Nora (2000) - full transcript

NORA: OH, WAIT TILL WE'’RE
FAR AWAY FROM MY LAND.

WE SENT A WIRE FROM THE SHIP,

OUT IN THE DARK SEA,
IN THE MIDDLE OF THE NIGHT.

MAN: I WON'’T BE GOING, NORA.

MICHAEL, YOU'’LL GET BETTER
WHERE IT'’S BRIGHT AND WARM.

I SWEAR TO YOU.

YOU CAN'’T BE KEPT IN ANYWHERE,
CAN YOU?

JESUS, I'’LL KNOCK IT OFF OF YOU
ONCE AND FOR ALL.

GET YOUR HANDS OFF ME.
YOU'’RE NOT MY DAD.

-NORA, YOU'’RE SHAMING US
IN FRONT OF--
-STOP, UNCLE TOMMY.

IT'’S THE CONVENT FOR YOU, GIRL.



-TOMMY, NO. DON'’T TOUCH HER.
-YOU'’LL FIND IT SO EASY
TO GET OVER THAT PLACE!

-GET OUT! GET OUT!
-[INDISTINCT CHATTERS]

[INDISTINCT CHATTERS]

[NORA SCREAMING]

WOMAN:
THERE'’S NOTHING LEFT TO PAWN.

-THIS CAN'’T BE THAT BAD.
-HOW DID YOU KNOW?

YOU NEVER COME HOME ANYMORE.

I'’LL BE COMING HOME,

THEN I'’M GONNA BE GONE
FURTHER AWAY.

IT'’S TRUE,
THEN WHAT STANI SAYS.

YOU'’RE THINKING
OF LEAVING IRELAND.

STANI EVEN KNOWS
WHAT I'’M THINKING NOW, DOES HE?

TAKE ME WITH YOU IF YOU GO,
WILL YOU?

-I'’M GOING NOWHERE.
-YOU HAD EVERYTHING, JIM.



AND YOU'’RE THE BROTHER
WHO WOULD HELP HIS FAMILY.

I HAVE TO GO NOW, EVA.
I'’LL CALL UP THE HOUSE LATER.

I'’D SAY YOU'RE NOT FROM HERE.

ARE YOU UP FOR A VISIT?

-I COULD SHOW YOU AROUND DUBLIN.
-SORRY, FELLOW, I HAVE TO WORK.

YOU'’RE FROM GALWAY.
WHERE WOULD YOU SAY I'’M FROM?

I DON'’T KNOW.

-SWEDEN.
-SWEDEN?

YEAH, YOU'’RE LIKE A SWEDISH
SAILOR WITH YOUR BLUE EYES.

-THEY ARE VERY SHORT-SIGHTED.
-SWEDISH SAILORS ARE.

-NO, MY EYES.
-[CHUCKLES]

OH, I SEE THESE
ARE THE ONLY ONES TO SEE.

SO I CAN SHOW YOU THE CITY.

WELL, I'’M ABLE TO SHOW MYSELF
THE CITY.

TONIGHT, I COULD MEET YOU.

I'’M BUSY, SORRY,
I WORK IN FINN'’S.

-TOMORROW?
-I'’M WORKING THEN, TOO.

-RIGHT.
-WEDNESDAY, I CAN DO A SWAP.

-YES, ALL RIGHT, ABOUT 8:30.
-YEAH, WHERE?

-WELL, I'’LL COLLECT YOU.
-NO, DON'’T DO THAT.

IN THE CORNER OF MERRION SQUARE,
SO DO YOU KNOW IT?

THE CANAL?
THERE'’S A SEATING AT THE BRIDGE.

GOOD, GRANTED.
I'’LL SEE YOU THERE.

OH, AND MY NAME IS JAMES JOYCE.

-HEY, JAMES JOYCE?
-WHAT?

-DON'’T YOU WANT TO KNOW MY NAME?
-OH, GOD, SORRY.

-NORA BARNACLE.
-NORA.

-GOOD, LIKE IBSEN.
-WHAT? WHAT'’S IBSEN?

I'’LL SEE YOU WEDNESDAY, NORA.

WHERE DO YOU THINK
YOU'’RE GOING?

UH, IT'’S ALL RIGHT.
I SWAPPED WITH ELLEN.

DID YOU NOW?
WELL, YOU CAN GO BACK TO WORK

AND TELL ELLEN
TO TAKE HER EVENING OFF.

-WHY?
-YOU SEEMED TO THINK

THAT YOU CAN COME AND GO
AS YOU PLEASE, MS. BARNACLE?

NOW GO AND DO YOUR WORK.

BUT I DON'’T SEE
WHY I CAN'’T DO THAT IN SHIFT?

SOMETIMES, YOU KNOW,

I FIND THAT THIS SORT OF WORK

JUST DOESN'’T SUIT
CERTAIN KINDS OF GIRLS.

"ALL I WANT, ALL I WANT,"
SAYS HE,

"IS TIME AND SPACE TO WRITE THE
BETTER PEOPLE WHO BETRAYED ME,

AND WHO SENT ME INTO EXILE
IN MY OWN LAND."

WILL YOU PAY ME AND GO?
I HAVE TO LOCK-OFF.

YOUR TURN, I THINK, COSGRAVE?

-COME ON.
-IT'’S ALWAYS ME WHO'S CAUGHT.

COME ON, COSGRAVE.
WE HAVE MORE THINGS TO DO.

I'’M MUCH TOO NICE
FOR THIS LITTLE HAND, EH?

YEAH, SURE, YEAH.

LET ME SEE.

HOLD IT WITH THAT NICE
LITTLE HAND OF YOURS, PLEASE?

STOP MESSING, WILL YOU?

JOYCE?

JUST IN TIME.

WERE YOU LOOKING FOR US?

I DON'’T NEED TO LOOK FOR YOU,
GOGARTY.

I CAN SMELL YOU OUT.

WE'’RE GOING AROUND
TO MRS. MACKS.

-ARE YOU COMING?
-NO MONEY.

OH, COME ON.
SHE'’LL UNDERSTAND YOU.

WELL, IN THAT CASE,
YOU'’RE A TRUE SON OF ERIN,

AND IT'’D BE TREACHEROUS FOR ME
TO LET YOU DOWN.

HOPE YOU'’RE NOT TOO ANNOYED.

JAMES: I'’VE WAITED FOR HOURS,
BUT I COULD NOT SEE YOU.

PERHAPS I'’M TOO SHORT-SIGHTED.

IT'’S PROBABLY FOOLISH OF ME
TO WRITE YOU NOW,

BUT I HOPE YOU REMEMBER ME.

-MS. BARNACLE?
-MR. JOYCE.

[MOANS]

TOUCH ME, TOUCH ME.

[MOANS]

DO YOU HAVE A HANKIE, MR. JOYCE?

-I BETTER GO IN.
-UH, NO, NOT YET.

-YOU'’RE NOT FRIGHTENED OF THEM,
ARE YOU?
-NO.

MS. BARNACLE,
THIS IS MR. COSGRAVE,

MR. GOGARTY,
AND MY YOUNGER BROTHER, STANI.

WE'’VE MET.

ENJOY YOUR NIGHT-OFF,
MS. BARNACLE.

HAVING AN EARLY NIGHT YOURSELF,
GENTLEMEN?

WELL, I'’LL SAY ONE THING
FOR THE BARD ANYHOW.

HE'’S NOT A SNOB, IS HE?

YOU THINK I DON'’T RESPECT YOU
AFTER WHAT HAPPENED TONIGHT?

NORA, BELIEVE ME,

IT WAS SACRED FOR ME.

YOU DON'’T UNDERSTAND ME,
BUT YOU WILL.

IT'’S BECAUSE WE'VE ONLY
JUST MET.

IT'’S THIS FEELING WHEN PEOPLE
PUT THEIR MOUTHS TOGETHER

LIKE THIS.

-WHY?
-WHY WHAT?

WHY IS IT ALL RIGHT FOR YOU TO
TOUCH ME AND I CAN'’T TOUCH YOU?

BECAUSE I'’M BETTER AT IT
THAN YOU ARE.

I LOVE YOU, JIM.

YOU SAY THAT,

BUT I NEED MORE THAN
YOUR EMBRACES, NORA.

I WANT TO KNOW WHO YOU ARE,
OR YOU'’RE RIGHT TO ME.

I WANT TO KNOW
YOUR SECRET THOUGHTS.

I HAVE NO SECRET THOUGHTS.

NORA: MY DEAREST, THE TERRIBLE
SADNESS WHICH OVERWHELMS ME

EACH TIME WE SAY FAREWELL
CAN ONLY BE DRIVEN AWAY

IF I KEEP YOUR FACE, MY LOVE,
CLEAR IN MY MIND'’S EYE.

SO IT SEEMS TO ME THAT YOU ARE
ALWAYS WITH ME

AS I MOVE HERE AND THERE
DURING THE DAY.

SURELY NONE COULD SURMISE
AS I WALK IN THE STREET,

OR WORK AMONG THOSE
FOR WHOM I CARE SO LITTLE,

BUT IT IS YOUR MEMORY
LOCKED IN MY HEART,

AND YOUR VOICE THAT I HEAR
CALLING MY NAME OVER AND OVER.

SOMETIMES, I WEPT WITH EYES
CLOUDED WITH TEARS.

"REALIZING AT LAST
THAT YOU ARE NOT WITH ME.

I MUST END HERE
SINCE THIS LETTER BOTH REMINDS--

BOTH REMINDS ME
HOW DISTANT YOU ARE

AND HOW SAD I WILL BE,
UNTIL WE MEET AGAIN.

YOUR LOVING GIRL, NORA."

SHE MISSES YOU, LOVES YOU,
WHAT'’S WRONG WITH THAT?

BUT WHAT DO YOU THINK OF IT,
THE STYLE?

THE STYLE?

FOR GOD'’S SAKE, JOYCE.
SHE COPIED IT FROM A BOOK.

WHAT MAKES YOU SAY THAT?

BECAUSE I KNOW THE GIRL
WE'’RE DEALING WITH.

YOU'’RE AN AWFUL BOLLOCKS,
COSGRAVE, DO YOU KNOW THAT?

WOMAN: SAW OUR MOTHER ASHAMED.

THE NATIONS SAW OUR HEAD
BENT LOW,

NOR KNEW THAT IN OUR HEARTS,
UNTAMED FIRE

STILL UNQUENCHABLE GOOD GLOW.

MR. JOYCE, YOU'’RE NEXT.

UH, RUSSELL, CAN I ASK YOU

WHY I HAVEN'’T BEEN PAID
FOR THE STORIES I SENT YOU?

ACTUALLY, UM, SOMETHING
WERE QUITE GOOD, I THOUGHT,

BUT FRANKLY,
THERE HAD BEEN SOME COMPLAINTS.

NOT SUITABLE MATERIAL
FOR THE IRISH HOMESTEAD.

WE WON'’T BE PUBLISHING ANYMORE.

BUT IT WAS YOU
WHO APPROACHED ME.

PLEASE, MR. JOYCE,
THIS IS ALL PREPARED.

COME ON NOW,
BEFORE THINGS GET ANY WORSE.

WOMAN: OUR MOTHER
SITTING YOUNG AND FAIR.

[AUDIENCE APPLAUDING]

♪ SHE SINGS THE LOVE SONGS

♪ OF HER DEAR NATIVE PLACE

♪ EVERY NOTE WHICH HE LOVED

♪ AWAKING

♪ A LITTLE THEY THINK

♪ WHO DELIGHTED HER STRAINS

♪ OF THE HEARTS♪

♪ OF THE MEN IN DISTRAUGHT

♪ IS BREAKING

MAN: ♪ AS SHE ONWARD SPED,
SURE I SCRATCHED MY HEAD,

♪ AND I LOOKED
WITH A FEELING RARE ♪

♪ AND I SAYS, SAYS I,
TO A PASSER-BY ♪

♪ WHO'’S THE MAID
WITH THE NUT-BROWN HAIR?♪

♪ HE SMILED AT ME
AND HE SAYS TO ME ♪

♪ THAT'’S THE GEM
OF IRELAND'’S CROWN ♪

♪ YOUNG ROSIE MCCANN
FROM THE BANKS OF THE BANN ♪

♪ SHE'’S THE STAR
OF THE COUNTY DOWN ♪

♪ FROM BANTRY BAY
UP TO DERRICK QUAY ♪

-♪ UP FROM GALWAY
TO DUBLIN TOWN ♪
-YOU WERE WONDERFUL.

-THEY'’RE ALL TALKING ABOUT YOU.
-GOOD.

HOW ABOUT YOU?

-YOU DID WELL TOO, I SAW.
-WHAT?

ARE YOU FIXED UP
WITH COSGRAVE NOW, ARE YOU?

WHAT?

OR MAYBE YOU'’VE BEEN SEEING HIM
ALREADY IN THE NIGHTS

WHEN YOU'’RE NOT WITH ME?

JIM, FOR JESSIE'’S SAKE!

I COULD SEE IT FROM HERE.

I WAS WATCHING THE WAY
YOU ARE WITH HIM.

BUT YOU ASKED COSGRAVE
TO ESCORT ME HERE.

YOU SAID IT WOULDN'’T BE RIGHT
FOR ME TO BE ALL ALONE.

YOU SEE, I FORGOT HOW QUICKLY
YOU GET TO KNOW A STRANGE MAN.

OF COURSE, I TALK TO STRANGERS.
I WORK IN A HOTEL.

JIM, WHAT WAS I SUPPOSED TO DO
WHEN YOU CAME UP TO ME?

GO OR NO?
YOU MIGHT BE A STRANGER.

YOU WANT ME TO TALK TO NO ONE,
BUT YOURSELF.

YOU HAVE YOUR FRIENDS,
YOU CAN GO OUT WITH THEM.

SOME OF MY FRIENDS TELL ME
YOU COPIED THAT LETTER

OUT OF A BOOK,

THAT THERE'’S NOTHING SINCERE
IN IT AT ALL.

YOU SHOWED THEM?

[AUDIENCE APPLAUDING]

YOU SHOWED THEM MY LETTER.

YOU HEAR THAT, HUH?
THEY LOVE ME.

THEY CAN'’T GET ENOUGH OF ME.

I LAID MYSELF BARE BECAUSE I
THOUGHT YOU UNDERSTOOD,

AND I THOUGHT THAT YOU ALSO--

BUT NOW I CAN SEE YOU
HAVE NO CLUE WHO I AM,

AND YOU THINK YOU CAN INSULT ME

WITH SOME PETTY WORDS STOLEN
FROM A WOMAN'’S PENNY NOVEL!

NO, I DON'’T KNOW
WHAT YOU ARE SAYING.

I WROTE WHAT I FEEL.
I LOVE YOU.

I CAN'’T HELP IT IF I CAN'T SAY
IT DIFFERENT TO OTHER PEOPLE.

EVEN WRITERS
HAVE TO USE THE SAME WORDS

AS OTHER PEOPLE.

LEAVE ME ALONE!

STANI, WHO'’S THAT TALKING
TO JIM?

SHE'’S A MAID AT JIMM'S HOTEL.

I AM SICK OF IT ALL.

THAT'’S WHY I THOUGHT
THAT WHAT HAPPENED BETWEEN US

IS AT LEAST SOMETHING
LIKE LOVE.

IT NEVER OCCURRED TO ME
THAT YOU DESPISE ME.

-I DON'’T DESPISE YOU.
-BUT FOR YOU,

IT'’S JUST ANOTHER FELLOW
LIKE ANY OTHER.

AND IF IT MADE ME HAPPY
FOR YOU TO PULL ME OFF,

THEN FAIR ENOUGH.

BUT THAT WASN'’T TO GET CLOSE
TO YOU NOW.

THAT WAS RIGHT OUT.

AND THAT'’S IT ALL OVER,
ISN'’T IT?

THUS THIS COUNTRY.

THERE'’S NOTHING NATURAL
ABOUT IT.

NOTHING FREE AND OPEN PEOPLE,
PARALYZED BY FEAR,

FRIGHTENED OF THEMSELVES,
FRIGHTENED OF THE CHURCH,

THAT'’S WHY YOU WON'T
LET ME INSIDE YOU,

I CAN SEE THAT NOW.

BUT I THOUGHT THAT NIGHT,

THAT NIGHT WHEN YOU TOOK A HOLD
AND THEN YOU LAUGHED,

I THOUGHT, JESUS,
WE CAN'’T BE NATURAL TOGETHER.

WE DIDN'’T GROW OLD AND DIE

WITHOUT EVEN TOUCHED EACH OTHER
TO THE HEART.

JIM, STOP ALL THIS.
THIS ISN'’T YOU.

OH, REALLY?

AND WHAT DO YOU SEE
WHEN YOU SEE ME?

-I SEE YOU.
-WHO?

A NICE, INTELLIGENT, BOOKISH
YOUNG MAN WITH A PLEASANT VOICE?

SOMEONE YOU CAN MARRY IN A HAPPY
SUNDAY EVENING AROUND THE PIANO

WITH YOUR FAMILY AND FRIENDS?

DO YOU KNOW WHAT I DO, NORA,

ON THE NIGHTS
WHEN I'’M NOT WITH YOU?

I GO TO WHORES TO CLEANSE MYSELF
WITH THE SQUALOR AND PRETENSE

THAT PASSES FOR NORMAL LIFE
IN THIS COUNTRY.

-NO.
-YES, THIS THING
YOU THINK SO HOLY AND PRECIOUS.

ANY NIGHTS, I HAD THEM ONLY I
PAY TO FUCK THEM IN A GRIMY BED,

STIFF WITH THE SLIME OF THOSE
THAT HAD GONE BEFORE ME.

-I DON'’T BELIEVE YOU.
-WELL, WHY DON'’T YOU?

WHY DON'’T YOU BELIEVE ME?

BECAUSE WHEN I MET YOU,
YOU KNEW NOTHING ABOUT WOMEN.

WHEREAS YOU CLEARLY KNEW
EVERYTHING ABOUT MEN.

MAN: HEY, JOYCE?
NEED ANY HELP THERE?

IT'’S NEARLY CLOSING TIME,
YOU KNOW?

HOLD ON!

DON'’T YOU SEE?

IT'’S ONLY FAIR YOU KNOW
WHAT I'’M LIKE

AND WHAT I'’M GONNA BE LIKE.

ARE YOU COMING OR NOT?

DO YOU WANT ME TO WALK YOU BACK?

ALL RIGHT.

[BULLS MOOING]

[BULLS MOOING]

ALL RIGHT, GO ON.

GET OUT! GO ON! GO ON!

WHY ARE YOU SO FRIGHTENED?
THEY WOULDN'’T TOUCH YOU.

JAMES: I'’M NOT FRIGHTENED.

YES, YOU ARE.

POOR, SIMPLE-MINDED JIM.

I HATE THINGS WITH HORNS.

NOW YOU HAVE HORNS.
[CHUCKLES]

TOUCH ME, I'’M LONELY HERE.

-WHAT'’S THE MATTER, JIM?
-MY MOTHER.

AFTER SHE DIED,
SHE APPEARED TO ME LIKE THAT,

AND SO MANY PEOPLE
OUT TO GET US.

IF I STAY HERE, THEY'’LL KILL ME.

JIM.

TAKE ME WITH YOU WHEN YOU GO.

THERE'’S NOTHING FOR ME IN DUBLIN
WITHOUT YOU, JIM.

I THINK YOU'’RE MAD TO GO
WITH HIM, DO YOU KNOW THAT?

I KNOW.
I'’M MAD TO GO WITH HIM.

WHAT WILL YOU DO
WHEN YOU DON'’T FIT?

IT'’S AN AWFUL FOREIGN PLACE

WHERE YOU CAN'’T TALK
THE LANGUAGE,

AND YOU HAVE NO MONEY,
WHERE IT'’S FREEZING COLD.

CAN I BORROW YOUR COAT?

STANI. STANI.

NOW WE'’RE GOOD AND ALL.

AS LONG AS IT'’S ENOUGH
TO GET US OUT OF HERE.

YATES, HE GAVE A FEW SHIRTS.
SKEFFINGTON GAVE NOTHING.

SAID YOU DIDN'’T PAY HIM BACK
THE LAST TIME.

-BASTARD.
-I GOT THE BOOTS ON.

JESUS.

I NEVER THOUGHT IT WILL TAKE SO
LONG TO GET IN HERE, WOULD YOU?

I KEEP THINKING
WE SHOULD BE THERE BY NOW.

I WILL GIVE ANYTHING
TO MY FRIENDS

WHEN THEY FIND OUT I'’M GONE.

NORA, YOU DON'’T REALLY KNOW
WHAT YOU'’VE DONE, DO YOU?

YOU'’RE NOT TAKING IT SERIOUSLY
AT ALL.

BUT THIS IS MY SECOND TIME
RUNNING AWAY.

I'’M NOT ON MY OWN THIS TIME.

I AM SO TIRED.
CAN WE GET SOMETHING TO EAT?

THE PENNIES WE'’LL GET IN
ADVANCE FROM THE BERLITZ.

LOOK,
JUST LET ME FIND THE SCHOOL,

GET US A ROOM
AND THEN WE CAN EAT AND SLEEP.

I DON'’T MIND
CARRYING THE LUGGAGE.

I'’LL CARRY IT MYSELF.

I JUST DON'’T WANT
TO BE LEFT ALONE, PLEASE?

NORA.

THE BERLITZ PEOPLE, THEY DON'’T
KNOW I'’M WITH SOMEONE.

THEY THINK I'’M ALONE,
YOU KNOW, SINGLE.

IT'’LL BE SIMPLER THAT WAY
TO GET A JOB, I MEAN.

IT'’LL ONLY BE AN HOUR.

YOU CAN DO WHAT YOU LIKE,
I DON'’T CARE.

NORA, IT WAS THE ONLY WAY
TO BE SURE OF GETTING THE JOB.

OH, SUIT YOURSELF.

SIGNORINA!
[SPEAKS ITALIAN]

SIGNORINA.
[MAN SPEAKS ITALIAN]

NORA?

NORA!

NORA?

OH, THERE YOU ARE, HIDING.

YOU'’LL NEVER BELIEVE
WHAT HAPPENED TO ME.

I DON'’T GIVE A TINKER'S CURSE
OF WHAT HAPPENED TO YOU.

I GOT CAUGHT IN A FIGHT.

WELL, YOU WEREN'’T LEFT
LIKE A UNCLAIMED PARCEL THOUGH,

WERE YOU?

LEFT FOR ANYONE TO POKE AT
AND JEERED?

-NO, I'’M SORRY, BUT HONESTLY--
-DO YOU KNOW SOMETHING?

I SAT HERE TODAY AND I REALIZED

THAT I NEED YOU
FOR EVERYTHING.

-I NEED YOU FOR EVERYTHING, TOO.
-NO.

EVERY SINGLE THING
THAT GOES INTO MY MOUTH

COMES FROM YOU
WHERE I DON'’T EAT.

EVERYTHING I WANT TO SAY

GOES THROUGH YOU
WHERE I DON'’T SPEAK.

NORA, YOU KNOW
I WOULD NEVER LEAVE YOU.

NOTHING BUT TRAINS AND PARKS
AND WAITING AND HIDING.

I THOUGHT WE WERE GOING AWAY
AS WE'’RE CLEAR OF ALL THAT,

TO BE FREE, YOU SAID?

BUT ALL IT IS
IS ONE HOLE AFTER ANOTHER.

AND WHAT'’S NEXT, JIM?

WHAT'’S THE NEXT LITTLE THING
YOU HAVEN'’T TOLD ME ABOUT?

NOTHING, WE'’RE HERE.
WE'’VE ARRIVED.

NO, I WANT TO GO HOME.

NORA, IT'’S BEAUTIFUL,
WAIT AND SEE.

NO, I'’VE HAD ENOUGH, JIM.
I JUST WANT TO GO HOME.

WELL, WHICH ONE?

THE ONE IN FINN'’S HOTEL
OR THE ONE IN GALWAY?

COME ON.

FUCK UP. FUCK UP, LOVE.

[INDISTINCT CHATTERS]

[CHURCH BELLS RINGING]

I LIKE THEM ALL.

EACH STORY IS SO LITTLE
AND YET EVERY MOMENT STAYS.

I FEEL I'’VE BEEN
FOR A LONG HOLIDAY IN DUBLIN.

NO, NOT A HOLIDAY.

-A NIGHTMARE, PERHAPS?
-NO, NO, NO, NO, NO.

YOU CANNOT HIDE YOUR LOVE
BUT YOU TRY HARD.

YES, WHAT IS IT?
MY FAVORITE, THIS ONE.

-ARABY?
-YES, OF COURSE.

THE BOY IS SO IN NEED,

HE WANTS TO BUY THIS GIRL,
MANGAN'’S SISTER,

SOMETHING EXOTIC AT THE BAZAAR,
SOMETHING EXTRAORDINARY,

SO HE WILL DESERVE HER.

HE IS SO HUNGRY FOR HER,
BEAUTIFUL.

BUT YOU KNOW, JOYCE, SOMETIMES
YOU-YOU PAUSE A LITTLE.

OH, I PAUSE A LOT,
BUT NEVER IN MY WORK.

REALLY? SO TELL ME,
WHY MUST THE BOY FAIL?

HE REACHES ARABY TOO LATE.
IT IS DARK AND DREARY.

THE HERO WEEPS BITTER TEARS
AND CURSES

WHAT YOU CALL AS VANITY.

REALITY.

YES, BUT YOU KNOW, IN LIFE,
IT'’S NOT ALWAYS SO TRAGIC.

SOMETIMES,
LOVE CAN DISCOVER A TREASURE

AS STRANGE AND BEAUTIFUL AS THIS
BOY WANTS TO FIND IN ARABY,

AND IT'’S REAL.

NORA.

WOULDN'’T YOU SAY SHE IS REAL?

[SPEAKING ITALIAN]

[SPEAKING ITALIAN]

JIM, IS THAT THE IBSEN YOU KNOW?

HOW DO YOU LIKE TRIESTE,
SIGNORA JOYCE?

WELL, I'’M NOT MEDICAL,
TO TELL YOU THE TRUTH.

AT HOME, THIS STAGE,

EVERYBODY WOULD BE UP DANCING,
YOU KNOW.

AROUND HERE, IT LOOKS LIKE STRAY
DOGS IN THE RUN FOR SOMETHING.

-OH, I DIDN'’T MEAN YOU.
-BUT IT'’S TRUE, YOU KNOW.

ALESSANDRO AND I,
WE ARE RUNAWAYS.

-WE ELOPED TOGETHER.
-THAT'’S LIKE ME AND JIM,

BUT WE'’RE NOT MARRIED.

THAT'’S FINE, EVERYONE DOES
THINGS THEIR OWN WAY.

-[SPEAKS ITALIAN]
-[SPEAKS ITALIAN]

I'’M SORRY, NORA, WE ARE GOING.

BUT COME AND SEE ME AT HOME.
YOU MUST TELL ME ABOUT IRELAND.

[SPEAKS ITALIAN]

I ALSO MUST GO OR THE NEWSPAPER
WILL NOT COME OUT TOMORROW.

ANOTHER TIME.

SIGNORA JOYCE.

♪ OH, IF YOU'’LL BE THE LASS ♪

♪ OF AUGHRIM

♪ AS I SUPPOSED YOU TO BE

♪ COME GIVE ME

♪ THE LAST TOKEN

♪ BETWEEN YOU AND ME

-♪ OH, GREGORY
-♪ GREGORY

-♪ DON'’T YOU REMEMBER ♪
-♪ DON'’T YOU REMEMBER ♪

-♪ THAT NIGHT ON THE HILL
-♪ THAT NIGHT ON THE HILL

♪ WHERE WE SWAPPED RINGS

- ♪ OFF EACH OTHER'’S HANDS ♪
- ♪ OTHER'’S HANDS ♪

-♪ SORELY AGAINST MY WILL
-♪ SORELY AGAINST MY WILL

-♪ MINE WAS OF
-♪ MINE WAS OF

-♪ THE BEATEN GOLD
-♪ THE BEATEN GOLD

-♪ YOURS BUT BLACK TIN
-♪ YOURS BUT BLACK TIN

-♪ YES, MINE
-♪ MINE WAS OF

-♪ THE BEATEN GOLD
-♪ THE BEATEN GOLD

-♪ YOURS BUT BLACK TIN
-♪ YOURS BUT BLACK TIN

AN IRISH ENDING FOR THE EVENING.

HERE.

JUST TO MAKE YOU FEEL BETTER.

MAN:
ONE WOULD HAVE TO SAY, JOYCE,

THAT YOU SHOULD GET OUT OF THIS
SITUATION WHILE YOU CAN.

YOU'’LL ONLY RUIN HER LIFE

BY MAKING HER EVEN MORE UNHAPPY
THAN SHE IS NOW.

-DID YOU FIND HER?
-NO, FUCK OFF, EYERS.

THIS IS ALL YOUR FAULT.

[THUNDER GROWLING]

-FEEL IT.
-NO.

-IT'’S NOTHING.
IT'’S TOO EARLY FOR YOU TO ASK.
-NO! NO, NO.

[CHUCKLES]

-[THUNDER GROWLING]
-[CHUCKLES]

[PANTING]

IF SOMEONE HURTS YOU
AND I WAS THERE,

I'’D HURT THEM BACK SO BAD,
I'’M TELLING YOU.

[THUNDER GROWLING]

[MOANING]

[COUGHING]

THIS GEORGE MOORE CHARACTER

DOESN'’T KNOW HOW
TO END A STORY.

THE LANDLADY
THINKS YOU'’RE PREGNANT.

WHAT?

THAT CHEEK OF HER.

WHY DIDN'’T SHE SAY IT
ON MY FACE?

-SHE WANTS US OUT.
-THE OLD WITCH.

WHAT DO WE DO?

I DON'’T KNOW.

FIND SOMEWHERE ELSE,
I SUPPOSE.

ARE YOU PREGNANT?

I DON'’T KNOW.

I THOUGHT YOU HAD A PERIOD
LAST MONTH?

MAYBE YOU SHOULD WRITE
TO YOUR MOTHER.

-WHAT FOR?
-FOR HELP.

I DON'’T NEED HER HELP.

IT'’D BE ALL RIGHT, WON'T IT?

MIGHT NOT BE?
MIGHT JUST BE THE FOOD?

WE'’RE GONNA KEEP IT DOWN.

WE JUST FOUND IT.

COME ON DOWN AND GIVE US A HAND,
WILL YOU?

♪ WITH AN INDEPENDENT AIR

♪ YOU CAN HEAR
THE GIRLS DECLARE ♪

♪ YOU MUST BE A MILLIONAIRE

♪ YOU CAN HEAR THEM SIGH
AND WISH TO DIE ♪

♪ YOU CAN SEE THEM
WINK THE OTHER EYE ♪

♪ AT THE MAN
WHO BROKE THE BANK ♪

♪ AT MONTE CARLO

[CHUCKLES]

-ALESSANDRO?
-[BABY CRYING]

I AM SO SORRY.

I'’M NOT TO AWAKEN THE BABY,
I SWEAR.

I WILL DO IT MYSELF
IF ONLY FOR THE SHAPE OF ME.

I'’M GONNA FIND HIM, HUH?
I'’LL FIND HIM.

[BABY CRYING]

THIS WILL BE YOU SOON.

SOMETIMES, MEN GET FRIGHTENED
WHEN THEIR WIVES ARE PREGNANT.

WAIT TILL THE BABY COMES,
YOU'’LL BE HAPPY THEN.

HOW CAN I BE HAPPY
WHEN HE'’S A STRANGER TO ME?

WHEN I DON'’T UNDERSTAND HALF
OF WHAT HE SAYS TO ME SOMETIMES?

YOU SHOULD WRITE TO YOUR MOTHER.

FOR WHAT?

TELL HER I CROSSED
HALF THE WORLD,

END UP WITH A MAN
NO BETTER THAN HERS?

YOU DIDN'’T END UP WITH ME, NORA.

COMPLETE FREEDOM TO COME AND GO
AS YOU PLEASE.

FREEDOM?

TO DO WHAT? TO GO WHERE?

I'’VE GIVEN MORE TO YOU
MORE THAN I EVER HAVE TO ANYONE.

-DO YOU NOT REALIZE THAT?
-ARE YOU JOKING ME?

IF YOU'’RE NOT OUT GETTING DRUNK,
YOU'’RE SITTING THERE WRITING,

AND IF I JUST TO DROP DEAD
ON THE FLOOR IN FRONT,

YOU WOULDN'’T EVEN NOTICE.

I KNOW JUST EVERYTHING,
EVERY LITTLE MOVE,

EVERY LITTLE GESTURE,
EVERY WORD.

I COULD PROVE IT TO YOU
IF YOU'’D BOTHER TO READ IT.

DO YOU NOT REMEMBER WHAT YOU
SAID TO ME THE OTHER DAY,

WHEN I THREW AWAY A STORY
AND STARTED AGAIN?

YOU ASKED ME "WILL ALL THAT
PAPER BE WASTED?"

I'’M LYING NEAR YOU
TO TELL MY TALE

OF FRIENDSHIP
AND SORROW,

HOPE AND BETRAYAL,

FOR HOW CAN I TRUST
WHAT FRIENDS WILL DO?

OLD PROMISES, ASHES,
AND WORDS ALL TRUE.

BUT THERE IS STILL ONE,

SOFTLY MOVES TO WOO
AND WIN ME,

AND SOFTLY LOVES.

MY HAND IS NEAR NOW.

I TOUCH HER BREAST.

FAREWELL TO MY SORROW,
I MAY REST.

I HAVE BEEN THINKING, JOYCE,

WOULD YOU LIKE TO WRITE THE
OPERA REVIEW FOR MY NEWSPAPER?

MOST CERTAINLY.
WILL I BE PAID?

OF COURSE, BUT ONLY TICKETS.

[CHUCKLES]

SIGNOR JOYCE.
[SPEAKS ITALIAN]

[WOMAN SPEAKS ITALIAN]

[SPEAKS ITALIAN]
SIGNOR JOYCE.

WHO'’S HE LIKE?
HIS EYES ARE DARK.

HE'’S LIKE YOU, SIGNOR JOYCE.
THE EYES MAY CHANGE COLOR.

NORA: POOR LITTLE THING.

HE'’S ONLY BORN, HASN'T A CHANCE
TO LOOK AT ANYONE YET.

JESUS.

STANI. STANI.

JIM.

STANI, YOU LOOK SO DIFFERENT.

I COULD PASS YOU IN THE STREET
AND DON'’T RECOGNIZE YOU.

-AND SO DO YOU--
-STANI, THIS IS GIORGIO.

[BABY CRYING]

HE'’S ESTRANGED
WITH MEN HE DOESN'’T KNOW.

-HOW'’S THE JOURNEY, STANI?
-FINE, FINE.

HAVE YOU ANYTHING LEFT
WITH THE MONEY I SENT YOU?

NO, HARDLY ANY.

WELL, YOU TOLD ME
TO BUY THE SUIT FOR THE BERLITZ,

AND THEN THINGS
ARE SO TIGHT AT HOME,

I HAD TO LEAVE SOME MONEY
FOR THE GIRLS

AND THEN THERE WAS A MATTER
OF SOME FOOD ON THE JOURNEY.

I HAD TWO EGGS AND COFFEE.

REALLY, I HAVE 40 CROWNS,
JIM.

FINE BROTHER YOU HAVE!

-WELCOME TO TRIESTE, STANI.
-IS SHE ALL RIGHT?

WELL, AS YOU CAN SEE,

I DIDN'’T LEAVE HER IN THE
STREETS LIKE I SAID I WOULD.

[INDISTINCT CHATTERS]

LOOK, JIM,
WE'’RE HERE SO SHUT UP.

DO I HAVE TO ROLL?

NORA, GIORGIO--
GIORGIO I.

AND IF I'’M ABOUT TO--

MY WIFE
WILL GIVE ME GIORGIO II.

SHE MAY NOT KNOW MUCH,

BUT SHE DOES KNOW
HOW TO PRODUCE CHILDREN.

IS JIM DOWN THERE WITH YOU,
STANI?

I'’M NOT HAVING THAT SLEEPING
NEXT TO ME.

HELLO, NORA!

DO YOU KNOW SOMETHING, STANI?

THAT NORA THERE,

SHE CAN'’T SPELL OR PUNCTUATE
OR EVEN USE A CAPITAL LETTER,

BUT SHE CAN PRODUCE CHILDREN,
ISN'’T THAT AMAZING?

YOU'’RE AMAZING, NORA!

SEE, I NOTICE THESE THINGS
NO ONE ELSE WOULD.

[COOING]

BEEN A LONG TIME WAITING
FOR HIS FATHER TO FEED HIM.

[BABY COOING]

YOUR LUNCH IS THERE FOR YOU
ON THE STOVE.

WHAT WOULD YOU BE DOING NOW

IF YOU WEREN'’T SAVING
YOUR BROTHER FROM DRINKING?

JIM'’S A GENIUS,

BUT HE IS DIFFERENT
TO WHO I AM,

SO I WOULD SEE IT AS MY JOB
TO EASE CERTAIN OBSTACLES

SO THAT WORK CAN BE DONE.

HOW MUCH DO YOU BELIEVE?

IT'’LL BE A TERRIBLE
SHAME, NORA,

IF JIM WERE NOT TO BECOME

EVERYTHING HE WERE
MEANT TO BECOME.

I SEE.

OH, POOR STANI.

ALL THE WAY TO TRIESTE
TO ESCAPE

AND NOW YOU'’RE THE PRISONER
OF TWO FAMILIES INSTEAD OF ONE.

ALL YOU NEED NOW
IS TO GET MARRIED YOURSELF.

ALL RIGHT, JIM.
ALL RIGHT, LET'’S GO HOME.

-TRICK?
-FOR CHRIST'’S SAKE, JIM,

YOU'’RE HALF-BLIND
FROM THAT SHITE ALREADY,

WOULD YOU NOT THINK
OF THE WORK?

OH, GOD FORBID, I SHOULD GO
BLIND BEFORE I PAY YOU BACK.

WILL NOT COME OUT

-UNLESS I PAY FOR IT.
-WHY?

THEY SAID THE DUBLINERS
IS A BOOK ABOUT IRELAND,

AND BOOKS ABOUT IRELAND
DO NOT SELL.

THERE'’S ONLY ONE WAY OUT
OF THIS MESS.

YOU'’LL HAVE TO GO TO IRELAND
AND THEN SEE THE PUBLISHER.

WHAT?

YOU TAKE GIORGIO
TO SEE HIS GRANDFATHER.

I CAN'’T GO BACK.

I CAN'’T GO BACK.
I WON'’T GET BACK HERE.

ANYWAY, THERE'’S MY CLASS
TO CONSIDER, JIM.

WE NEED THAT MONEY.

SO LET'’S GO HOME,
LET'’S GO HOME NOW.

LET'’S GO HOME.

[INDISTINCT CHATTERS]

GET UP, GET UP!
COME ON, YOU CAN DO IT!

-[GRUNTS]
-[INDISTINCT CHATTERS]

WOULD YOU MIND
IF I SIT WITH YOU?

OF COURSE NOT.

SHOULD WE EAT?
THERE'’S NOTHING AT HOME.

I'’VE ALREADY EATEN,
BUT YOU GO AHEAD.

OH, I'’M NOT HUNGRY.

CINEMA WAS GOOD TODAY.
IT WAS A SAD STORY.

THEY'’RE ALL SAD STORIES.

I DON'’T KNOW
WHY YOU BOTHERED GOING.

THAT FILLS IN THE TIME

I CANNOT BE ALWAYS
BE SITTING ON THAT ROOM.

IT REMIND OF SOMEONE I KNEW.

JIM:
WHO?

YOUNG FELLOW IN GALWAY.

SOMEONE YOU WERE IN LOVE WITH.

YEAH, I SUPPOSE I WAS, YEAH.

WE WERE ONLY YOUNG, I...

I USED TO SNEAK OUT AT NIGHT
TO MEET HIM.

WE HAD TO HIDE FROM MY UNCLE,
YOU SEE.

AND THE TIME, THEY WERE
SENDING ME TO THE CONVENT,

HE STOOD OUTSIDE,

BEGGING FOR ME TO COME DOWN,
BUT I COULDN'’T.

AND THEN HE DIED, NO ONE TOLD ME
UNTIL AFTER THE FUNERAL,

BECAUSE IT WAS THAT NIGHT
HE TOOK BED.

SO HE DIED FOR THE LOVE OF YOU?

YEAH, HE DID.

WHY DID YOU NOT TELL ME?

ALL THOSE STORIES OF GALWAY,
YOU NEVER SAID A WORD.

NO, THEY SEEM SO FAR AWAY.

BUT SEEING THAT FELLOW,
IT REMINDED ME.

AS WELL, AS WELL--

I SHOULD GO,
SEE IF GIORGIO IS ALL RIGHT.

-I'’LL COME WITH YOU.
-NO, PLEASE DON'’T.

SEE YOU LATER.

THERE WE GO.

WHERE ARE YOU GOING?

-SEE YOU LATER, STANI.
-YEAH, SEE YOU LATER.

JIM: WHERE ARE YOU GOING,
FUNNY LAD?

YOU'’LL FALL OFF THE BED.

YOU'’LL FALL OFF THE BED.

WHERE ARE YOU GOING? HMM?

JIM, NORA.

I'’M GOING TO MOVE OUT

AND SO YOU CAN HAVE THIS PLACE
TO YOURSELVES AGAIN.

DON'’T BE SILLY, STANI.

NO, I HAVE MY MIND MADE UP
AND...

IT'’S NOT WORKING OUT,

WITH ALL OF US
IN TOP OF EACH OTHER LIKE THIS.

SO LET'’S TALK ABOUT IT LATER,
ALL RIGHT?

I JUST WANTED TO INFORM YOU
OF MY DECISION.

GIORGIO,
WHERE DID YOU GET THOSE PAPERS?

[GIORGIO COOS]

OH, GIORGIO, WHAT HAVE YOU DONE?

-[COOS]
-HE'’LL GO MAD.

[COOS]

[INDISTINCT CHATTERING]

IS THAT ANOTHER NEW HAT?

I HAVEN'’T PAID
FOR THE LAST ONE YET.

THEY SAY THAT LIVING WELL
IS THE BEST REVENGE.

THAT MUST BE HALF
A MONTH'’S SALARY HERE, AT LEAST.

WELL, THERE'’S A LOT MORE
THAN THAT, JIM.

WELL, WE'’RE STAYING HERE TONIGHT
AS WELL.

THE LANDLADY WON'’T LET US BACK
UNTIL WE PAY THE RENT.

AH, NOW THERE'’S A COINCIDENCE.

I JUST GAVE MY NOTICE
IN THE SCHOOL TODAY.

IF STANI WILL ADVANCE US SOME
CASH, IT WILL BE ALL RIGHT.

NORA: IS IT MY TURN AGAIN
FOR A BAD NEWS?

YOU MEAN THERE'’S MORE?

WELL, I THINK SO.

JIM:
JESUS.

NORA: GIORGIO
GOT HOLD OF THOSE TODAY.

BUT THEY'’RE ALL HERE.
WHAT IS HE DOING? I'’LL KILL HIM.

THEY'’RE TORN, THAT'S ALL.

-READ IT, JIM.
-WHAT?

THAT NEW STORY.

YOU CALL IT, "THE DEAD".

I READ IT.

DID YOU THINK IT WAS GOOD?

NORA:
HELLO, STRANGER.

STANI: HELLO, NORA.
IS THIS LUCIA?

COME UP.
[GRUNTS]

COME UP AND SAY HELLO
TO YOUR UNCLE STANI.

[SIGHS]

WELL, NOW, SHE'’S A BRAVE ONE,
ISN'’T SHE?

OH, STOP.
SHE WOULDN'’T MIND

MOST OF THE CROSSROADS FOR YOU
SO SHE WOULD.

-STANI, COME ON UP AND SEE YOU
LATER AT OUR PALACE, WILL YOU?
-NO.

-NORA, I CAN'’T, UM--
-OH, DO.

IT'’S BEEN SO LONG
SINCE I'’VE SEEN YOU.

I'’VE MISSED YOU, STAN.

LUCIA.

-HOW'’S JIM?
-HE'’S IN DUBLIN WITH GIORGIO.

YES, EVA WROTE TO ME.

JIM IS A BIT OF A NERVE REALLY

GOING TO DUBLIN
TO OPEN A CINEMA.

-YES, UM--
-[GIGGLES]

HE'’S ALWAYS THE ONE
FOR GOING TO THE FILMS.

DO YOU THINK
IT WILL TAKE OFF IN DUBLIN?

-I DOUBT IT, SO--
-LUCIA.

ISN'’T IT GREAT
TO SEE YOUR UNCLE STANI?

YES.

WELL, YOU HAVE A LOT OF SPACE.

WELL, THAT'’S BECAUSE THE
LANDLORD FROM OUR LAST SPACE

HAD ON HOLD THE FURNITURE.

THE USUAL STORY.

HAVE A LOOK AROUND.

OH, NO, NO, IT'’S GREAT, YEAH.

IS SOMETHING WRONG, NORA?

"NORA, I AM STAYING IN DUBLIN
AND SO IS GIORGIO.

-EVERYONE HERE IS LAUGHING."
-READ IT OUT.

READ OUT THE PART WHERE HE ASKS
IS GIORGIO REALLY HIS SON.

READ OUT WHERE HE ASKS WHO ELSE
FUCKED ME BEFORE HE DID.

"DID YOU SLIDE YOUR HAND
INSIDE HIS TROUSERS

AS YOU DID WITH ME?

DID YOU WALK ALONG THE RIVER,

OR GO DOWN THERE DAILY
TO KISS--"

-NO, YOU HEARD IT
FROM HIS OWN MOUTH!
-STOP!

PEOPLE IN DUBLIN
ARE LAUGHING AT HIM

FOR TAKING ON THE GIRL
THAT MANY MEN HAVE ENJOYED.

NICE, NICE NOTE.

BUT YOUR BROTHER,
THE GREAT WRITER.

ALL I EVER KNOW,
I KNOW IS HE'’S GONE MAD, MAD.

IT'’S COSGRAVE.

AND THAT SHOWER
OF POISONOUS BASTARDS.

WELL, HE'’S BACK
WHERE HE BELONGS.

IN THE LAND OF THE BETRAYERS.

NOW YOU'’RE JUST GOING
TO HAVE TO WRITE TO HIM,

TELL HIM
IT'’S NOT--IT'S NOT TRUE, RIGHT?

HMM?

NOW, JESUS, NORA,
LISTEN TO ME HERE.

YOU KNOW JIM.

YOU KNOW THAT HE FINDS REJECTION
EVERYWHERE HE GOES.

AND WHERE HE CANNOT FIND IT,
HE INVENTS IT.

SO I KNOW THAT HIS ANGER
DOESN'’T HURT YOU.

BUT JESUS, NORA,
IF YOU DON'’T RESPOND,

IF YOU DON'’T DENY IT, NORA.

HE BELIEVED COSGRAVE.

HE DIDN'’T BELIEVE ME.

HELLO, LUCIA, HELLO.

WHY ARE YOU OUT HERE?
COME, WHAT ARE YOU DOING HERE?

-WHERE'’S MOMMY?
-[THUDS]

WHERE'’S YOUR MOMMY?
WHERE'’S YOUR MOM?

SHE'’S IN HERE?

SHE'’S IN HERE.

WHAT ARE YOU DOING?

I'’M CLEANING THE ROOM.
AND YOU'’RE NOT WELL.

NO, I WANT IT TO STAY
EXACTLY AS IT IS!

[SIGHS]

GO AWAY, STANI.

STANI: YOU JUST GONNA HAVE
TO WRITE TO HIM, NORA.

GO AWAY!

MAN:
DO YOU REMEMBER YEARS AGO,

I ASKED YOU, "DID YOU LOVE HER?"

AND YOU SAID...

"YOURS WAS THE MIND
THROUGH WHICH SHE MUST THINK,

AND YOURS WAS THE BODY
THROUGH WHICH SHE MUST FEEL."

SHE WAS SO EASY THAT FIRST TIME,
I SHOULD'’VE KNOWN.

JIM, NORA GAVE UP
EVERYTHING SHE KNEW

AND WENT HALFWAY ACROSS EUROPE
TO BE WITH YOU.

IT WAS THE BEST THING
YOU EVER DID.

-HOW DO YOU MEAN?
-WHAT?

YOU GOT AWAY FROM DUBLIN.

YOU FOUND LOVE
WITHOUT ASKING THEIR PERMISSION.

WELL, JESUS, DON'’T YOU REMEMBER

HOW COSGRAVE AND GOGARTY
TRIED TO UNDERMINE YOU?

HOW THEY LIED ABOUT NORA

JUST TO KEEP YOU EXACTLY
WHERE THEY WANTED YOU.

JIM:
EXCUSE ME?

YES, SIR?

DO YOU LIVE IN THE ATTIC ROOM?

I BEG YOUR PARDON, SIR?

MY WIFE USED TO BE A MAID HERE.

I WONDER IF I COULD HAVE A LOOK
AT WHERE SHE SLEPT.

IS YOUR WIFE DEAD, SIR?

WHAT?

WHAT DID YOU SAY?

WOMAN:
I'’LL HAVE TO GO DOWN NOW, SIR.

YOU JUST LET YOURSELF OUT
WHENEVER YOU'’RE READY.

STANI:
THAT'’S ANOTHER LETTER FROM JIM.

I DON'’T WANT TO READ
ANYMORE OF HIS SHITE.

YOU OPEN IT.

I DON'’T WANT TO READ IT, NORA.

THAT CAN'’T BE WORSE
THAN WHAT YOU'’VE SEEN ALREADY.

[TONGUE CLICKING]

NOW HORSIE'’S GO AWAY.
[TONGUE CLICKS]

AND LOOK WHAT HE LEFT BEHIND.

NOW YOU EAT A LITTLE BIT,
WILL YOU?

-YOU'’RE--
-[NORA SCREAMS]

HE SAYS IT'’S ALL LIES.
HE SAYS COSGRAVE MADE IT ALL UP.

OH, STANI, STANI,
I'’LL WRITE TO HIM NOW.

STANI, I'’LL WRITE TO HIM NOW

AND I'’LL TELL HIM
HOW KIND YOU'’VE BEEN TO ME

THESE PAST FEW WEEKS.

[SPEAKS ITALIAN]

NORA: YOU HAVEN'’T WRITTEN
FOR DAYS, JIM.

IS IT BECAUSE I WAS SILENT
BEFORE TO PUNISH ME?

GOD KNOWS WHO YOU'’LL GO WITH
IN DUBLIN TO STATE YOU'’RE IN.

YOU SEND ME COCOA AND ASK ME
HAVE YOU BEEN CRUEL TO ME?

YOU KNOW YOU HAVE, JIM,

SO CRUEL THAT I HAVE WEPT
AND WEPT AND LAY IN OUR BED

NOT KNOWING WHAT I WILL DO.

JIM: ALL I THINK OF IS YOU,
MY DARLING.

NORA, THERE IS A LETTER
I WANT TO WRITE,

OR MAYBE WANT YOU TO WRITE,
BUT I DARE NOT ASK.

I WANT TO COME TO YOU NOW,

TO FIND YOU ASLEEP
TO BREATHE IN YOUR SMELL.

TO SAY ALL THOSE WORDS
YOU SAY WERE MERE LONG.

WRITE THOSE WORDS TO ME,
NORA DEAREST.

BE SHAMELESS, DISGUSTING,
I LONG TO SEE YOU,

YOUR EYES BLAZING AT ME
WHEN WE'’RE ALONE AGAIN.

NORA: OH, JIM, I AM WEARING
NO UNDERCLOTHES TODAY.

I FOUND A PAIR WITH A STAIN.

I WANTED TO SEND THEM TO YOU

BECAUSE I KNEW
IT WOULD EXCITEYOU.

LIKE IT EXCITES YOU
WHEN I SAY A CERTAIN WORD

YOU WANTED ME TO WRITE
OVER AND OVER.

DO YOU PULL YOURSELF OFF
WHEN I WRITE IT?

I WANT TO FUCK YOU SO BADLY.

DO YOU REMEMBER THAT NIGHT
WE DID IT ALL NIGHT BACKWARDS,

WHEN YOU FUCKED ME
ALL NIGHT LONG?

[NORA MOANING]

JIM: I WANT YOU TO PUNISH ME
AGAIN AND AGAIN.

SAVING IT
FROM WHAT I WANT, NORA.

HOLD MY WORDS AGAINST YOUR BODY
AND READ THEM OVER AND OVER.

LET ME TELL YOU EVERYTHING,
MY DIRTY GIRL.

I WANT TO CREEP
INSIDE YOUR DRAWERS

AND LICK YOU AND LICK YOU
FASTER AND FASTER

UNTIL YOU TWIST AND SCREAM,

FASTER UNTIL MY TONGUE
IS WET WITH YOUR JUICE,

PUT IT INSIDE YOU,

TO CLIMB UP
INTO YOUR WOMB FOREVER,

TO BE YOU AND KNOW
YOUR FEELINGS, KNOW YOUR PAIN.

[DOOR OPENS]

GO AWAY.

JIMSY.

LIFT ME ABOVE OF THIS POO.

MR. JOYCE?

THE WRITING IS SO BIG

THERE'’S HARDLY ROOM
FOR THE STAMP.

[NORA'’S GIGGLING]

JIM'’S COMING HOME!

HOW COME?

WELL, I SENT HIM THIS WEDDING
INVITATION, BUT IT DIDN'’T WORK.

AND THEN I THREATENED TO HAVE
LUCIA BAPTIZED SO I DID.

HE'’LL BE HOME INSIDE A WEEK.

OH, I ALWAYS KNEW
I'’M BEST WITH THIS WRITING GAME.

♪ WITH TEARS IN MY HEART

♪ TEARS BEYOND
ALL CONTROLLING ♪

♪ I WAKE AND REMEMBER

♪ AN EXILE, AM I

♪ AND I PRAY
THOUGH BETWEEN US ♪

♪ THE WIDE SEAS ARE ROLLING

♪ TO COME HOME TO THEE

♪ IF '’TIS ONLY ♪

♪ TO DIE

♪ OH, GREEN ISLE OF ERIN

♪ THAT WAITS FOR ME YONDER

♪ THOUGH FATE MAY DECREE

♪ '’TIS FOREVER WE PART ♪

♪ STILL EXILED AND LONELY

♪ WHERE ERE I MAY WANDER

♪ THE GREEN ISLE OF ERIN

♪ REMAINS IN MY HEART

♪ THE GREEN ISLE OF ERIN

♪ REMAINS♪

♪ IN MY HEART

-[PEOPLE APPLAUDING]
-GRAZIE.

-BRAVO.
-GRAZIE.

BRAVO!

ALL:
BRAVO!

HAPPY ST. PATRICK'’S DAY.

HAVE YOU HEARD ANYTHING
FROM HOME?

OH, BEGGING LETTERS.

AH, THEY'’RE ALL MAD JEALOUS
THAT I'’M HERE INSTEAD OF THEM.

THEY WON'’T BE SO MAD JEALOUS

WHEN THEY FIND OUT
WHAT YOU LET YOURSELF IN FOR.

I DON'’T KNOW WHY YOU'RE
SO MISERABLE, STANI?

I THINK NORA AND JIM
ARE REALLY HAPPY.

STANI: HMM.
[SCOFFS]

EVA, I THOUGHT
YOU'’D NEVER GET HERE.

-STANI?
-NORA.

GREAT TO SEE YOU.

COULD YOU SEND JIM OUT
TO ME PLEASE, NORA?

OH, WILL YOU COME IN, STANI?

NO, I'’D JUST LIKE A WORD
WITH JIM.

WOULD YOU GIVE IT A REST
FOR TODAY, AT LEAST?

WILL YOU SEND HIM OUT
TO ME PLEASE, EVA?

-UH--
-NO.

SHE'’S GOING TO HELP ME
SERVE THE FOOD.

SO EITHER COME IN AND JOIN US

OR STAND THERE WITH ONE ARM
AS LONG AS THE OTHER.

HONEST TO GOD,
IT NEVER STOPS.

IT'’S NO WONDER THAT FELLOW
DOESN'’T GET INVITED ANYMORE.

JIM?

STANI,
HAPPY ST. PATRICK'’S DAY.

-WHO'’S HERE SO FAR?
-TULLIO SILVESTRI.

-THE MAN WHO WANTS TO PAINT YOU?
-MM-HMM.

AND ROBERTO PREZIOSO.

-EXCUSE ME.
-WITHOUT HIS WIFE AS USUAL.

SHE ALLOWS HIM TO COME

AS LONG AS SHE'’S NOT GONNA
INVITE US TO THEIR HOUSE

AFRAID THAT SHE MIGHT HAVE TO
SHAKE HANDS WITH ME, THE BITCH.

-NORA.
-I'’VE GOT MOUTHS TO FEED.

SURE, I DON'’T EVEN CARE.

YOU COULD SWING GATES
UP HER LEGS.

STANI: IT'’S NOT AS IF I DON'T
KNOW WHERE HE'’S SPENDING

-THE MONEY ON.
-STANI, STANI.

IF YOU FEEL THAT WAY ABOUT POP,
YOU STOP SENDING THEM MONEY.

BUT I HAVE TO.

WELL, THEN DON'’T COME ON HERE
AND COMPLAINING ABOUT IT.

-IT'’S YOUR PROBLEM, TOO, JIM.
-WHAT PROBLEM?

HELLO, HERE'’S YOUR CAKE,
SIGNOR PREZIOSO.

OH, THANK YOU VERY MUCH.

NO, DON'’T MIND THEM.
THEIR PARENT'’S SPOILED CHILDREN.

SIGNORA JOYCE,
THE SUN SHINES FOR YOU TODAY.

-WINE?
-YES, PLEASE.

WE TOLD EACH OTHER SO MUCH,
NORA, AREN'’T WE?

THINGS WE COULDN'’T HAVE TOLD
ANOTHER LIVING SOUL.

AND NOW WE'’RE BOUND TOGETHER
TIGHTLY THAN ANY MARRIAGE VOWS.

BUT I THINK
YOU OWE ME COMPENSATION

FOR ALL THE THINGS
YOU MADE ME FEEL,

ALL THAT PAIN,
ALL THAT JEALOUSY.

IT WAS YOU
WHO USED THE FIRST WORDS,

IT WAS YOU WHO TOUCHED ME FIRST
IN THE DARK.

EVERYTHING WE DID, YOU BEGAN.

I THINK IT'’S ONLY FAIR.

SOMETHING IN RETURN SO EQUAL.

WHAT?

YOU TELL ME
HOW THEY TOUCHED YOU.

-WHO?
-ALL OTHER MEN.

DID HE PUT HIS HANDS INSIDE YOU?
DID HE MAKE YOU COME?

-NO.
-NO SECRETS, BODY AND SOUL.

I'’VE BEEN OPEN WITH YOU, NORA.

YOU KNOW THE WORST ABOUT ME,
I WANT TO KNOW YOUR EVERYTHING.

DID HE PUT HIS HANDS INSIDE YOU?

HOW DID HE TOUCH YOU?

LIKE THIS.

YOU'’RE GOING TO MET?

YES.

SAY ONE FOR ME.

-COME HERE.
-OH, WHY SHOULD I?

WHEN I HAVE ANY AMOUNT OF LOVERS
QUEUING UP FOR ME?

I WANT YOU TO CHOOSE ME.

NORA:
WHAT ARE YOU DOING HERE?

I BROUGHT AN ADMIRER TO SEE YOU.

-SIGNORA JOYCE.
-SIGNOR PREZIOSO.

WELL, ISN'’T A WORLD FOR SOME?

YOU HAVE MATTER TO DO
WITH YOUR TIME

THAN STAND AROUND HERE
LOOKING AT ME?

I THOUGHT YOU'’D BE DELIGHTED.

-YOU WILL DISTRACT
SIGNOR SILVESTRI.
-OH, PLEASE, I'’M SO SORRY.

ARE WE UPSETTING
YOUR CONCENTRATION, TULIO?

[BOTH MOANING]

DID YOU EVER THINK OF HIM
KISSING YOU?

-WHO?
-PREZIOSO.

DID YOU IMAGINE IT?

IT'’S ALL RIGHT, YOU CAN TELL ME.

NO.

NEVER.

-DO YOU THINK YOU WILL ENJOY IT?
-JIM.

PLEASE.

[DOOR OPENS]

HERE AGAIN, PREZIOSO.
YOU CAN'’T SEEM TO STAY AWAY.

-IT SUCH A PRIVILEGE FOR ME.
-OH, AND FOR ME, ROBERTO.

YOU SEE,
I KNOW SO LITTLE ABOUT PAINTING,

COMING AS I DO
FROM AN ORAL TRADITION.

NORA: AND IT SUITS HIM,
SIGNOR PREZIOSO.

IT'’S SO MUCH EASIER TO LIE
WITH WORDS RATHER THAN PICTURES.

I THINK YOU MAY BE RIGHT,
SIGNORA JOYCE.

I THINK YOU TWO SHOULD MEET
AND TALK MORE OFTEN.

YOU SHOULD CALL NEXT WEEK,
PREZIOSO.

I'’M SENDING EVA AND THE CHILDREN

FOR A LITTLE HOLIDAY
IN THE COUNTRY.

MY WIFE WILL HAVE PLENTY
OF FREE TIME, THEN.

WELL, I WOULD LIKE TO,
OF COURSE, YES.

I KNEW NOTHING ABOUT
THE HOLIDAY IN THE COUNTRY.

IT'’S A TREAT FOR THE CHILDREN
AND A BREAK FOR YOU.

-NO, I DON'’T WANT THEM TO GO.
-IT'’S JUST A HOLIDAY, NORA.

A CHANCE FOR GIORGIO
TO SEE A COW.

NO.

WHERE ARE THEY?

THEY'’RE IN THE CARRIAGE ALREADY.

-I'’LL MAKE THEM COME UP
AND SAY GOODBYE.
-NO, LEAVE THEM.

DON'’T THINK
I DON'’T KNOW WHAT YOU'RE UP TO.

-WHAT DO YOU MEAN?
-I WANT THEM BACK.

-I WANT GIORGIO HERE WITH ME.
-AH, STOP IT.

EVA:
PLEASE, NORA.

WHAT IS THE MATTER
WITH YOU, EVA?

YOU KNOW,
YOU HAVEN'’T STOP SNIVELING

SINCE THE DAY
YOU ARRIVED IN THE PLACE.

THAT'’S NOT FAIR.

YOU AND JIM HAVEN'’T STOPPED
PICKING ON EACH OTHER.

WELL, GO ON HOME THEN, SO.

YOU THINK I WANT YOU HERE
MOANING AROUND THE PLACE,

SPYING ON ME?

I DO NOT SPY ON YOU.

WELL, YOU WRITE ENOUGH
FUCKING NIGHT.

'’CAUSE IT CAN'T ALL BE
ABOUT THE WEATHER.

JIM?

I'’M DOING THIS FOR YOU,
REMEMBER?

[INDISTINCT CHATTERING]

LOOK AFTER EACH OTHER,
ALL RIGHT?

-WE'’LL BE FINE.
-I KNOW.

-BYE-BYE.
-BYE-BYE.

HIP.

-[SPEAKS ITALIAN]
-[SPEAKS ITALIAN]

-SIGNOR JOYCE.
-SIGNOR PREZIOSO.

[SPEAKS ITALIAN]

[SPEAKS ITALIAN]

DO YOU THINK IT'’S SERIOUS?

WHAT?

PREZIOSO'’S INFATUATION WITH YOU.

-THEN NOTHING HAPPENED?
-NO.

BUT HE SAID THINGS.

HE SAID,
"THE SUN SHINES FOR YOU TODAY."

AND WHAT ELSE DID HE SAY?

OH, JIM, DOESN'’T TALK
LIKE THIS, UPSET YOU?

NO, I SHOULDN'’T.

NORA:
BECAUSE OF BEFORE.

BECAUSE OF THE WAY
YOU WERE BEFORE.

ARE YOU TRYING
TO MAKE ME GO WITH HIM

SO YOU CAN SIT UP ALL NIGHT
WRITING ABOUT IT?

READ OUT BITS TO HIM
THE NEXT DAY?

PREZIOSO IS MY FRIEND.
HE'’S INTERESTED IN MY WRITING.

OH, YOU TELL ME.

ARE THERE THINGS ABOUT YOU AND
ME HE KNOWS BITS YOU READ OUT?

WHAT DO YOU CARE?

YOU HOLD YOURSELF
COMPLETELY ALOOF FROM MY WORK.

I NEED SOMEONE TO TALK TO.
I NEED SOME ENCOURAGEMENT.

AND WHY DO YOU THINK
I DON'’T READ THOSE THINGS?

I DON'’T KNOW.
I JUST KNOW YOU DON'’T.

MAYBE YOU CAN'’T BE BOTHERED.

OH, DOESN'’T IT OCCUR TO YOU

THAT I COULDN'’T BEAR
TO SEE MY LIFE TWISTED

AND MADE IT STRANGE TO ME
THAT'’S LIVING IT?

NORA, PLEASE IT'’S EXACTLY
THE OTHER WAY AROUND.

YOU TAKE ME FOR A FOOL!

I WRITE IT TO CELEBRATE MY LIFE,
TO CELEBRATE MY LIFE WITH YOU.

THEN WHY ARE YOU STEALING
MY LIFE?

AND YOU MAKE IT SOMETHING ELSE.

DON'’T YOU SEE,
I CAN'’T STAND THESE ROWS.

YOU DON'’T KNOW YOU MAKE ME FEEL
LIKE NOTHING THE WAY YOU TALK!

[GRUNTS]
THERE!

COME NOW AND DESTROY ME, COME!

JIM, I'’M SORRY.

THANK YOU.

THERE ARE THINGS IN HERE
I COULD'’VE HAVE WRITTEN AGAIN.

NORA.

YOU'’RE MY ONLY LOVE.

I WANT YOU TO BE HAPPY.

JIM, TELL ME
WHAT IT IS YOU WANT.

I'’LL DO ANYTHING YOU WANT.

YOU'’RE FREE TO DO WHAT YOU LIKE.

I DON'’T CARE WHAT YOU DO AS LONG
AS YOU'’RE HONEST AND TELL ME.

DID YOU FUCK HIM?

-DID YOU FUCK HIM?
-NO.

[SPEAKING ITALIAN]

JIM?

DID YOU FUCK MY WIFE?
DID YOU FUCK MY WIFE?

-[SPEAKS ITALIAN]
-DID YOU?

-JOYCE?
-DID YOU? DID YOU FUCK HER?

DID YOU FUCK HER?
DID YOU FUCK HER?

DID YOUR FUCK HER?
DID YOU FUCK HER?

[SPEAKS ITALIAN]

[SPEAKS ITALIAN]

SIGNORA.

[CRIES]

-[MAN SPEAKS ITALIAN]
-[ROBERTO CRYING]

NOTHING HAPPENED.

THAT'’S THE TRUTH.

IT DOESN'’T MATTER WHAT YOU SAY.

I'’LL NEVER KNOW.

WILL YOU GO IN TO THE PUBLISHING
ON YOUR WAY THROUGH DUBLIN

JUST TO KEEP THINGS MOVING?

VERY WELL.

DO YOU THINK IT'’LL DO ANY GOOD?

THIS IS OVER NOW.

GOODBYE, LUCIA.

GOOD BYE, GIORGIO.

LOOK UP TO YOUR SISTER.

[LUCIA SPEAKS ITALIAN]

MR. ROBERTS,
MY HUSBAND WANTS TO KNOW

WHY YOU STILL HAVEN'’T PUBLISHED
HIS BOOK.

IT'’S VERY COMPLICATED, MADAM.

I WILL WRITE AGAIN
TO YOUR HUSBAND IN DUE COURSE.

OH, MR. ROBERTS,
YOU CAN TELL ME NOW.

WELL, THEY ARE NOT THINGS

ONE WOULD WISH TO DISCUSS
WITH A LADY.

OH, YOU DON'’T HAVE TO BE AFRAID.

MYSELF AND MY HUSBAND
HAVE NO SECRETS.

GEORGE:
REALLY?

WELL, ARE YOU AWARE THAT ONE
OF THE STORIES CONCERNS A...

-A PERVERT?
-YES, YES, OF COURSE.

THERE ARE ALSO HIDDEN MEANINGS
IN THESE STORIES

THAT YOU, MADAM,
MAY NOT BE AWARE OF.

FOR EXAMPLE,
THE MOST RECENT ONE, THE DEAD.

WELL, FRANKLY,

THERE'’S SOMETHING DIRTY
GOING ON IN THAT STORY,

IF YOU ASK ME.

[INDISTINCT CHATTERING]

-NANA! NANA!
-NANA!

-OH, MY DARLINGS.
-OH, MY NANA.

OH, MY DARLINGS,
MY LITTLE GNOMES, WELCOME.

WELCOME HOME.

IT'’S GREAT TO SEE YOU, NORA.

TAKE MY HAND.

-NORA, WELCOME HOME.
-LUCIA.

AH, WAS THE BOARD LATE?

DID YOU HAVE A GOOD TIME
ON THE TRAIN?

PAPA! PAPA!

LUCIA:
BABBO! BABBO!

-[SPEAKS ITALIAN]
-GIORGIO.

LUCIA.

[SPEAKS ITALIAN]

-[GIORGIO SPEAKS ITALIAN]
-[LUCIA SPEAKS ITALIAN]

HELLO, NORA.

GIORGIO, FIND YOUR SHOES.
IT'’S TIME TO GO HOME.

[GIORGIO SPEAKS ITALIAN]

JIM: YOUR MOTHER TOLD ME
WHERE I'’D FIND YOU.

THEY'’RE LOOKING VERY WELL.

YES, THEY REALLY LOVE IT HERE.

ARE YOU KEEPING WELL?

WELL, I HAVE.

HAVE YOU GAVE ME
A BLOW BY BLOW ACCOUNT

OF YOUR MEETING
WITH THE PUBLISHER?

BIGGER BOLLOCKS NEVER COULD
HAVE ANSWERED IT COOL.

NOW I HEAR THE PRINTER
SMASHED THE TYPE.

-NO?
-NO, IT'’S TRUE, NORA.

DUBLINERS
WILL NEVER BE PUBLISHED HERE.

WHEN I LEAVE IRELAND,
THIS TIME IT'’S FOREVER.

I'’M NEVER COMING BACK.

EVERYONE KEEPS ASKING
WHEN YOU'’RE COMING HOME.

EVERYONE.

I KEEP SEEING THEM STANDING
THERE WITH TEARS IN HIS FACE.

HE THOUGHT HE WAS LONELY
AND THAT YOU DIDN'’T CARE.

-HOW WAS HE TO KNOW THAT YOU--
-NORA, I PROMISED.

NOTHING WILL EVER COME
BETWEEN US AGAIN.

YOU KNOW I'’M NEVER GOING BACK.

YOU CAN CREATE IT.

ISN'’T IT GREAT TO HAVE A BIT
OF LIFE AROUND THE PLACE AGAIN?

ANNIE: GO ON, NORA,
AND BRING JIM FOR A WALK.

GO ON, CHILD.

YOU HAVEN'’T HAD A REAL CHANCE
TO HAVE A TALK TOGETHER.

MAN:
YOU KNOW, DESPITE ALL OUR ROWS,

NORA AND ME
ALWAYS UNDERSTOOD EACH OTHER.

WE KNEW HOW TO HAVE
A GOOD LAUGH.

[LAUGHS] WHAT DO YOU SAY, NORA?
WILL YOU GIVE US A SONG? HMM?

-NO, I DON'’T SING ANYMORE.

JIM:
WHAT ARE YOU GONNA DO, NORA?

DO YOU REALLY THINK
YOU CAN LIVE HERE?

ALL I WANTED TO DO IS TO GIVE
YOU BACK YOUR POWER OVER ME.

TO LET YOU CHOOSE.

YOU DID IT FOR YOURSELF, JIM.

THE WAY YOU DO EVERYTHING.

THAT'’S NOT TRUE.

NOT A DAY GOES BY

THAT I DO NOT ASK MYSELF
WHAT HAPPENED TO US.

-GOODBYE, ANNIE.
-COME BACK SOON.

[GRUNTS]

GOD BLESS.

GO, TERENCE, UP.

I DON'’T ACTUALLY KNOW

HOW WE'’D BE ABLE
TO GET BACK TO TRIESTE?

STANI HAS GOT TO SEND US
SOME MONEY.

-GOD BLESS.
-ARRIVEDERCI, NANA!

ARRIVEDERCI, NANA!

OH, STANI.