Jumat, 07 April 2017

Bay Isle Home Furniture

Bay Isle Home Furniture

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 betterwhere 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 youonce and for all. get your hands off me.you're not my dad.

-nora, you're shaming usin front of---stop, uncle tommy. it's the convent for you, girl. -tommy, no. don't touch her.-you'll find it so easyto 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 gonefurther away. it's true, then what stani says. you're thinkingof leaving ireland. stani even knowswhat 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 brotherwho 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 swedishsailor with your blue eyes. -they are very short-sighted.-swedish sailors are. -no, my eyes.-(chuckles)

oh, i see theseare the only ones to see. so i can show you the city. well, i'm able to show myselfthe 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 thinkyou'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 seewhy i can't do that in shift? sometimes, you know,

i find that this sort of work just doesn't suitcertain kinds of girls. "all i want, all i want,"says he, "is time and space to write thebetter people who betrayed me, and who sent me into exilein 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 nicefor this little hand, eh? yeah, sure, yeah. let me see. hold it with that nicelittle 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 aroundto 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 meto 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. 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 thingfor the bard anyhow. he's not a snob, is he? you think i don't respect youafter what happened tonight? nora, believe me, it was sacred for me.

you don't understand me,but you will. it's because we've onlyjust met. it's this feeling when peopleput their mouths together like this. -why?-why what? why is it all right for you totouch me and i can't touch you? because i'm better at itthan you are. i love you, jim. you say that,

but i need more thanyour embraces, nora. i want to know who you are,or you're right to me. i want to knowyour 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 lastthat you are not with me. i must end heresince this letter both reminds-- both reminds mehow 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 girlwe're dealing with. you're an awful bollocks,cosgrave, do you know that? woman: saw our mother ashamed.

the nations saw our headbent 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 paidfor the stories i sent you? actually, um, somethingwere quite good, i thought, but frankly,there had been some complaints. not suitable materialfor the irish homestead.

we won't be publishing anymore. but it was youwho 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 meand he says to me ♪ ♪ that's the gemof ireland's crown ♪ ♪ young rosie mccannfrom the banks of the bann ♪ ♪ she's the starof 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 upwith cosgrave now, are you? what? or maybe you've been seeing himalready in the nights when you're not with me? jim, for jessie's sake! i could see it from here. i was watching the wayyou are with him. but you asked cosgraveto escort me here.

you said it wouldn't be rightfor me to be all alone. you see, i forgot how quicklyyou get to know a strange man. of course, i talk to strangers.i work in a hotel. jim, what was i supposed to dowhen 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 meyou copied that letter out of a book,

that there's nothing sincerein it at all. you showed them? you showed them my letter. you hear that, huh?they love me. they can't get enough of me. i laid myself bare because ithought you understood, and i thought that you also-- but now i can see youhave no clue who i am, and you think you can insult me

with some petty words stolenfrom a woman's penny novel! no, i don't knowwhat you are saying. i wrote what i feel.i love you. i can't help it if i can't sayit different to other people. even writershave to use the same words as other people. leave me alone! stani, who's that talkingto jim? she's a maid at jimm's hotel.

i am sick of it all. that's why i thoughtthat what happened between us is at least somethinglike love. it never occurred to methat you despise me. -i don't despise you.-but for you, it's just another fellowlike any other. and if it made me happyfor you to pull me off, then fair enough. but that wasn't to get closeto you now.

that was right out. and that's it all over,isn't it? thus this country. there's nothing naturalabout it. nothing free and open people,paralyzed by fear, frightened of themselves,frightened of the church, that's why you won'tlet me inside you, i can see that now. but i thought that night,

that night when you took a holdand then you laughed, i thought, jesus,we can't be natural together. we didn't grow old and die without even touched each otherto the heart. jim, stop all this.this isn't you. oh, really? and what do you seewhen you see me? -i see you.-who? a nice, intelligent, bookishyoung man with a pleasant voice?

someone you can marry in a happysunday evening around the piano with your family and friends? do you know what i do, nora, on the nightswhen i'm not with you? i go to whores to cleanse myselfwith the squalor and pretense that passes for normal lifein this country. -no.-yes, this thingyou think so holy and precious. any nights, i had them only ipay to fuck them in a grimy bed, stiff with the slime of thosethat 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 kneweverything 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 knowwhat 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) 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 peopleout 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 dublinwithout you, jim. i think you're mad to gowith him, do you know that? i know.i'm mad to go with him. what will you dowhen you don't fit? it's an awful foreign place where you can't talkthe 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 enoughto get us out of here. yates, he gave a few shirts.skeffington gave nothing. said you didn't pay him backthe last time. -bastard.-i got the boots on. jesus. i never thought it will take solong to get in here, would you?

i keep thinkingwe should be there by now. i will give anythingto my friends when they find out i'm gone. nora, you don't really knowwhat you've done, do you? you're not taking it seriouslyat all. but this is my second timerunning away. i'm not on my own this time. i am so tired.can we get something to eat? the pennies we'll get inadvance from the berlitz.

look,just let me find the school, get us a roomand then we can eat and sleep. i don't mindcarrying the luggage. i'll carry it myself. i just don't wantto be left alone, please? nora. the berlitz people, they don'tknow i'm with someone. they think i'm alone,you know, single. it'll be simpler that wayto 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 wayto be sure of getting the job. oh, suit yourself. signorina!(speaks italian) signorina.(man speaks italian) nora? nora! oh, there you are, hiding.

you'll never believewhat happened to me. i don't give a tinker's curseof what happened to you. i got caught in a fight. well, you weren't leftlike a unclaimed parcel though, were you? left for anyone to poke atand jeered? -no, i'm sorry, but honestly---do you know something? i sat here today and i realized that i need youfor everything.

-i need you for everything, too.-no. every single thingthat goes into my mouth comes from youwhere i don't eat. everything i want to say goes through youwhere i don't speak. nora, you knowi would never leave you. nothing but trains and parksand waiting and hiding. i thought we were going awayas we're clear of all that, to be free, you said?

but all it isis one hole after another. and what's next, jim? what's the next little thingyou 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 hotelor the one in galway?

come on. fuck up. fuck up, love. (church bells ringing) i like them all. each story is so littleand yet every moment stays. i feel i've beenfor a long holiday in dublin. no, not a holiday. -a nightmare, perhaps?-no, no, no, no, no. you cannot hide your lovebut 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, sometimesyou-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 tearsand 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 thisboy wants to find in araby, and it's real.

wouldn't you say she is real? (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 straydogs 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 newspaperwill 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 ♪

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 unhappythan 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 youand i was there, i'd hurt them back so bad,i'm telling you. (moaning)

(coughing) this george moore character doesn't know howto end a story. the landladythinks you're pregnant. that cheek of her. why didn't she say iton my face? -she wants us out. -the old witch. what do we do? find somewhere else,i suppose.

are you pregnant? 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 hearthe girls declare ♪ ♪ you must be a millionaire ♪ ♪ you can hear them sighand wish to die ♪ ♪ you can see themwink the other eye ♪ ♪ at the manwho broke the bank ♪ ♪ at monte carlo ♪ -alessandro?-(baby crying)

i am so sorry. i'm not to awaken the baby,i swear. i will do it myselfif 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 frightenedwhen their wives are pregnant. wait till the baby comes, you'll be happy then. how can i be happywhen he's a stranger to me?

when i don't understand halfof what he says to me sometimes? you should write to your mother. for what? tell her i crossedhalf the world, end up with a manno better than hers? you didn't end up with me, nora. complete freedom to come and goas you please. freedom? to do what? to go where?

i've given more to youmore 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 deadon 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 youif you'd bother to read it. do you not remember what yousaid to me the other day,

when i threw away a storyand started again? you asked me "will all that paper be wasted?" i'm lying near youto 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 wooand 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 theopera review for my newspaper? most certainly.will i be paid? of course, but only tickets. 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 chanceto look at anyone yet. stani, you look so different. i could pass you in the streetand don't recognize you. -and so do you---stani, this is giorgio.

he's estrangedwith men he doesn't know. -how's the journey, stani?-fine, fine. have you anything leftwith the money i sent you? no, hardly any. well, you told meto buy the suit for the berlitz, and then thingsare so tight at home, i had to leave some moneyfor the girls and then there was a matterof 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 thestreets like i said i would. look, jim,we're here so shut up. do i have to roll? nora, giorgio--giorgio i. and if i'm about to--

my wifewill give me giorgio ii. she may not know much, but she does knowhow to produce children. is jim down there with you,stani? i'm not having that sleepingnext 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 thingsno one else would. (cooing) been a long time waitingfor his father to feed him. (baby cooing) your lunch is there for youon 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 jobto 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 weremeant to become. i see.

oh, poor stani. all the way to trieste to escape and now you're the prisonerof two families instead of one. all you need nowis to get married yourself. all right, jim.all right, let's go home. -trick? -for christ's sake, jim, you're half-blindfrom that shite already, would you not thinkof the work? oh, god forbid, i should goblind 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 irelanddo not sell. there's only one way out of this mess. you'll have to go to ireland and then see the publisher. you take giorgioto 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. get up, get up!come on, you can do it! -(grunts)-(indistinct chatters) would you mindif 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 knowwhy you bothered going. that fills in the time i cannot be alwaysbe 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 weresending me to the convent, he stood outside, begging for me to come down,but i couldn't.

and then he died, no one told meuntil after the funeral, because it was that nighthe 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. 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 usin top of each other like this. so let's talk about it later,all right? i just wanted to inform youof 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 paidfor the last one yet. they say that living wellis the best revenge.

that must be halfa month's salary here, at least. well, there's a lot morethan that, jim. well, we're staying here tonightas well. the landlady won't let us backuntil we pay the rent. ah, now there's a coincidence. i just gave my noticein the school today. if stani will advance us somecash, 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 helloto 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 youso she would.

-stani, come on up and see youlater at our palace, will you?-no. -nora, i can't, um---oh, do. it's been so longsince 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 dublinto open a cinema.

-yes, um---(giggles) he's always the onefor going to the films. do you thinkit will take off in dublin? -i doubt it, so---lucia. isn't it greatto see your uncle stani? yes. well, you have a lot of space. well, that's because thelandlord 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 dublinand so is giorgio. -everyone here is laughing." -read it out. read out the part where he asksis giorgio really his son. read out where he asks who elsefucked me before he did. "did you slide your handinside his trousers

as you did with me? did you walk along the river, or go down there dailyto kiss--" -no, you heard itfrom his own mouth!-stop! people in dublinare laughing at him for taking on the girlthat 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 showerof poisonous bastards. well, he's backwhere he belongs. in the land of the betrayers. now you're just goingto have to write to him, tell himit's not--it's not true, right? hmm? now, jesus, nora,listen to me here. you know jim.

you know that he finds rejectioneverywhere he goes. and where he cannot find it,he invents it. so i know that his angerdoesn'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 stayexactly as it is! 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 mindthrough which she must think, and yours was the bodythrough which she must feel." she was so easy that first time,i should've known. jim, nora gave upeverything she knew and went halfway across europeto be with you.

it was the best thingyou ever did. -how do you mean?-what? you got away from dublin. you found lovewithout asking their permission. well, jesus, don't you remember how cosgrave and gogartytried to undermine you? how they lied about nora just to keep you exactlywhere 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 lookat where she slept. is your wife dead, sir? what did you say? woman: i'll have to go down now, sir. you just let yourself outwhenever you're ready.

stani: that's another letter from jim. i don't want to readanymore of his shite. you open it. i don't want to read it, nora. that can't be worsethan 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. 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 excite you. 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 roomfor the stamp. (nora's giggling) jim's coming home! how come?

well, i sent him this weddinginvitation, but it didn't work. and then i threatened to havelucia baptized so i did. he'll be home inside a week. oh, i always knewi'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 praythough 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 ♪ ♪ remains ♪ ♪ in my heart ♪ -(people applauding) -grazie. -bravo. -grazie. bravo! all:bravo!

happy st. patrick's day. have you heard anythingfrom home? oh, begging letters. ah, they're all mad jealousthat i'm here instead of them. they won't be so mad jealous when they find outwhat you let yourself in for. i don't know why you'reso miserable, stani? i think nora and jimare really happy. stani: hmm. (scoffs)

eva, i thoughtyou'd never get here. -stani? -nora. great to see you. could you send jim outto me please, nora? oh, will you come in, stani? no, i'd just like a wordwith jim. would you give it a restfor today, at least? will you send him outto me please, eva? -uh---no.

she's going to help meserve the food. so either come in and join us or stand there with one armas long as the other. honest to god,it never stops. it's no wonder that fellowdoesn'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 gonnainvite us to their house afraid that she might have toshake hands with me, the bitch. -nora. -i've got mouths to feed. sure, i don't even care. you could swing gatesup 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 hereand 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 toldanother living soul. and now we're bound togethertightly than any marriage vows. but i thinkyou owe me compensation for all the thingsyou made me feel, all that pain,all that jealousy. it was youwho used the first words, it was you who touched me firstin the dark.

everything we did, you began. i think it's only fair. something in return so equal. you tell mehow 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? you're going to met? say one for me. -come here.-oh, why should i? when i have any amount of loversqueuing 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 distractsignor silvestri.-oh, please, i'm so sorry. are we upsettingyour concentration, tulio? (both moaning) did you ever think of himkissing 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. 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 dofrom an oral tradition. nora: and it suits him, signor prezioso. it's so much easier to liewith words rather than pictures. i think you may be right,signora joyce. i think you two should meetand talk more often. you should call next week, prezioso. i'm sending eva and the children for a little holidayin the country.

my wife will have plentyof free time, then. well, i would like to,of course, yes. i knew nothing aboutthe holiday in the country. it's a treat for the childrenand a break for you. -no, i don't want them to go. -it's just a holiday, nora. a chance for giorgioto see a cow. where are they? they're in the carriage already. -i'll make them come upand say goodbye.-no, leave them.

don't thinki 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 matterwith you, eva? you know,you haven't stop sniveling since the dayyou arrived in the place. that's not fair. you and jim haven't stoppedpicking on each other.

well, go on home then, so. you think i want you heremoaning around the place, spying on me? i do not spy on you. well, you write enoughfucking night. 'cause it can't all beabout the weather. i'm doing this for you,remember? look after each other,all right? -we'll be fine.-i know.

-bye-bye.-bye-bye. hip. -signor joyce.-signor prezioso. do you think it's serious? 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 talklike this, upset you? no, i shouldn't. nora: because of before. because of the way you were before. are you tryingto make me go with him so you can sit up all nightwriting about it? read out bits to himthe next day? prezioso is my friend.he's interested in my writing. oh, you tell me.

are there things about you andme he knows bits you read out? what do you care? you hold yourselfcompletely aloof from my work. i need someone to talk to. i need some encouragement. and why do you thinki 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 bearto see my life twisted

and made it strange to methat's living it? nora, please it's exactlythe 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 stealingmy life? and you make it something else. don't you see,i can't stand these rows. you don't know you make me feellike nothing the way you talk! (grunts)there!

come now and destroy me, come! jim, i'm sorry. thank you. there are things in herei could've have written again. you're my only love. i want you to be happy. jim, tell mewhat 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 longas you're honest and tell me. did you fuck him? -did you fuck him?-no. 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? 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 publishingon 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 publishedhis book. it's very complicated, madam.

i will write againto your husband in due course. oh, mr. roberts,you can tell me now. well, they are not things one would wish to discusswith a lady. oh, you don't have to be afraid. myself and my husbandhave no secrets. george: really? well, are you aware that oneof the stories concerns a... -a pervert? -yes, yes, of course.

there are also hidden meaningsin 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. -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 timeon the train? papa! papa! lucia: babbo! babbo! -(speaks italian)-giorgio.

-(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 mea blow by blow account of your meetingwith the publisher? bigger bollocks never couldhave answered it cool. now i hear the printersmashed 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 askingwhen you're coming home.

everyone. i keep seeing them standingthere with tears in his face. he thought he was lonelyand that you didn't care. -how was he to know that you---nora, i promised. nothing will ever comebetween us again. you know i'm never going back. you can create it. isn't it great to have a bitof 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 havea 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 thinkyou can live here?

all i wanted to do is to giveyou 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 myselfwhat happened to us. -goodbye, annie.-come back soon. (grunts)

god bless. go, terence, up. i don't actually know how we'd be ableto get back to trieste? stani has got to send ussome money. -god bless. -arrivederci, nana! arrivederci, nana! oh, stani.

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