Billy?
Mr. Big in the Dublin underworld.
God, you worked for such people.
I did, one.
Look, I've got to concentrate on everything.
I was never a qualified accountant.
I was always a bum that just happened
to be good at arithmetic.
And I'm sick of that kind of life--
dodging and pretending, looking over me shoulder, conning.
I tried to tell you from the beginning.
I tried.
Well, why didn't you then?
You would of let me.
Wh-- wh--
I suppose I didn't push it, because I was afraid that--
well, that you'd leave me.
Just give it back.
Alice, it's my future.
Well, I don't want to be part of it.
I love you, so much.
Obviously not as much as you love that bloody money.
[music playing]
WOMAN (ON INTERCOM): [non-english speech]..
Can we at least see Venice together?
Alice, I'm so sorry.
So am I.
WOMAN (ON INTERCOM): [non-english speech]..
[bell tolling]
Taxi?
[non-english speech].
[music playing]
[non-english speech].
[music playing]
Oh, come on, come on.
WOMAN (ON PHONE): [non-english speech]..
Oh, yeah.
Uh, Dublin.
385-4327.
[phone ringing]
Yeah?
Billy?
[bells tolling]
[chatter]
[music playing]
[door shutting]
You came then.
Oh, yeah.
Your money.
So what's this all about?
I just don't like myself anymore.
Nothing like yourself, Billy.
To be--
BILLY: Successful?
MICHAEL POOLE: If you'd like.
Just get it over with.
This is what you want, someone to end your misery?
If you hate yourself so much, you do it.
You're dead already anyway.
[door opening]
[door closing]
[classical music]
You're pathetic.
[birds chirping]
[music playing]
[chatter]
It doesn't challenge me at all, except that you
learn something from it.
And then these ones, they do nothing all day
but watch television.
You've changed your tune.
Alice, take me home.
I can't.
You mean, you won't.
Well, you know very well you need
to be properly looked after.
Cold chicken, that's all they give us to eat.
I thought you liked cold chicken.
That can't be good for you to have only cold chicken.
MAN (ON TV): Meningitis killed another young lady recently.
It seems to be on the increase, or is it
just receiving more publicity?
Well, today, we'll be talking to a doctor.
WOMAN (ON TV): Pork is one of those good value meets.
And today, Brenda Costigan shows us some simple but tasty ideas
using pork chops.
[dog barking]
[music playing]
[knocking]
Do you need a lodger?
Come in.
I gave the money back to them.
Oh.
No more running then.
No.
You sure?
I'm sure.
That's good.
So then, will you?
Will I what?
Marry me.
[music playing]
Have you eaten?
I'll make you an omelet.
[music playing]
Alice, will you?
I will.
I know I've conned you, conned myself, and--
Michael, I said yes.
[music playing]
[music playing]
WOMAN: (SINGING) I'll be getting closer,
but we're drifting far away.
Will we come together?
Is there too much in our way?
And we all know there's a price we have to pay.
And we all know the things we hold so dear might slip away.
Falling down to Earth.
Falling down with our love.
Another rising sun in the heat of afternoon.
Still can live together--
empty words and empty rooms.
And we all know, but do we really see?
And we all know the things we hold so dear might slip away.
Falling down to Earth.
Falling down with our love.
With our love.
With our love.
Falling down to Earth.
---
[music playing]
[music playing]
[tires squealing]
[music playing]
Hey!
[music playing]
Hey!
[music playing]
LIZ (ON PHONE): Hello.
Is Billy there?
He's in the meeting.
You screw me friend, and I'll screw you.
Ahhhh!
Hold on.
[man screaming]
Blake.
Have you found him?
Have you?
I don't want excuse.
Shut the fuck up!
BLAKE (ON PHONE): Don't worry.
I'll get him, Billy.
Just find him.
[music playing]
Now, I'm going to show you step one and just a few others.
And chops are very adaptable.
I mean, you can cook one chop, or you can cook 20.
Like-- it's not like a roast where you're
struck with an amount of meat.
MAN (ON TV): Those-- those are fine, thick chops.
WOMAN (ON TV): Aren't they?
MAN (ON TV): And fairly well-tuned.
WOMAN (ON TV): Yes, they are fairly well--
I'm-- I'm here about the flat.
You have a flat here, right?
Yes.
Yes, of course.
Sure.
Is it awkward?
I can come back later.
I'll just turn down the telly.
There's no plug in the bath.
I can't get out, you see.
And my daughter Alice, well, she doesn't
get home till nearly 7:00.
The, uh, toilet makes a rattle when you use it.
Alice says there's something clogged.
[toilet flushing]
Handy with your hands there?
Uh-- uh, yes, a little.
Well, I'll have a look at that blockage for ya.
Hmm, would you?
Everything all right then?
Yeah.
It's nice.
Now I really like it.
It's perfect.
Well, when will you move in then?
Now.
[music playing]
Where is it?
[knocking on wall]
We have, uh, colors colors.
I think that one wanted to have a little go at me.
MAN (ON TV): We have yellow colors
for the mares and red colors--
What's he like?
Quiet.
MAN (ON TV): Yellow colors for the mare.
Is he single?
Looks it.
Oh.
What does he do?
I haven't got that far yet.
Mami Ryder was broken into again.
Oh?
What did they get this time?
The same.
All her undies were gone.
Perverts.
[banging from roof]
What's he doing up there?
Is he moving a wardrobe or something?
Do you think he might be funny?
Well, weren't you a tad bit foolish to let in a stranger?
We need a lodger, Winnie.
We got someone for the flat.
A Mr. Poole.
Ooo, good?
He's upstairs, doing something strange.
Like tearing the place apart.
I better go and get Walter his tea.
See you tomorrow, dear.
You tell me the latest about his nibs up there.
He likes the room then?
Sh.
[knocking from roof]
Why would he want to shift around the furniture?
He's only settling in.
I'm starving.
There's a chop in the fridge.
Is that all?
What do you expect?
You don't bring home the messages.
You know very well I can't get out.
Of course you can get out if you want to get out.
Nothing the matter with you, except
that infernal television.
Nothing the matter.
You know I'm a nervous wreck.
Mr. Poole.
Yes?
Oh, you must be, um, Alice then.
Yes.
Yes.
Uh, I wanted to fix up the rent with you.
Yes, of course.
Right then.
[music playing]
WINNIE: Walter, I'm home.
D-- d-- d-- d--
down in a minute.
MAN (ON TV): Now, um, obviously the government, uh,
wants to be popular.
And the idea that Dublin will be at a standstill because
of preparations for this game--
Well, you're stuck with me for a month anyway.
Right.
If you need anything, just give me a shout.
Right.
The Mooneys knew a lodger.
Seems odd.
Odd?
Yeah.
[piano music]
[cows mooing]
All right, this way.
Here we are, the slaughterhouse.
You'll get used to the mess.
There, you see.
[piano music]
It's up the stairs.
Thank you.
Does he have much?
Six boxes, misses.
Six.
Will you sign for them, misses?
Well, I suppose it's all right.
They're luggage, aren't they?
Well, "toys" it says there.
Toys?
That's what it says, ma'am.
Your job will be to collect the offal after butchering,
bring it outside.
Give this place a good clean.
[piano music]
I asked him in for a cup of tea.
He just gave me a queer look and went up the stairs
without as much as a thank you.
I think he's strange, Alice.
He minds his own business.
Boxes of toys?
Well, a lodger was your idea.
Well, we wouldn't need one if we weren't so hard up.
Oh, here we go.
[inaudible]
Every evening when I come in--
God, Alice, you buckets of brains.
--it's the same mad, mad, mad--
If you'd only smarten up, you might get--
Shhh.
[knocking]
Oh, I, uh, hope I'm not disturbing you.
I-- I was wondering if you had a hammer.
There's one in the drawer.
There's a fresh cup in the pot.
Come in, Mr. Poole.
Oh, well, all right then.
Thank you very much.
Here you are.
Oh.
That's it.
I-- is everything all right then?
Oh.
Yes, the room's ideal.
It's, uh-- uh, everything I need.
ALICE: Sugar?
Four or five spoons please.
You've enough room then, for your things?
Oh, yes, all the space I need.
Thank you.
Mother won't relax until you're settled in.
You'll have to get a bath plug.
And more sockets.
Sockets?
Would you like a cigarette?
She doesn't smoke.
I do, sometimes.
MRS MOONEY: Well, I've never seen you.
At work.
She's a lawyer, you see?
Don't mind mother.
Well, she trained as one, with Burton, Sheen, and Farrelly,
you know.
Oh.
Oh, thank you.
And wh-- what do you do, Mr. Poole?
Well, less than that.
Well, Alice reads a lot of books, don't you, love?
Fiction.
That's my life I'm afraid.
So you're a scholar then?
No, hardly that.
No.
I like Graham Greene, Evelyn Moore, people like that.
There's a murder film on tonight, Winnie says.
Do you read much, Mr. Poole?
No, I'm afraid not.
But, uh, I'd like to start, though.
Would you?
Yes, I would.
I'd like to read your sort of books.
Her eyesight is going because of all that reading.
Mother, do you have to have the television
blaring all the time?
I'm sorry.
And can I get you something to eat, maybe a sandwich?
Oh, lovely.
Thank you very much.
WOMAN (ON TV): And if all that wasn't enough,
I'll be going to Toronto shops with fashion television's
one and only Jamie Baker.
But first, here's my report, behind the scenes
at the Fashion Awards.
And to kick off the program, we're
going to start with the Smirnov International Fashion Award,
because they're basically the reasons that we're in Toronto.
Instigated in '91, they were set up to propagate student
fashion, design, and create--
Well, you have a lovely home here.
Yes, it's quiet, usually.
ALICE: I have a room full of books upstairs, Mr. Poole.
You can borrow one any time.
What would you recommend?
Oh, Graham Greene, you must start with him.
I'm sure Mr. Poole is too busy to be
reading those sort of things.
No, I'd love to, honest.
Uh, I always meant to join a library.
I never got around to it.
Not even as a child?
No.
Now, now, we'll have to make up for all that now, won't we?
Yes.
WOMAN (ON TV): It's going to be a lot of competition,
so you might as well get used to it.
Well, things are getting so pent up
inside that we've, in fact, come outside to have a few words--
It's all right.
WOMAN (ON TV): Maggie, can you tell us a bit
about your interpretation of--
Supper.
[music playing]
[dog barking]
[dance music]
This scene is gruesome.
Shh.
Oh, it's him.
What's he doing?
I heard that humming noise earlier.
It sounds like he's shaving, Mrs. Mooney.
But the ceiling's moving.
There's no socket in the floor, Winnie.
Is he on his own?
Of course he's on his own.
Well, he's acting very strange if he is.
Will I go up and see?
Well, he might certainly be shaving.
On the floor?
No, I'd better go up.
Maybe he's doing something, personal.
Winnie's radishes are delicious.
Sure you won't eat one?
No thanks.
Hmph, suit yourself.
Aren't you in a hurry.
I'll be late.
Oh, goodness.
Good morning.
Good morning, Mr. Poole.
Oh.
Thank you.
[music playing]
Trains?
Monsters.
Oh, Winnie, I never got such a fright in all my life.
Oh, dear oh dear.
He must be a model train buff.
There's even mountains up there.
Mountains?
And he plays with these things like a child.
It's a hobby.
Mountains and telegraph poles?
It's a very strange hobby.
Millions of grown men play with model trains.
Oh, Jesus, there he's off again.
Don't upset yourself.
Next, they'll come through the ceiling and topple me.
It's like Kingsbridge Station in here.
I can't even move this leg now because of the shock.
And the telly's gone altogether,
all because of them things trundling across the ceiling.
Mountains in a quiet terrace like this?
Alice, will you go up and talk to him please?
Oh, the pair of you are impossible.
The poor man's only having innocent fun.
Innocent?
Nearly killed your mother.
She can't move.
[toy train whistling]
Alice, please.
This can't go on.
Go up and tell him to stop.
Oh, this is ridiculous.
She doesn't care about me anymore.
Worse than her father ever was.
MICHAEL POOLE: Yes?
It's me, Alice.
MICHAEL POOLE: Just one second.
Uh, just a second.
[music playing]
You don't think she fancies the station
master up there, do you?
I do.
Oh.
Now, this is the Orient Express,
which is my pride and joy.
It's beautiful.
Yes.
You see, uh-- well--
that's-- it starts over here in London,
comes across to our stand.
Then from our stand, all the way around across the country
into Paris, and then through the Alps--
watch out for this one--
into Prague, and along to Vienna.
You see the Danube?
The blue Danube.
Oh, uh-- see, these are the Habsburg soldiers
guarding the royal palace.
It's great.
So Prague, Vienna, and this must be Sobotka.
Yeah, it is.
That's in Stamboul Train by Graham Greene.
I'll just borrow that.
ALICE: Just look at the detail.
It's all out of books and maps I'm afraid.
Well, it's better to imagine places I think.
You were never in these places?
Not really.
I was in Paris once.
Well, good night, Mr. Poole.
And thanks for showing me your trains.
Uh, can I offer you a drink?
Sure.
Thanks.
Well, you should.
Yeah, quite.
Oh, I'm going over this way.
OK.
All right.
Bye.
[music playing]
Good morning.
[music playing]
Woo-oo-woo!
[music playing]
Yoo-who!
[music playing]
This is the night mail crossing the border."
Do you remember that?
Afraid not.
"Bringing the cheque and the postal order.
Letters for the rich, letters for the poor.
The shop at the corner, the girl next door."
No?
WH Auden?
Uh huh.
The coffee's ready.
How did you take up this hobby?
Oh, I--
I was at a loose end and--
Have you no family?
No.
I must get some more carriages for the Orient Express.
I've been building this up bit by bit.
My ambition's to have the biggest set in the world.
I'm sorry about mother always complaining.
She just gets upset by the noise.
Well, it does make a bit of noise going under the Alps.
But I could easily reroute it.
No, don't bother.
If it wasn't the trains, it'd be something else.
No, just change a few points, take it
across the tip of Italy.
No, please, I shouldn't have said anything.
No, I don't want to be disturbing her.
Alice?
Alice?
She never goes out, you see.
Just stays in and watches television all the time.
It's her entire world.
Only now, she wants me to stay in
with her all the time as well.
I'm sorry.
You don't want to be listening to my problems.
It's peaceful here, though.
MRS MOONEY: Alice!
Thanks, Mr. Poole, for everything.
Oh, it's a pleasure.
I was calling for ages.
This leg has gone stiff again, all
because of those stupid trains.
Act your age, will you?
All you had to do was just tell us,
and we'd all live happily ever after.
[music playing]
Nobody double crosses me!
You should have know that, you stupid bastard!
You got to tell her what you are.
[bell tolling]
[knocking]
What's wrong?
Your washing is all gone.
I didn't put out any washing.
Alice's clothes were on the line this morning.
I saw them.
Did you take them in?
No.
Winnie, what's this?
Her clothes are all gone.
It's that pervert again.
The police will have to be told.
No.
Why not, Winnie?
What if it's someone we know?
[piano music]
Have you gone mad?
Yes, Mother.
I won't be staying for my dinner.
WINNIE: Please yourself.
You're up to something, I know.
Sneaking in and sneaking out.
[music playing]
And it's springtime.
No, September.
The colleges were opening again.
Paris in the fall.
The nun said Paris was the city of the damned.
God, I thought we'd never get there.
Should we leave Paris then?
No, not yet.
We only just got there.
Sorry.
No, I was trying to remember something
that happened back then.
Huh?
Something sad?
No.
Oh, yes.
I relish sadness, Mr. Poole.
I'm just like mother in my own way.
1969.
God.
It's only yesterday.
I just left Cabra Convent, and I met this young man in a bistro.
He was a student from Berlin.
Yes.
We talked all evening.
He was to go to the Sorbonne.
God, we were so intense.
We talked about Serge and Simone de Beauvoir.
Do you like people?
Why do you ask?
You don't say very much.
Said it all, I suppose.
People seem to bother you.
I'm sorry.
I talk too much.
No, no, you've got nothing to apologize for.
With Mother, there's nothing much to talk about anymore.
What happened in Paris?
Nothing.
That's just the point, you see.
I came home to this.
It's a pain, isn't it?
I hate the past.
I suppose I fell in love.
You're not really a lawyer, are you?
That's just Mother and her silly airs.
Well, it's safe here.
It's like a sanctuary.
Have you always lived like this?
That's it.
Digs landlady stretching back to infinity, cold lino
on the floor.
Lingering smell of grease.
Oh, sh--
No, tell me.
Well, there's nothing to tell really.
Just a banal little life with--
ALICE: With what?
No center, meaning.
It's always been drift, Alice.
From one dingy room to the next, one job to another,
from this to that.
No core.
No family.
No sense of being somebody.
Have you no family at all?
Well, vague memories of a mother once.
Smell the perfume on her silk stole.
[music playing]
[inaudible] call me Michael.
Michael.
I'm sorry.
No, don't be.
Hey.
Erm, erm-- into the mountains then.
Why do you need sanctuary?
Because I've got to stop this drift somewhere.
Well, you may not be too happy here.
I've seen the tension between you and your mother.
But it is a home.
It's a home, Alice.
Well, you can't possibly know what
that means to someone like me.
Yes, I can.
Well, I think I can.
Michael, are you in some kind of trouble?
I am.
Oo, careful.
It's all right.
I won't get lost.
I say, what are you doing?
Out of my way.
You really have gone over the top this time.
I can't believe you'd do such a thing.
He's using up all the power with those silly trains.
Mother, why don't you like him?
He's a chancer.
Oh, he reminds you of Dad.
Isn't that it?
I am only thinking of you, love.
You're not.
I'm sick of you interfering in my life, and I'm--
I'm sick of being cooped up here,
listening to you, and Winnie, and her pathetic husband.
What do you mean?
Mr. Poole is--
is a gentleman.
I wonder what he sees in you then.
Well, more than you do anyway.
[dog barking]
"Italy For Lovers."
Stupid girl.
[knocking]
Yes?
[door opening]
Oh.
ALICE: Hello.
I brought you this.
Oh.
Well, open it.
Oh.
Thank you.
Thank you.
I was just hoping it was the right carriage.
Oh, it is.
Really is.
[piano music]
Billy wants his money.
But not in here.
Now!
[inaudible].
He wants this money back, doesn't he?
Where is it?
How about you're an intelligent man.
You know how long it takes to organize
these sorts of operations.
We're going to see Billy.
All right.
All right.
OK, OK, I'm coming.
[music playing]
Move!
Come on, boys.
[cows mooing]
[music playing]
Oh, I-- I ran.
I thought you'd stood me up.
No, never.
No, we're doing, uh, a bit of stock-taking in the plant.
Sounds very important.
Oh, uh, a brandy for me.
A vodka.
And a vodka.
What is your job exactly?
Uh, well, kind of scientist I suppose.
Really?
Meat inspection, that sort of thing.
Only I think it's time to move on.
Oh.
Yeah.
Maybe travel a bit.
The real thing?
Yeah.
Maybe.
Well, I'll toast to that.
Mothers.
You had another round?
No.
I told her about us.
Oh.
Oh, let's forget about her.
Look, why don't I bring you on a pub crawl, hmm?
I've always wanted to go on a pub crawl.
You should start doing what you want to do.
I am.
Then she looks at me with those offended eyes.
I've no right to have feelings for anybody else but her.
You can never leave me, she's thinking.
I'll always be with you.
You're stumbling, awkward, nervous, inadequacy.
That bad?
Oh, you have no idea.
If I ever even looked at a boy, she'd have
one of her famous nervous fits.
Always felt trapped, ever since my father went away.
Ever think of leaving her?
All the bloody time.
I did leave once.
I rented a bed set in Phibsborough for three months.
Only I didn't fit in anymore.
I mean, I'm hardly a student any longer.
Nurses, parties, the stench of dirty socks-- gone.
And then, of course, I started to feel guilty.
Why?
Well, for leaving her, especially since Dad left.
Oh, you don't want to be hearing this.
I'm sorry.
You're very special, you now?
You don't realize it.
Thank you.
She don't much care for me.
ALICE: She thinks you're some sort of danger.
Oh, I am.
I know-- trains, romance, a mysterious past.
You are a mystery man.
No.
I'm nobody special.
I see.
I'm just a silly old dreamer.
You're so different from other people.
In what way?
I think you just read things right.
I know you're not all that you seem to be.
But then who is?
Alice--
Oh, no.
Don't disappoint me so soon.
I have enough regrets already.
Think we should have knocked?
Stop.
Hey, hang on to me.
I want to find the switch.
I'll lead us.
Hey, [inaudible]
Go on, go on.
I'll make you some coffee.
Hey, you're waking her.
What's the surprise you have for me?
Hmm?
All in good time.
I hope you don't think I'm a lush.
Why would I think that?
Holding on to you as if you were some sort of life raft.
I'm sorry.
It's the vodka.
I think you're rather beautiful.
What's so funny now?
You.
I don't know if you're for real or not
or that you haven't stepped out of one of those trains.
Well, you are.
She wants you to leave.
Leave with me.
I hardly know ya.
Well, you hardly knew that boy in Paris.
Yet--
I'm older now and sensible.
Oh, fuck that.
Mr. Poole, where's that gentleman
I met on the Orient Express?
I'm sorry.
I-- I'm sorry.
Oh, I'm sick of being sensible.
Well, then come with me.
ALICE: Where?
Anywhere.
Start a new life together.
You are running from something.
So are you.
I couldn't.
Alice, leave her.
I can't.
It'd be best for both of you.
[music playing]
Look, Alice, you're bright.
You're special.
You deserve more.
You make me feel like an old fraud.
You?
Well, I am an old fraud, so I can recognize
the real thing when I find it.
But you read books, you know about places.
I mean, all I can do is imitate, create sort of fakery.
But you make me want to find more.
Come with me.
Where?
You don't mean the Orient Express?
Look.
Go on, open it.
I mean, it-- it was just an impulse.
I walked into the travel agency and bought them.
But these are for tomorrow.
Yeah.
But my job.
Well, ring in sick.
I would have no clothes.
[inaudible]
We can get everything you want in London.
I do have a passport.
Oh, honestly, I'm sure--
Now, I just said to myself, go for it.
Don't think about it anymore.
Just go for the real thing.
But tomorrow!
Oh, look.
Today, Alice.
I need you.
I haven't needed another human being before.
Come with me.
Say you will.
Oh my God.
You want to?
Yes.
Well, then say you will.
Yes.
Yes, you will?
Yes, I'm mad.
Oh, thank you.
Oh, thank you.
Thank you, thank you, thank you.
God, you make me feel like I'm saving your life or something.
Alice, you are.
[music playing]
God, you're shaking.
And I thought you were such a man of the world.
BILLY: You found him, and you let him go?
You have that bollocks here by tomorrow or you're dead.
Fuck.
[music playing]
Fuck off, mad man!
What are you doing?
I want him out of here now.
Oh!
Stop!
Think!
They're only trains!
I will remove all traces of that man from this house.
What, like you did with Dad?
I only want to protect you.
From what?
Oh, Jesus.
[music playing]
Look at you.
You've become a stranger.
I just can't live with you anymore.
Why do you hate me so much?
I don't hate you, Mother.
I just want a life of my own.
I heard you last night with that creep.
He's not a creep.
He's kind, and he's caring.
God, you've sucked everything out of my life.
Oh, you've found your father's tongue at last.
You drove him out of my life as well.
He walked out on us, Alice.
I wonder why.
He rejected us.
He rejected you, too.
I won't listen to this.
Well, it's the truth.
It's your bitter and twisted truth.
God, you've made me feel unwanted always.
I didn't want you to get hurt like me.
Well, I was hurt!
I've never had friends.
No one was ever good enough for your Alice Mooney.
Christ.
Throwin' me life away in this gloomy house.
I had to be strict.
He left us with nothing.
I thought I was doing the right thing.
You gave me nothing.
He might have been a ne'er-do-well, but I
do know that he did love me.
Did he?
Oh, no.
No, Alice.
Listen, where are you going?
We're going away.
Think, you don't even know this fellow.
Alice, he could be some kind of criminal.
He could be just using you.
Mother, listen.
I love him.
[music playing]
[dog barking]
Ferry port please.
[music playing]
Where's he gone?
Upstairs.
Look, I have no time to argue with you, miss.
Where is he?
MRS MOONEY: Dear God!
BLAKE: Where has he gone? MRS MOONEY: I don't know!
BLAKE: Tell me!
Ah!
Stupid-- MRS MOONEY: No!
No!
Stupid fucking bitch!
[sobbing]
[music playing]
Sorry.
Give me your bag.
What were you doing in their garden?
Oh, God.
It'll all come out now.
I don't have to say that I was there.
Why did you marry me?
For years, I've wondered.
I tried to control it, Winnie.
Honestly.
Oh, poor Mrs. Mooney.
[music playing]
Mrs. Driscoll?
[music playing]
Give me your coat.
[music playing]
Here's to madness.
Run off with that fella?
No wonder poor Mrs. Mooney was at her wit's end.
She knew what the pair of them were doing upstairs.
[music playing]
Thank you.
To us.
To us.
Our old friend.
Beating up old ladies, it's hardly his style.
You never know.
Get on to Interpol.
These old cons, they always manage to meet a lonely woman.
[music playing]
You're a devil.
Hey, come on.
[piano playing]
[music playing]
I think I'll have the duck.
No, I won't.
I'll have the venison.
I've never tasted venison.
I need to tell you so much about me.
Let's enjoy all this first.
You mean so much to me.
What are you going to have?
Haven't thought.
You all right?
Sure.
[music playing]
What is it, Michael?
What trouble are you in?
Why can't you tell me?
Is it me?
You are the only decent thing in my life.
I've sensed trouble all along, you know?
I know you did.
I said to myself 100 times, where's the snare?
It's all too good to be true.
There had to be a snare.
I'll have to tell them.
What?
It wasn't Poole that I saw attacking Mrs. Mooney.
It will all come out then.
I don't care.
I am sick of living a lie.
Before I met you, I was in jail
for embezzlement, three months.
Before that, it was years and years of dodgy accounting
with dodgy people.
Always running from the law and I'm bloody tired.
Thought I'd found peace in your home--
trains, make believe.
You.
ALICE: Who's after you?
Some very nasty people.
What do they want?
Do you have it?
No.
What paid for all of this?
I had some savings, really.
So you'll keep running.
MICHAEL POOLE: Yeah, I suppose so.
And me--
I suppose you want me to keep running with you.
You can always go back, Alice.
Oh, sure.
Sure.
Paris in 1969.
Christ.
I only said all this, because I--
I couldn't lie to you anymore.
You have lied to me.
Is this all a lie?
Oh, I'm so sorry.
Look, I could have gone on dodging--
No, I can't believe anything you say anymore.
Your job, for instance--
are you a scientist?
No, I cleaned out offal in abattoir.
And these people, did they find out where you worked?
Yeah.
And where you live?
Maybe, I don't know.
No, Alice, listen.
It's me they want.
You actually conned me into coming away with you.
I didn't.
You did.
I could have just vanished and turned up in another town.
Christ, I want to spend the rest of my life with you.
Where, on the Orient Express?
A jailbird, a con artist.
Christ, Mother was right after all.
Oh, your mother is always right.
Even the fucking pope isn't good enough for her daughter.
How could I have been such a fool?
What are you doing?
I'm getting off in Vienna.
You'll have to give me the plane fare home.
Well, I-- well, yeah.
Magic, he said.
I fell for it all over again.
We can still make our own magic, Alice.
Could you not have kept it from me
until we got home at least?
No.
For years, in jail, I was--
dreamed of meeting a woman like you.
Some silly old fool.
No.
Some washed out doormat.
Alice, listen!
Someone special.
I'm not special.
I'm just--
Blake's a hired killer.
They're both in danger.
[music playing]
WOMAN: Oh!
BLAKE: Excuse me.
Excuse me.
MICHAEL POOLE: There is no money, Blake.
It's all been frittered away on fooli--
Billy wants something--
a finger, an ear, some trophy.
You know what Billy's like.
Get it over.
Fuck!
I'm too old for this sort of thing.
I know.
Venice?
Poole's gone to Venice?
I'd love to go to Venice, Billy.
We will.
We will.
Poole must have known that I'd figure that out by now.
I think that wankers got to you.
He always got caught, right from the start.
He went down for every scam.
The ultimate fuckin' failure.
Will you marry me?
You are an old con.
Does that mean you will?
On one condition.
What?
ALICE: That you tell me where the money is.
Look, I thought you wanted to go straight.
Oh, I do.
Well, then tell me.
It's in the bank, in Venice.
Give it back.
Otherwise, you're going to be running
for the rest of your life.
I-- I can't.
But it's stolen.
Strictly speaking, it's not.
It's just a bit of creative accounting
while I was handling Billy's books.
Billy.
Who's Billy?
Mr. Big in the Dublin underworld.
God, you worked for such people.
I did, one.
Look, I've got to concentrate on everything.
I was never a qualified accountant.
I was always a bum that just happened
to be good at arithmetic.
And I'm sick of that kind of life--
dodging and pretending, looking over me shoulder, conning.
I tried to tell you from the beginning.
I tried.
Well, why didn't you then?
You would of let me.
Wh-- wh--
I suppose I didn't push it, because I was afraid that--
well, that you'd leave me.
Just give it back.
Alice, it's my future.
Well, I don't want to be part of it.
I love you, so much.
Obviously not as much as you love that bloody money.
[music playing]
WOMAN (ON INTERCOM): [non-english speech]..
Can we at least see Venice together?
Alice, I'm so sorry.
So am I.
WOMAN (ON INTERCOM): [non-english speech]..
[bell tolling]
Taxi?
[non-english speech].
[music playing]
[non-english speech].
[music playing]
Oh, come on, come on.
WOMAN (ON PHONE): [non-english speech]..
Oh, yeah.
Uh, Dublin.
385-4327.
[phone ringing]
Yeah?
Billy?
[bells tolling]
[chatter]
[music playing]
[door shutting]
You came then.
Oh, yeah.
Your money.
So what's this all about?
I just don't like myself anymore.
Nothing like yourself, Billy.
To be--
BILLY: Successful?
MICHAEL POOLE: If you'd like.
Just get it over with.
This is what you want, someone to end your misery?
If you hate yourself so much, you do it.
You're dead already anyway.
[door opening]
[door closing]
[classical music]
You're pathetic.
[birds chirping]
[music playing]
[chatter]
It doesn't challenge me at all, except that you
learn something from it.
And then these ones, they do nothing all day
but watch television.
You've changed your tune.
Alice, take me home.
I can't.
You mean, you won't.
Well, you know very well you need
to be properly looked after.
Cold chicken, that's all they give us to eat.
I thought you liked cold chicken.
That can't be good for you to have only cold chicken.
MAN (ON TV): Meningitis killed another young lady recently.
It seems to be on the increase, or is it
just receiving more publicity?
Well, today, we'll be talking to a doctor.
WOMAN (ON TV): Pork is one of those good value meets.
And today, Brenda Costigan shows us some simple but tasty ideas
using pork chops.
[dog barking]
[music playing]
[knocking]
Do you need a lodger?
Come in.
I gave the money back to them.
Oh.
No more running then.
No.
You sure?
I'm sure.
That's good.
So then, will you?
Will I what?
Marry me.
[music playing]
Have you eaten?
I'll make you an omelet.
[music playing]
Alice, will you?
I will.
I know I've conned you, conned myself, and--
Michael, I said yes.
[music playing]
[music playing]
WOMAN: (SINGING) I'll be getting closer,
but we're drifting far away.
Will we come together?
Is there too much in our way?
And we all know there's a price we have to pay.
And we all know the things we hold so dear might slip away.
Falling down to Earth.
Falling down with our love.
Another rising sun in the heat of afternoon.
Still can live together--
empty words and empty rooms.
And we all know, but do we really see?
And we all know the things we hold so dear might slip away.
Falling down to Earth.
Falling down with our love.
With our love.
With our love.
Falling down to Earth.