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This programme contains graphic violent scenes, strong language and some scenes of a sexual nature. | 0:00:02 | 0:00:06 | |
I'll be in London one week, at this address. Finish your business here and join me. | 0:00:06 | 0:00:09 | |
'Dear Grace... | 0:00:10 | 0:00:12 | |
'Before the war, when I had an important decision to make, | 0:00:14 | 0:00:18 | |
'I used to flip a coin. | 0:00:18 | 0:00:20 | |
'Perhaps that is what I will do again.' | 0:00:21 | 0:00:24 | |
# I've lain with the devil | 0:00:25 | 0:00:29 | |
# Cursed God above | 0:00:29 | 0:00:34 | |
# Forsaken heaven | 0:00:34 | 0:00:38 | |
# To bring you my love | 0:00:38 | 0:00:41 | |
# To bring you my love | 0:00:41 | 0:00:45 | |
# To bring you my love | 0:00:45 | 0:00:50 | |
# To bring you my love. # | 0:00:50 | 0:00:57 | |
THEME: "Red Right Hand" by Nick Cave & The Bad Seeds | 0:01:38 | 0:01:41 | |
# Take a little walk to the edge of town | 0:01:55 | 0:01:58 | |
# And go across the tracks | 0:01:58 | 0:02:00 | |
# Where the viaduct looms Like a bird of doom | 0:02:02 | 0:02:06 | |
# As it shifts and cracks | 0:02:06 | 0:02:10 | |
# Where secrets lie in the border fires | 0:02:11 | 0:02:15 | |
# In the humming wires | 0:02:15 | 0:02:17 | |
# Hey man, you know you're never coming back | 0:02:17 | 0:02:20 | |
# Past the square Past the bridge | 0:02:20 | 0:02:22 | |
# Past the mills Past the stacks | 0:02:22 | 0:02:25 | |
# On a gathering storm comes a tall, handsome man | 0:02:27 | 0:02:31 | |
# In a dusty black coat | 0:02:31 | 0:02:33 | |
# With a red right hand. # | 0:02:33 | 0:02:36 | |
..and give him peace. Amen. | 0:02:47 | 0:02:50 | |
-ALL: -Amen. | 0:02:50 | 0:02:51 | |
HE CLEARS HIS THROAT | 0:02:58 | 0:03:02 | |
I promised my friend Freddie Thorne | 0:03:02 | 0:03:06 | |
that I'd say a few words over his grave | 0:03:06 | 0:03:08 | |
if he should pass before me. | 0:03:08 | 0:03:10 | |
I made this promise before he became me brother-in-law - | 0:03:12 | 0:03:17 | |
when we were in France, fighting for the King. | 0:03:17 | 0:03:20 | |
Amen. | 0:03:20 | 0:03:21 | |
And in the end it wasn't war that took Freddie. | 0:03:24 | 0:03:26 | |
-BABY CRIES -Pestilence took him. | 0:03:26 | 0:03:30 | |
Come here. | 0:03:30 | 0:03:31 | |
But Freddie passed on his soul and his spirit to a new generation | 0:03:32 | 0:03:37 | |
before he was cruelly taken. | 0:03:37 | 0:03:39 | |
We thought, now Freddie's gone, | 0:03:48 | 0:03:50 | |
you might come back to Birmingham. | 0:03:50 | 0:03:52 | |
God, do you know how funny it is | 0:03:55 | 0:03:57 | |
that you've got chauffeurs in uniform now? | 0:03:57 | 0:03:59 | |
It's just for the occasion, Ada. | 0:03:59 | 0:04:02 | |
Do you know how unfair it is | 0:04:02 | 0:04:03 | |
that you've got four Bugattis when half the country's starving? | 0:04:03 | 0:04:06 | |
So now they've made you ashamed of us, eh? | 0:04:08 | 0:04:11 | |
Sometimes when I think how I used to be, it makes me embarrassed. | 0:04:12 | 0:04:15 | |
Karl's with his cousins. | 0:04:15 | 0:04:17 | |
I caught 'em trying to pinch flowers off a grave. | 0:04:17 | 0:04:20 | |
Ada, are you coming home? | 0:04:22 | 0:04:26 | |
I'm going home. | 0:04:26 | 0:04:27 | |
It's all right, Poll. We make Ada embarrassed. | 0:04:28 | 0:04:31 | |
That's not what I said. | 0:04:31 | 0:04:33 | |
There's another reason we want you home. | 0:04:35 | 0:04:38 | |
We're planning an expansion. | 0:04:38 | 0:04:40 | |
I'm taking premises in London... | 0:04:40 | 0:04:42 | |
-Tommy, it's a funeral, business can wait. -Polly, | 0:04:42 | 0:04:45 | |
if Ada was weeping then I'd stop. | 0:04:45 | 0:04:47 | |
But she's not. | 0:04:47 | 0:04:49 | |
The expansion means it's going to be dangerous | 0:04:49 | 0:04:51 | |
to be a Shelby in London for a while. | 0:04:51 | 0:04:53 | |
Yeah, well, I'm not a Shelby anymore. | 0:04:53 | 0:04:57 | |
And I'm not a Thorne now, either. | 0:04:59 | 0:05:01 | |
I'm free. | 0:05:03 | 0:05:04 | |
I've got to get Karl home. | 0:05:08 | 0:05:09 | |
I told you. Let me do it. | 0:05:17 | 0:05:21 | |
It's all right. | 0:05:21 | 0:05:22 | |
I'll have some men watch her house till the danger passes. | 0:05:22 | 0:05:26 | |
"Till the danger passes"? | 0:05:31 | 0:05:33 | |
That'll be the bloody day. | 0:05:36 | 0:05:38 | |
THE CHILDREN SHOUT | 0:05:47 | 0:05:49 | |
It happened at exactly 7am. | 0:06:14 | 0:06:17 | |
Nobody saw anything. Our patrols were not in the area. | 0:06:17 | 0:06:21 | |
Mr Shelby, have you got any idea who might've done it? | 0:06:23 | 0:06:26 | |
I'd say it was something to do with the gas. | 0:06:29 | 0:06:32 | |
It's just been fitted. | 0:06:34 | 0:06:35 | |
Madam, the structure's not yet declared safe. | 0:06:38 | 0:06:41 | |
-DEBRIS CRUNCHES -Madam! | 0:06:41 | 0:06:44 | |
This is all over the place. | 0:06:55 | 0:06:56 | |
Confetti. | 0:07:01 | 0:07:03 | |
You can go. | 0:07:07 | 0:07:09 | |
Right. | 0:07:09 | 0:07:10 | |
Who? | 0:07:16 | 0:07:17 | |
Who did this to us? | 0:07:20 | 0:07:22 | |
Whisky. Irish. | 0:07:40 | 0:07:43 | |
I heard there was a bit of a bang in your part of town. | 0:07:57 | 0:08:00 | |
Gas and electric don't mix. | 0:08:00 | 0:08:03 | |
Who'd have thought they would, eh? | 0:08:03 | 0:08:05 | |
How's business otherwise, Mr Shelby? | 0:08:05 | 0:08:07 | |
You know something? | 0:08:09 | 0:08:11 | |
In these times of hunger and hardship, | 0:08:12 | 0:08:14 | |
business is surprisingly good. | 0:08:14 | 0:08:16 | |
Which one of you is the Peaky Blinder devil? | 0:08:20 | 0:08:22 | |
Gentlemen. | 0:08:29 | 0:08:30 | |
# I drank some dirty water | 0:08:39 | 0:08:43 | |
# Shook evil hands | 0:08:43 | 0:08:46 | |
# I done some bad things | 0:08:47 | 0:08:49 | |
# They get easier to do | 0:08:49 | 0:08:53 | |
# And then I wrote a nasty letter | 0:08:53 | 0:08:57 | |
# And I sent it to the Lord | 0:08:57 | 0:09:01 | |
# I said, "Don't you dare come and bother me no more" | 0:09:01 | 0:09:07 | |
# Oh | 0:09:10 | 0:09:11 | |
# Oh, oh, oh | 0:09:11 | 0:09:15 | |
# Oh | 0:09:21 | 0:09:22 | |
# Oh, oh, oh... # | 0:09:22 | 0:09:26 | |
INDISTINCT CHATTER | 0:09:26 | 0:09:29 | |
MUSIC DROWNS SPEECH | 0:09:30 | 0:09:33 | |
Finn! Get in here. | 0:09:40 | 0:09:41 | |
Finn! Hold the phone. Come here. | 0:09:41 | 0:09:45 | |
-Take the odds. -Yeah, sure. | 0:09:45 | 0:09:47 | |
MUSIC DROWNS CHATTER | 0:09:50 | 0:09:53 | |
Polly. | 0:09:58 | 0:09:59 | |
Did he say who did it? | 0:10:00 | 0:10:02 | |
He's gone to the Black Lion. | 0:10:02 | 0:10:05 | |
On his own? | 0:10:05 | 0:10:06 | |
Tommy does everything on his own. | 0:10:06 | 0:10:09 | |
-Should I go to the Black Lion? -What? | 0:10:09 | 0:10:12 | |
-Should I go there and see him? -No. | 0:10:12 | 0:10:15 | |
Where the fuck is Arthur? | 0:10:15 | 0:10:16 | |
Protecting the Garrison's whisky from the police. | 0:10:16 | 0:10:20 | |
For fuck's sake! | 0:10:20 | 0:10:21 | |
Polly, it feels a little bit to me like things are getting out of hand. | 0:10:26 | 0:10:31 | |
So get 'em in hand. | 0:10:32 | 0:10:34 | |
Do you know what Ada said to me this morning? | 0:10:36 | 0:10:38 | |
She said we all look like we work in a factory under the ground. | 0:10:41 | 0:10:45 | |
She said we look like ghosts. | 0:10:47 | 0:10:49 | |
She'll be back. | 0:10:50 | 0:10:51 | |
When? | 0:10:52 | 0:10:54 | |
When she needs us. | 0:10:54 | 0:10:55 | |
And anyway, who the fuck would blow up our pub? | 0:10:57 | 0:11:01 | |
-Six. -Six what? | 0:11:01 | 0:11:04 | |
Six questions since you walked through the door. | 0:11:04 | 0:11:07 | |
Soon you're going to have to start being the man with the answers. | 0:11:09 | 0:11:13 | |
Why? | 0:11:15 | 0:11:16 | |
Seven. | 0:11:18 | 0:11:19 | |
Because when London happens, you'll have to hold up your end | 0:11:21 | 0:11:25 | |
or we'll find somebody else who can. | 0:11:25 | 0:11:27 | |
-IRISH ACCENT: -Thomas Shelby. | 0:11:43 | 0:11:45 | |
You blew up my pub. | 0:11:47 | 0:11:48 | |
Anger defeats fear, good. | 0:11:50 | 0:11:52 | |
You blew up my pub. | 0:11:54 | 0:11:55 | |
Tommy has a reputation to uphold. | 0:11:57 | 0:12:00 | |
A reputation for not being scared of anything. | 0:12:00 | 0:12:03 | |
In all the world, violent men are the easiest to deal with. | 0:12:03 | 0:12:07 | |
So tell me, which brand of rebel are you, eh? | 0:12:10 | 0:12:13 | |
I read somewhere that you Paddies | 0:12:14 | 0:12:16 | |
started fighting amongst yourselves, now. | 0:12:16 | 0:12:19 | |
The King offers you a peace treaty and you start a war about it. | 0:12:20 | 0:12:24 | |
That's funny, don't you think? | 0:12:24 | 0:12:28 | |
A war about peace. | 0:12:28 | 0:12:29 | |
So are you for the treaty or against the treaty? | 0:12:34 | 0:12:37 | |
Forgive me, I get confused. | 0:12:37 | 0:12:39 | |
You are one decision away from death, Mr Shelby. | 0:12:46 | 0:12:49 | |
So stop fucking smiling. | 0:12:50 | 0:12:52 | |
Your name is Irene O'Donnell. | 0:12:55 | 0:12:57 | |
You have a son at the Cherry Wood Road School in Harborne. | 0:12:57 | 0:13:01 | |
He has irons on his legs, his name is Sean, | 0:13:01 | 0:13:04 | |
he comes last in every race, poor boy. | 0:13:04 | 0:13:08 | |
Poor boy if the race was important. | 0:13:10 | 0:13:12 | |
Do you know what I mean, Irene O'Donnell? | 0:13:12 | 0:13:16 | |
There are other ways of carrying out this mission. | 0:13:16 | 0:13:18 | |
Please allow me to put a bullet in this scum tinker's head. | 0:13:18 | 0:13:21 | |
No. | 0:13:28 | 0:13:29 | |
He researches his enemies, | 0:13:30 | 0:13:33 | |
that's why he's been chosen. | 0:13:33 | 0:13:35 | |
I am chosen? | 0:13:37 | 0:13:38 | |
I'm chosen. | 0:13:41 | 0:13:42 | |
Can the chosen one smoke? | 0:13:44 | 0:13:46 | |
A vacancy has appeared and you're going to fill it. | 0:14:00 | 0:14:04 | |
Chosen by whom? | 0:14:08 | 0:14:09 | |
By an informed consensus. | 0:14:11 | 0:14:13 | |
I have things to do. | 0:14:15 | 0:14:16 | |
So perhaps you could tell the chosen one | 0:14:18 | 0:14:20 | |
what he's been chosen for. | 0:14:20 | 0:14:22 | |
From now on, Mr Shelby, | 0:14:24 | 0:14:26 | |
you shut your fucking Gypsy mouth and listen to your instructions. | 0:14:26 | 0:14:31 | |
Fuck! | 0:15:00 | 0:15:01 | |
I need the area round the co-operative stables | 0:16:13 | 0:16:16 | |
clear of coppers between midnight and four tonight. | 0:16:16 | 0:16:20 | |
Right. Could I ask why? | 0:16:20 | 0:16:22 | |
Well, whatever it is you're going to do, don't start any fires. | 0:16:25 | 0:16:29 | |
The firemen go out on strike at midnight. | 0:16:29 | 0:16:32 | |
That's all. You can go. | 0:16:32 | 0:16:34 | |
I've got some information you might be interested in. | 0:16:40 | 0:16:43 | |
No charge. | 0:16:43 | 0:16:45 | |
There's an old friend of ours coming back to the city. | 0:16:46 | 0:16:49 | |
Just passing through, he says. | 0:16:49 | 0:16:53 | |
He's very grand these days. | 0:16:53 | 0:16:55 | |
He's head of some secret department - | 0:16:55 | 0:16:57 | |
the Irish Desk. | 0:16:57 | 0:16:59 | |
So I doubt he'll be bothering with the likes of us, eh? | 0:17:00 | 0:17:04 | |
I'll say good night, Tom. | 0:17:06 | 0:17:08 | |
I want to speak to a representative! | 0:17:16 | 0:17:19 | |
MAN CALLS OUT | 0:17:21 | 0:17:25 | |
Father! Father! | 0:17:29 | 0:17:31 | |
It was the Ulsterman, the man with the wolf head! | 0:17:31 | 0:17:34 | |
Get the fuck off me! | 0:17:34 | 0:17:36 | |
You must reconcile yourself with the fate that awaits. | 0:17:36 | 0:17:39 | |
I demand to speak to a representative of His Majesty the King! | 0:17:39 | 0:17:42 | |
Make your peace with God. | 0:17:42 | 0:17:43 | |
A representative of His Majesty the King! | 0:17:43 | 0:17:46 | |
-Father. -Come on. | 0:17:46 | 0:17:49 | |
Where are you going? | 0:17:49 | 0:17:50 | |
Does someone here have business with the King? | 0:17:52 | 0:17:55 | |
Major Campbell. | 0:17:55 | 0:17:57 | |
-SHOUTING CONTINUES -About time. | 0:17:57 | 0:17:59 | |
I am a very busy man, Governor. | 0:18:01 | 0:18:04 | |
In seven and a half minutes, | 0:18:04 | 0:18:06 | |
the man in that cell is due to be hanged for murder. | 0:18:06 | 0:18:09 | |
The murder of an Irish activist in Whitechapel. | 0:18:09 | 0:18:12 | |
Does the case ring any bells, Major Campbell? | 0:18:12 | 0:18:15 | |
No, Governor, | 0:18:16 | 0:18:18 | |
I hear no bells. | 0:18:18 | 0:18:19 | |
Since yesterday morning, | 0:18:21 | 0:18:23 | |
he's been claiming that the murder was ordered | 0:18:23 | 0:18:25 | |
by the British Secret Intelligence Service. | 0:18:25 | 0:18:27 | |
It's a little late to be coming up with nonsense like that, | 0:18:27 | 0:18:30 | |
don't you think? | 0:18:30 | 0:18:31 | |
He was told if he kept his mouth shut | 0:18:31 | 0:18:34 | |
there would be a last-minute pardon, | 0:18:34 | 0:18:36 | |
which has not materialised. | 0:18:36 | 0:18:38 | |
Forgive me, Governor, | 0:18:39 | 0:18:42 | |
but what business is this of mine? | 0:18:42 | 0:18:44 | |
He says the man who hired him | 0:18:46 | 0:18:48 | |
was an Intelligence Service Chief of Staff, | 0:18:48 | 0:18:51 | |
an Ulsterman. | 0:18:51 | 0:18:52 | |
Carries a cane with a wolf-head handle, | 0:18:53 | 0:18:55 | |
a bullet wound in his right leg. | 0:18:55 | 0:18:58 | |
No... | 0:18:58 | 0:19:00 | |
Still no bells. Governor... | 0:19:01 | 0:19:03 | |
..you have a very clear remit. | 0:19:05 | 0:19:09 | |
Part of that remit is to oversee the smooth completion | 0:19:09 | 0:19:13 | |
of executions sanctioned by the Crown. | 0:19:13 | 0:19:16 | |
And in the next four minutes it is your duty to escort that man... | 0:19:17 | 0:19:21 | |
..to the gates of hell. | 0:19:22 | 0:19:24 | |
Is that clear? | 0:19:24 | 0:19:25 | |
And...if you should ever have the desire | 0:19:28 | 0:19:32 | |
to discuss this matter with anyone else... | 0:19:32 | 0:19:34 | |
..I know where you live. | 0:19:36 | 0:19:38 | |
Arthur, Tommy's called a family meeting. | 0:19:52 | 0:19:56 | |
Arthur! | 0:19:58 | 0:19:59 | |
He just beat the shit out of an apprentice. | 0:19:59 | 0:20:01 | |
I had to take half the kid away in buckets. | 0:20:01 | 0:20:04 | |
Arthur! | 0:20:12 | 0:20:13 | |
2,000. | 0:20:18 | 0:20:19 | |
Come on. | 0:20:40 | 0:20:41 | |
Sit down, Finn. | 0:20:49 | 0:20:51 | |
-Where the bloody hell is Tommy? -He's on his way. | 0:21:04 | 0:21:07 | |
All right then, while we're waiting patiently... | 0:21:08 | 0:21:10 | |
Whisky - left over from the explosion. | 0:21:13 | 0:21:18 | |
It's good stuff, as well. | 0:21:20 | 0:21:22 | |
Right... | 0:21:36 | 0:21:38 | |
Before Tommy gets here, | 0:21:38 | 0:21:40 | |
I think there's a few things we need to get straight | 0:21:40 | 0:21:42 | |
between the rest of us. | 0:21:42 | 0:21:44 | |
YOU think? | 0:21:44 | 0:21:45 | |
Yeah. | 0:21:46 | 0:21:47 | |
Yeah, I do. I want to know... | 0:21:49 | 0:21:50 | |
..when did we all take a vote on this expansion south? | 0:21:53 | 0:21:56 | |
If you have anything to say, you wait for Thomas. | 0:22:00 | 0:22:04 | |
Polly's fucking right. | 0:22:04 | 0:22:05 | |
I see all the books. | 0:22:05 | 0:22:07 | |
Legal and off track. | 0:22:08 | 0:22:10 | |
Sort of stuff you don't see. | 0:22:12 | 0:22:14 | |
And in the past year | 0:22:16 | 0:22:18 | |
the Shelby Company Limited | 0:22:18 | 0:22:20 | |
has been making £150... | 0:22:20 | 0:22:25 | |
a day. | 0:22:25 | 0:22:26 | |
Right? A fucking day. | 0:22:28 | 0:22:30 | |
Sometimes more. | 0:22:30 | 0:22:32 | |
So what I want to know | 0:22:32 | 0:22:35 | |
is why are we changing things? | 0:22:35 | 0:22:39 | |
Polly, look what's happened already. | 0:22:39 | 0:22:41 | |
We haven't even set foot in London yet | 0:22:43 | 0:22:44 | |
and they've already blown up our fucking pub. | 0:22:44 | 0:22:47 | |
-Who said anything about cockneys? -Who else? | 0:22:47 | 0:22:49 | |
Do you know who did it, do you? | 0:22:49 | 0:22:51 | |
No, she doesn't know who did it. | 0:22:51 | 0:22:53 | |
I'm told only family are allowed to speak. | 0:22:55 | 0:22:58 | |
Everyone's allowed to speak. | 0:22:58 | 0:22:59 | |
On your feet, Esme, let's hear what you have to say. | 0:23:00 | 0:23:04 | |
I speak for our household. | 0:23:07 | 0:23:08 | |
-So... -John, this company is a modern enterprise | 0:23:10 | 0:23:13 | |
and believes in equal rights for women. | 0:23:13 | 0:23:16 | |
On your feet, Esme. | 0:23:16 | 0:23:17 | |
I'm not a blood member of this family | 0:23:30 | 0:23:33 | |
but perhaps, indeed, because I'm NOT a member | 0:23:33 | 0:23:36 | |
I can see things in a different light. | 0:23:36 | 0:23:38 | |
So I'll get to my point. | 0:23:39 | 0:23:41 | |
That would be nice. | 0:23:41 | 0:23:42 | |
As my husband said, | 0:23:42 | 0:23:44 | |
Shelby Company Limited is now very successful. | 0:23:44 | 0:23:47 | |
But London... | 0:23:47 | 0:23:49 | |
I have kin in Shepherd's Bush and Portobello. | 0:23:49 | 0:23:52 | |
It's more like wars between armies down there. | 0:23:53 | 0:23:56 | |
And the coppers fight side-by-side with them. | 0:23:56 | 0:24:00 | |
And there are foreigners of every description... | 0:24:00 | 0:24:03 | |
..and the use of bombs is the least of it. | 0:24:05 | 0:24:07 | |
I have a child, | 0:24:09 | 0:24:12 | |
blessed with the Shelby family good looks. | 0:24:12 | 0:24:14 | |
I want John to see him grow up. | 0:24:16 | 0:24:18 | |
I want us to someday live somewhere with fresh air and trees | 0:24:20 | 0:24:24 | |
and keep chickens or something. | 0:24:24 | 0:24:26 | |
But London is just smoke and trouble, Thomas. | 0:24:27 | 0:24:31 | |
"Thomas"? | 0:24:31 | 0:24:32 | |
That's all I have to say. | 0:24:36 | 0:24:38 | |
-ARTHUR: -That was a lot of words, a lot of words. | 0:24:40 | 0:24:44 | |
Wash them down with a nice drink. | 0:24:47 | 0:24:49 | |
Thank you, Esme. | 0:24:49 | 0:24:51 | |
Firstly, the bang in the pub was nothing to do with London. | 0:24:53 | 0:24:57 | |
Understood? | 0:24:57 | 0:24:58 | |
The bang is something I'm dealing with on my own. | 0:24:58 | 0:25:01 | |
Secondly, we've nothing to fear from the proposed business expansion | 0:25:01 | 0:25:04 | |
so long as we stick together. | 0:25:04 | 0:25:06 | |
And after the first few weeks, | 0:25:07 | 0:25:09 | |
nine tenths of what we do in London will be legal. | 0:25:09 | 0:25:12 | |
The other tenth is in good hands. Isn't that right, Arthur? | 0:25:12 | 0:25:15 | |
That's right. | 0:25:15 | 0:25:16 | |
Now, some of you in this room have expressed their reservations. | 0:25:18 | 0:25:21 | |
Fair enough. | 0:25:21 | 0:25:22 | |
Any of you who want no part in the future of this company, | 0:25:22 | 0:25:25 | |
walk out the door... | 0:25:25 | 0:25:27 | |
..right now. | 0:25:31 | 0:25:32 | |
Go raise your chickens. | 0:25:34 | 0:25:36 | |
For those of you with ambition... | 0:25:38 | 0:25:40 | |
..the expansion process begins tomorrow. | 0:25:41 | 0:25:44 | |
Tomorrow? | 0:25:56 | 0:25:59 | |
I'm company treasurer, you should speak to me first. | 0:25:59 | 0:26:02 | |
It's Newmarket tomorrow, third busiest day of the year. | 0:26:03 | 0:26:07 | |
We have 18 staff. | 0:26:07 | 0:26:08 | |
Who you trust with 200 quid takings? | 0:26:08 | 0:26:11 | |
Oh, I changed the combination. | 0:26:11 | 0:26:13 | |
So what's going on, Thomas? | 0:26:17 | 0:26:20 | |
Who'd you meet at the Black Lion? | 0:26:21 | 0:26:23 | |
Give me the combination, Polly. | 0:26:25 | 0:26:27 | |
Polly, give me the combination! | 0:26:33 | 0:26:36 | |
What happened to the pub is Irish business. | 0:26:43 | 0:26:46 | |
We're in a situation where, for everyone's safety, | 0:26:46 | 0:26:48 | |
it's best if some things remain undisclosed. | 0:26:48 | 0:26:51 | |
So why tomorrow? | 0:26:52 | 0:26:53 | |
Like you say, tomorrow's Newmarket. | 0:26:56 | 0:26:58 | |
All the London bosses will be at the races. | 0:26:58 | 0:27:01 | |
What, so you just roll up and take the city? | 0:27:01 | 0:27:03 | |
No, we take the opportunity to show our hand. | 0:27:03 | 0:27:06 | |
The Italian gangs and the Jewish gangs | 0:27:09 | 0:27:11 | |
have been at war in London for six months. | 0:27:11 | 0:27:13 | |
It's not our war. | 0:27:13 | 0:27:15 | |
The Jews have been having the worst of it. They need allies. | 0:27:15 | 0:27:17 | |
-Yeah, but we don't. -We need a foothold | 0:27:17 | 0:27:20 | |
at the southern end of the Grand Union. | 0:27:20 | 0:27:22 | |
The Jews control Camden Town. | 0:27:22 | 0:27:24 | |
Your mother said, | 0:27:32 | 0:27:34 | |
"It's his cleverness that'll kill him." | 0:27:34 | 0:27:36 | |
No-one gets killed, Polly. | 0:27:38 | 0:27:40 | |
We go down tomorrow when it's quiet and we leave our message. | 0:27:40 | 0:27:43 | |
If Alfie Solomon and his Camden boys come to us, | 0:27:43 | 0:27:47 | |
we'll negotiate the use of a secure bonded warehouse | 0:27:47 | 0:27:49 | |
and then our legal activities in London can begin. | 0:27:49 | 0:27:52 | |
Now please, open the fucking safe. | 0:27:52 | 0:27:56 | |
Do you know, it was a fine speech you made in there... | 0:28:03 | 0:28:06 | |
..about this company believing in equal rights for women. | 0:28:07 | 0:28:10 | |
But when it comes to it, | 0:28:11 | 0:28:13 | |
you don't listen to a word we say. | 0:28:13 | 0:28:15 | |
Maybe you don't trust us. | 0:28:17 | 0:28:18 | |
She was one woman, Thomas. | 0:28:21 | 0:28:23 | |
Well, maybe it's time you forgot about her. | 0:28:30 | 0:28:32 | |
Forgot about who? | 0:28:32 | 0:28:34 | |
SHE SIGHS | 0:28:34 | 0:28:37 | |
SHE UNLOCKS THE SAFE | 0:28:37 | 0:28:40 | |
You and the boys, go and get yourselves killed. | 0:28:48 | 0:28:51 | |
GRUNTING | 0:29:03 | 0:29:06 | |
HE EXHALES | 0:29:27 | 0:29:29 | |
Are you going to London now? | 0:29:42 | 0:29:44 | |
No, there's something I have to do first. | 0:29:47 | 0:29:50 | |
Oh, I've got a typewriter like that. | 0:29:51 | 0:29:54 | |
I got it out of a catalogue. | 0:29:54 | 0:29:56 | |
I'm doing a correspondence course. | 0:29:56 | 0:29:58 | |
I'm learning to do it with my eyes shut. | 0:30:02 | 0:30:04 | |
It's a test you have to do. | 0:30:04 | 0:30:05 | |
Will you come back before you go? | 0:30:13 | 0:30:15 | |
No. | 0:30:19 | 0:30:21 | |
I wish, just once, you wouldn't pay me, | 0:30:38 | 0:30:41 | |
as if we were ordinary people. | 0:30:41 | 0:30:43 | |
Yeah. | 0:30:43 | 0:30:44 | |
Let's begin. | 0:31:48 | 0:31:50 | |
Hands on the table. | 0:31:50 | 0:31:52 | |
Tonight we have two new pilgrims joining us. | 0:32:00 | 0:32:02 | |
So, let's welcome them. | 0:32:02 | 0:32:04 | |
Starting with you. | 0:32:10 | 0:32:12 | |
Who is it that you're seeking to reach? | 0:32:12 | 0:32:15 | |
My husband. | 0:32:15 | 0:32:17 | |
He was taken six months ago by the influenza. | 0:32:17 | 0:32:21 | |
I tried to reach him through Mrs Breach at Sparkhill | 0:32:21 | 0:32:24 | |
but she kept getting his middle name wrong. | 0:32:24 | 0:32:27 | |
Don't talk about Mrs Breach in this house. | 0:32:27 | 0:32:30 | |
She's an un-sanctified charlatan. | 0:32:31 | 0:32:34 | |
And you? | 0:32:39 | 0:32:40 | |
Who do you seek? | 0:32:43 | 0:32:44 | |
Well, the truth... | 0:32:46 | 0:32:48 | |
Sorry, the truth is, I'm not even sure she's dead. | 0:32:48 | 0:32:51 | |
So I came here to find out. | 0:32:51 | 0:32:53 | |
Er... | 0:32:58 | 0:32:59 | |
You see, my son and my daughter | 0:33:01 | 0:33:04 | |
were taken from me when they were very small - | 0:33:04 | 0:33:07 | |
taken by the parish authorities. | 0:33:07 | 0:33:08 | |
And I never knew what happened to them. | 0:33:08 | 0:33:11 | |
But lately... | 0:33:11 | 0:33:15 | |
I've had a feeling. | 0:33:17 | 0:33:18 | |
Like, a feeling... | 0:33:20 | 0:33:21 | |
I can't put it into words. | 0:33:26 | 0:33:27 | |
And I keep having a dream. | 0:33:29 | 0:33:31 | |
I see a pretty girl, | 0:33:35 | 0:33:39 | |
about 18 years old. | 0:33:39 | 0:33:40 | |
And she's standing across the street... | 0:33:42 | 0:33:45 | |
..and she tells me she's passed over. | 0:33:47 | 0:33:51 | |
Now, my daughter would have been 18 this year. | 0:33:51 | 0:33:55 | |
On May 15th. | 0:33:56 | 0:33:58 | |
And this girl has dark eyes like mine. | 0:34:04 | 0:34:07 | |
And she shouts...and shouts. | 0:34:12 | 0:34:16 | |
And she tells me she wants to talk to me | 0:34:18 | 0:34:22 | |
because I'm her mother. | 0:34:22 | 0:34:23 | |
Now, I don't even know what name they gave her | 0:34:28 | 0:34:33 | |
after they stole her from me. | 0:34:33 | 0:34:34 | |
But if she does want to say goodbye... | 0:34:38 | 0:34:40 | |
I thought this would be the place. | 0:34:41 | 0:34:43 | |
You're wearing the Black Madonna. | 0:34:47 | 0:34:50 | |
You're Gypsy? | 0:34:50 | 0:34:51 | |
The part of me that dreams is Gypsy. | 0:34:53 | 0:34:55 | |
My maiden name is Shelby. | 0:35:10 | 0:35:12 | |
So... | 0:35:22 | 0:35:23 | |
..perhaps you could do me first. | 0:35:25 | 0:35:27 | |
No! | 0:35:34 | 0:35:36 | |
SHE YELLS | 0:35:38 | 0:35:40 | |
No! | 0:35:40 | 0:35:42 | |
NO! | 0:35:44 | 0:35:45 | |
SHE CRIES | 0:35:52 | 0:35:54 | |
WHIMPERING: No... | 0:35:57 | 0:35:59 | |
CLANGING | 0:36:01 | 0:36:03 | |
# But if you come | 0:36:39 | 0:36:41 | |
# And all the flowers are dying | 0:36:41 | 0:36:45 | |
# And I am dead | 0:36:47 | 0:36:49 | |
# As dead I well may be | 0:36:49 | 0:36:53 | |
# You'll come and find | 0:36:56 | 0:36:59 | |
# The place where I am lying | 0:36:59 | 0:37:03 | |
# And kneel and say | 0:37:05 | 0:37:08 | |
# An "Ave" there for me | 0:37:08 | 0:37:13 | |
# And I will know | 0:37:15 | 0:37:18 | |
# Though soft ye tread above me | 0:37:18 | 0:37:22 | |
# And then my grave | 0:37:24 | 0:37:26 | |
# Will richer, sweeter be | 0:37:26 | 0:37:30 | |
# And you'll bend down | 0:37:33 | 0:37:36 | |
# And tell me that you love me | 0:37:36 | 0:37:42 | |
# And I will rest in peace | 0:37:44 | 0:37:47 | |
# Until you come to me. # | 0:37:47 | 0:37:54 | |
Eamonn Duggan? | 0:37:54 | 0:37:55 | |
All right, Tommy's here. | 0:38:19 | 0:38:21 | |
Hang on! | 0:38:21 | 0:38:23 | |
John! | 0:38:29 | 0:38:30 | |
I'm coming! | 0:38:30 | 0:38:31 | |
7 o'clock, 12 o'clock, | 0:38:40 | 0:38:42 | |
10 if I'm still sober. | 0:38:42 | 0:38:44 | |
I got it from the doctor - | 0:38:44 | 0:38:47 | |
it keeps me nice and calm. | 0:38:47 | 0:38:49 | |
Same thing they gave us in the trenches | 0:38:52 | 0:38:54 | |
to stop us fucking wanking. | 0:38:54 | 0:38:56 | |
Polly said it's good for me temper. | 0:38:56 | 0:38:58 | |
-It slows me down, Tom. -Arthur... | 0:38:58 | 0:39:00 | |
there are some things Polly doesn't understand. | 0:39:00 | 0:39:03 | |
-I need you fast. Not slow, eh? -DOOR OPENS | 0:39:03 | 0:39:07 | |
She wouldn't let go of my fucking leg. | 0:39:07 | 0:39:09 | |
-I bet that's not all she wouldn't let go of! -Right. | 0:39:09 | 0:39:11 | |
You know she's against this, Tom. She's got opinions. | 0:39:11 | 0:39:14 | |
Nothing wrong with opinions, John. | 0:39:14 | 0:39:16 | |
-Get in the fucking car. -Shut up! | 0:39:16 | 0:39:18 | |
-ARTHUR SHOUTS: -Right! | 0:39:23 | 0:39:24 | |
The Peaky Blinders are going on fucking holiday! | 0:39:24 | 0:39:27 | |
Sit down, you mad bastard. | 0:39:27 | 0:39:29 | |
DOOR CLOSES | 0:39:35 | 0:39:38 | |
You're against this the same as me, aren't you? | 0:39:54 | 0:39:57 | |
Look out for anyone putting big money on Divine Star | 0:39:59 | 0:40:02 | |
in the 3:30 at Newmarket. | 0:40:02 | 0:40:03 | |
She's one of ours. | 0:40:04 | 0:40:06 | |
Anything over £1, tell me. | 0:40:06 | 0:40:09 | |
Polly... | 0:40:16 | 0:40:17 | |
I don't wish to pry into your business | 0:40:19 | 0:40:21 | |
but you should know something. | 0:40:21 | 0:40:24 | |
That woman is a trickster. | 0:40:24 | 0:40:27 | |
What woman? | 0:40:27 | 0:40:29 | |
Her sister was in the wash house early, | 0:40:29 | 0:40:32 | |
boasting there'd been a Shelby at the table. | 0:40:32 | 0:40:34 | |
What woman? | 0:40:38 | 0:40:39 | |
Gypsies talk to each other. | 0:40:40 | 0:40:42 | |
What woman? | 0:40:44 | 0:40:46 | |
You went to see Mrs Price in the Patch last night. | 0:40:49 | 0:40:51 | |
I'm sorry... | 0:40:57 | 0:40:59 | |
So what do you know? | 0:40:59 | 0:41:00 | |
I know they push the glass. | 0:41:00 | 0:41:02 | |
The man, it's her cousin. He pushes the glass. | 0:41:02 | 0:41:05 | |
It's a trick. | 0:41:05 | 0:41:06 | |
They tell you what you already believe. | 0:41:06 | 0:41:09 | |
She set up after the war because of all the widows. | 0:41:10 | 0:41:14 | |
Polly, I just thought you should know. | 0:41:14 | 0:41:18 | |
And in this fucking wash house, | 0:41:18 | 0:41:20 | |
did they tell you why I went there? | 0:41:20 | 0:41:21 | |
You tell a soul in this family, | 0:41:28 | 0:41:32 | |
and I swear I will cut you. | 0:41:32 | 0:41:36 | |
I don't need a knife to stop me telling secrets given in confidence. | 0:41:38 | 0:41:42 | |
It is a matter of honour. | 0:41:43 | 0:41:45 | |
Look at this! Look. | 0:42:06 | 0:42:08 | |
I love it. | 0:42:08 | 0:42:09 | |
Your Esme was right about one thing - | 0:42:09 | 0:42:12 | |
you can't beat the countryside. | 0:42:12 | 0:42:15 | |
You know, I think I want to live in the country one day... | 0:42:15 | 0:42:19 | |
..and keep chickens. | 0:42:20 | 0:42:21 | |
Yeah, we'll see you in London, Arthur. | 0:42:21 | 0:42:24 | |
-Oh, for fuck's sake! -Take these. | 0:42:29 | 0:42:31 | |
We need to bury him. | 0:42:34 | 0:42:36 | |
Who the fuck is that? | 0:42:36 | 0:42:38 | |
It's Irish business. | 0:42:38 | 0:42:39 | |
I thought it best if I deal with it on my own. | 0:42:39 | 0:42:42 | |
Come on, we did a thousand of these in France. | 0:42:42 | 0:42:45 | |
John, grab his head. | 0:42:45 | 0:42:46 | |
So, we're not really going to London? | 0:42:46 | 0:42:49 | |
Once we bury him, | 0:42:49 | 0:42:51 | |
then the holiday begins. | 0:42:51 | 0:42:54 | |
GIGGLING | 0:43:00 | 0:43:02 | |
CAR HORN TOOTS | 0:43:02 | 0:43:05 | |
Much obliged. | 0:43:19 | 0:43:20 | |
BAND PLAYS ENERGETICALLY | 0:43:23 | 0:43:25 | |
It's a fucking freak show. | 0:43:29 | 0:43:32 | |
What the fuck is that racket? | 0:43:51 | 0:43:54 | |
-This is what they call music these days, brother. -Music?! | 0:43:54 | 0:43:57 | |
Oi! | 0:44:15 | 0:44:16 | |
Oi! Put it away. | 0:44:16 | 0:44:18 | |
Fuck off! | 0:44:18 | 0:44:20 | |
Fucking look at this spot, eh? | 0:44:25 | 0:44:27 | |
It's all right, isn't it? | 0:44:27 | 0:44:29 | |
Irish whisky - a bottle. | 0:44:33 | 0:44:37 | |
And hurry up! | 0:44:37 | 0:44:38 | |
MUSIC DROWNS SPEECH | 0:44:41 | 0:44:42 | |
Fucking hell, | 0:44:42 | 0:44:44 | |
I recognise a few of these lads. | 0:44:44 | 0:44:46 | |
That's Sabini's cousin, over there. | 0:44:49 | 0:44:51 | |
That's right, Arthur, it's Sabini's club. | 0:44:51 | 0:44:54 | |
Jesus Christ, everybody in here's a fucking face. | 0:44:54 | 0:44:57 | |
Just the lieutenants, John. No sign of the officers. | 0:44:57 | 0:45:01 | |
Right, let's line them up. | 0:45:03 | 0:45:05 | |
Holiday! | 0:45:07 | 0:45:08 | |
Gentlemen, there's been a mistake. | 0:45:10 | 0:45:12 | |
I'm afraid you're going to have to leave. | 0:45:12 | 0:45:14 | |
We just bought a fucking bottle. | 0:45:15 | 0:45:17 | |
Some of the men here recognise you from the racetracks in the north. | 0:45:17 | 0:45:20 | |
Yeah, we get that a lot. | 0:45:20 | 0:45:23 | |
They say you have no business coming south of the line | 0:45:23 | 0:45:26 | |
without prior agreement. | 0:45:26 | 0:45:28 | |
And what line would that be, my friend? | 0:45:28 | 0:45:30 | |
They say this is provocation. | 0:45:32 | 0:45:34 | |
Right, well, you tell them we're on holiday. | 0:45:35 | 0:45:39 | |
You're breaking the rules. | 0:45:41 | 0:45:42 | |
They say you are the Peaky Blinders... | 0:45:44 | 0:45:47 | |
-MAN SHOUTS: -Peaky scum! | 0:45:47 | 0:45:49 | |
BAND CONTINUES PLAYING | 0:45:53 | 0:45:55 | |
-HE LAUGHS -Who the fuck's next? | 0:46:10 | 0:46:14 | |
Come here! | 0:46:17 | 0:46:19 | |
PEOPLE SHRIEK | 0:46:25 | 0:46:27 | |
Put some ice on 'em! | 0:46:27 | 0:46:29 | |
Get out. | 0:46:33 | 0:46:35 | |
Yeah? | 0:46:38 | 0:46:40 | |
Yeah? | 0:46:42 | 0:46:44 | |
Are you going to use that? | 0:46:44 | 0:46:45 | |
Didn't think so. | 0:46:50 | 0:46:51 | |
We came here... | 0:47:08 | 0:47:10 | |
not to make enemies... | 0:47:10 | 0:47:12 | |
No! | 0:47:14 | 0:47:15 | |
We came here to make new friends. | 0:47:16 | 0:47:19 | |
Those of you who are last | 0:47:23 | 0:47:26 | |
will soon be first. | 0:47:26 | 0:47:28 | |
And those of you who are downtrodden | 0:47:32 | 0:47:35 | |
will rise up. | 0:47:35 | 0:47:36 | |
Yip. | 0:47:38 | 0:47:39 | |
You know where to find us. | 0:47:41 | 0:47:42 | |
I think I've lost a tooth. | 0:47:51 | 0:47:53 | |
I'll have none left at this rate! | 0:47:53 | 0:47:55 | |
Some fucking holiday this is. | 0:47:57 | 0:47:58 | |
Yeah? You all right without your fucking medicine, Arthur? | 0:47:58 | 0:48:02 | |
-Here, this'll fix you. -Give me that! | 0:48:02 | 0:48:04 | |
You, John boy...eh? How are you? | 0:48:04 | 0:48:06 | |
-Or should I ask your fucking wife? -Oh, give over! | 0:48:06 | 0:48:09 | |
No more talk of chickens, do you hear me? | 0:48:09 | 0:48:11 | |
Fuck the chickens. | 0:48:11 | 0:48:12 | |
I've 50 quid in me pocket. | 0:48:12 | 0:48:14 | |
Let's paint the town, eh? | 0:48:14 | 0:48:16 | |
JOHN CHEERS | 0:48:16 | 0:48:18 | |
-KNOCK ON DOOR -Come. | 0:48:18 | 0:48:20 | |
-Oh, dear God! -Good Lord, I assumed it was Betty with tea. | 0:48:23 | 0:48:29 | |
Forgive me, sir, but your secretary was not at the desk. | 0:48:29 | 0:48:32 | |
No, because she takes lunch - like normal people. | 0:48:32 | 0:48:36 | |
And you can turn around, | 0:48:36 | 0:48:37 | |
this lady is a professional life model. | 0:48:37 | 0:48:40 | |
She does this for a living. | 0:48:40 | 0:48:41 | |
I'm more than happy to come back later, sir. | 0:48:43 | 0:48:46 | |
No, no, no. Later on I'm in the house. Just, erm... | 0:48:46 | 0:48:49 | |
..keep your back turned, if you must. | 0:48:50 | 0:48:53 | |
MAJOR CAMPBELL MUMBLES | 0:48:53 | 0:48:55 | |
I would guess you haven't been exposed to Bohemian society, Major? | 0:48:58 | 0:49:02 | |
Well, I...I...play cards on occasion. | 0:49:04 | 0:49:07 | |
You're a stranger to cocaine and exotic dancing, too, I imagine. | 0:49:07 | 0:49:12 | |
I find the more obvious vices the easiest to resist. | 0:49:12 | 0:49:16 | |
It's the sneaky little obscure ones that bring you to your knees, yes? | 0:49:16 | 0:49:20 | |
So what business is so urgent it trumps lunch? | 0:49:21 | 0:49:26 | |
Well, sir, our man in Birmingham | 0:49:26 | 0:49:28 | |
has passed his first test with flying colours. | 0:49:28 | 0:49:30 | |
Oh, I'm horrible at faces. | 0:49:30 | 0:49:32 | |
So I think we can begin to prepare him for the bigger task. | 0:49:32 | 0:49:37 | |
-Expressions elude me, I think too much. -Sir? | 0:49:37 | 0:49:41 | |
I need your authority to proceed with all urgency | 0:49:41 | 0:49:47 | |
in preparing the new man for the bigger task. | 0:49:47 | 0:49:51 | |
You're talking about your bookmaker. | 0:49:51 | 0:49:54 | |
Yes, sir. | 0:49:54 | 0:49:55 | |
You have a history with this man. Why did you choose him? | 0:49:55 | 0:49:58 | |
To apply pressure on a man for this type of work | 0:50:00 | 0:50:04 | |
you have to know his weaknesses | 0:50:04 | 0:50:05 | |
and I know this man's weaknesses intimately. | 0:50:05 | 0:50:09 | |
And after "mission accomplished", | 0:50:09 | 0:50:12 | |
do we trust him to keep his mouth shut? | 0:50:12 | 0:50:15 | |
Absolutely not, sir. | 0:50:15 | 0:50:16 | |
So when he's served his purpose, | 0:50:18 | 0:50:20 | |
he will be consigned to history | 0:50:20 | 0:50:22 | |
in exactly the same way as his predecessor. | 0:50:22 | 0:50:24 | |
You mean at the end of a rope? | 0:50:24 | 0:50:28 | |
Well, the end of the rope | 0:50:28 | 0:50:30 | |
has been this man's destiny since the night he was born. | 0:50:30 | 0:50:34 | |
DOOR OPENS | 0:51:00 | 0:51:03 | |
You're early. | 0:51:03 | 0:51:04 | |
Shut your eyes, Lizzie. | 0:51:06 | 0:51:08 | |
What? | 0:51:08 | 0:51:09 | |
Shut your eyes. Go on, shut your eyes. | 0:51:09 | 0:51:12 | |
Good. | 0:51:14 | 0:51:15 | |
Now, come with me. | 0:51:15 | 0:51:17 | |
No, shut your eyes! | 0:51:17 | 0:51:18 | |
-SHE LAUGHS -This way. -What are you doing, Tom? | 0:51:18 | 0:51:22 | |
You've got to sit down here. Right... | 0:51:22 | 0:51:24 | |
Sit down. Now, OK... | 0:51:25 | 0:51:29 | |
-Type this. -Why? | 0:51:29 | 0:51:31 | |
Lizzie, type this. | 0:51:31 | 0:51:33 | |
"If wi..." Put your cigarette down. | 0:51:33 | 0:51:36 | |
Right. "If winter comes..." | 0:51:36 | 0:51:38 | |
-SHE STARTS TYPING -"..then can spring be far behind?" | 0:51:38 | 0:51:43 | |
Why?! Did you say spring? | 0:51:43 | 0:51:46 | |
Lizzie, what comes after winter? | 0:51:46 | 0:51:49 | |
Let's see. | 0:51:52 | 0:51:54 | |
That's a question. Where's the question mark? | 0:51:54 | 0:51:56 | |
Put in the question mark. | 0:51:56 | 0:51:59 | |
Now type this. | 0:51:59 | 0:52:00 | |
"Wanted - secretary for expanding business." | 0:52:00 | 0:52:04 | |
Slow down! | 0:52:04 | 0:52:05 | |
"Must be able to take dictation and touch-type." | 0:52:05 | 0:52:08 | |
"Five days a week. | 0:52:09 | 0:52:12 | |
"Eight pounds and four shillings a month. | 0:52:12 | 0:52:15 | |
"Must be able to start immediately." | 0:52:15 | 0:52:17 | |
Are you serious? | 0:52:18 | 0:52:20 | |
Things are starting to happen, Lizzie. | 0:52:23 | 0:52:26 | |
I need someone who can look the other way sometimes. | 0:52:27 | 0:52:30 | |
And you can stop the other work too, Lizzie. | 0:52:38 | 0:52:40 | |
All of it this time. | 0:52:42 | 0:52:44 | |
No exceptions. | 0:52:46 | 0:52:47 | |
Eight o'clock, Monday morning, the upstairs office. | 0:52:53 | 0:52:56 | |
Don't be late. | 0:52:56 | 0:52:57 | |
DOOR OPENS | 0:53:08 | 0:53:10 | |
Newmarket was profitable. | 0:53:10 | 0:53:12 | |
Arthur told me how you left your message. | 0:53:12 | 0:53:15 | |
And when I asked him where his medicine was, | 0:53:15 | 0:53:18 | |
he said you poured it away. | 0:53:18 | 0:53:20 | |
All I poured away was opium and bromide. | 0:53:20 | 0:53:23 | |
Oh, that's how it works in London, isn't it? | 0:53:23 | 0:53:26 | |
Every boss has to have a mad dog at his side. | 0:53:26 | 0:53:28 | |
Yeah, somebody who can't be predicted, somebody mad in the head. | 0:53:28 | 0:53:32 | |
But Thomas Shelby uses his own brother. | 0:53:32 | 0:53:34 | |
-Stop fucking fighting me! -Somebody has to. | 0:53:34 | 0:53:37 | |
That arrived an hour ago. | 0:53:38 | 0:53:40 | |
There's no name on it but it comes from Camden Town. | 0:53:40 | 0:53:43 | |
I was going to burn it. | 0:53:43 | 0:53:45 | |
I should have. | 0:53:45 | 0:53:46 | |
Well done, Tommy, you've picked a side. | 0:53:46 | 0:53:50 | |
Now you're at war with Sabini. | 0:53:50 | 0:53:51 | |
Ada, are you coming for a drink? | 0:54:31 | 0:54:34 | |
No, the woman upstairs is looking after Karl. | 0:54:34 | 0:54:37 | |
She goes mad if I'm late! | 0:54:37 | 0:54:38 | |
Ada Shelby? | 0:55:09 | 0:55:11 | |
No. | 0:55:11 | 0:55:12 | |
THEY GRUNT | 0:55:14 | 0:55:16 | |
Your brother broke the rules. | 0:55:20 | 0:55:22 | |
I don't have a fucking brother. | 0:55:22 | 0:55:24 | |
Me and my friends here need a bit of female company. | 0:55:24 | 0:55:26 | |
-Let's go for a drive. -No! | 0:55:26 | 0:55:28 | |
-Hold her steady, boys. -Get off! | 0:55:28 | 0:55:30 | |
SHE YELLS | 0:55:36 | 0:55:38 | |
Fucking hold him! | 0:55:42 | 0:55:43 | |
TOMMY GROANS | 0:55:50 | 0:55:53 | |
Tommy Shelby, I missed you at my club. | 0:56:13 | 0:56:17 | |
I was at the races. | 0:56:17 | 0:56:20 | |
Sabini. | 0:56:20 | 0:56:21 | |
Don't say my name. | 0:56:24 | 0:56:25 | |
Jesus! | 0:56:26 | 0:56:28 | |
Franco, take my name out of his mouth. | 0:56:28 | 0:56:32 | |
TOMMY GROANS AND GURGLES | 0:56:34 | 0:56:37 | |
While you're in there, do a bit of digging for gold. | 0:56:41 | 0:56:44 | |
Pay for the petrol. | 0:56:44 | 0:56:45 | |
HE MOANS | 0:56:45 | 0:56:48 | |
HE SPLUTTERS | 0:56:52 | 0:56:55 | |
You see how much I know about you? | 0:57:01 | 0:57:03 | |
I even know what's in your fucking mouth. | 0:57:03 | 0:57:06 | |
Look at me. | 0:57:07 | 0:57:08 | |
Look at me! | 0:57:08 | 0:57:10 | |
Look at me. | 0:57:10 | 0:57:11 | |
You take up with the Jews. | 0:57:13 | 0:57:15 | |
Yeah, you think that's what London's all about. | 0:57:15 | 0:57:17 | |
You can just come down, pick a side. | 0:57:17 | 0:57:20 | |
You fucking clown! | 0:57:20 | 0:57:22 | |
Now your life is over. | 0:57:22 | 0:57:24 | |
My face is the last thing you'll ever see on earth. | 0:57:25 | 0:57:29 | |
Your mistake. | 0:57:29 | 0:57:31 | |
You remember that when you get to hell. | 0:57:31 | 0:57:33 | |
Finish him off. | 0:57:39 | 0:57:40 | |
GUNSHOTS AND SHOUTING | 0:57:42 | 0:57:45 | |
WHISTLES BLOW | 0:57:45 | 0:57:48 | |
CAR ENGINE STARTS | 0:57:51 | 0:57:53 | |
FOOTSTEPS DRAW NEAR | 0:57:53 | 0:57:55 | |
MAJOR CAMPBELL: I suppose we should see if the bastard's still alive. | 0:58:08 | 0:58:12 | |
# On a gathering storm comes a tall, handsome man | 0:58:37 | 0:58:42 | |
# In a dusty black coat | 0:58:42 | 0:58:44 | |
# With a red right hand. # | 0:58:44 | 0:58:46 |