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This programme contains some violent scenes, strong language and scenes of a sexual nature | 0:00:02 | 0:00:06 | |
What happened to the pub is Irish business. | 0:00:06 | 0:00:08 | |
-Shut your gypsy mouth and listen to your instructions. -Eamonn Duggan? | 0:00:08 | 0:00:11 | |
My son and my daughter were taken from me when they were very small. | 0:00:11 | 0:00:14 | |
We're planning an expansion. I'm taking premises in London. | 0:00:14 | 0:00:18 | |
The Italian gangs and the Jewish gangs have been at war in London. | 0:00:18 | 0:00:21 | |
The Jews have had the worst of it. They need allies. | 0:00:21 | 0:00:24 | |
We take the opportunity to show our hand. | 0:00:24 | 0:00:26 | |
That arrived an hour ago. | 0:00:28 | 0:00:30 | |
There's no name on it, but it comes from Camden Town. | 0:00:30 | 0:00:32 | |
Well done, Tommy. Now you're at war with Sabini. | 0:00:32 | 0:00:36 | |
-Ada Shelby? -No. -Your brother broke the rules. | 0:00:36 | 0:00:39 | |
Sabini. | 0:00:41 | 0:00:42 | |
My face is the last thing you'll ever see on earth. | 0:00:42 | 0:00:45 | |
See if the bastard's still alive. | 0:00:46 | 0:00:48 | |
# Please don't reproach me | 0:00:52 | 0:00:57 | |
# For, for how empty | 0:00:57 | 0:01:03 | |
# My life has become | 0:01:03 | 0:01:08 | |
# I don't know what really happened | 0:01:08 | 0:01:14 | |
# I watched your disappointment | 0:01:14 | 0:01:19 | |
# At being misunderstood | 0:01:19 | 0:01:24 | |
# I-I-I... | 0:01:25 | 0:01:31 | |
# Forgive you. # | 0:01:31 | 0:01:36 | |
SHOUTING | 0:01:41 | 0:01:43 | |
SCREECH OF BRAKES | 0:01:43 | 0:01:45 | |
It's all right, Miss Shelby. We work with Tommy. | 0:01:54 | 0:01:57 | |
We're Peaky Blinders. | 0:01:57 | 0:01:58 | |
My name is not Shelby! | 0:02:01 | 0:02:03 | |
Ready for a visitor, Mr Shelby? | 0:02:20 | 0:02:22 | |
No. | 0:02:23 | 0:02:24 | |
I'm here on the King's orders. | 0:02:24 | 0:02:27 | |
I'm afraid I must insist. | 0:02:27 | 0:02:30 | |
Ah, you paid extra for daylight. | 0:02:31 | 0:02:34 | |
The racketeering business must be booming. | 0:02:36 | 0:02:39 | |
HE CHUCKLES | 0:02:39 | 0:02:41 | |
Are you not going to thank me for saving your life? | 0:02:44 | 0:02:47 | |
Pass my cigarettes? | 0:02:51 | 0:02:53 | |
Three nights ago, | 0:03:06 | 0:03:08 | |
at the co-operative stables in Montague Street, | 0:03:08 | 0:03:11 | |
there was a murder. | 0:03:11 | 0:03:13 | |
A man named Duggan. | 0:03:13 | 0:03:15 | |
The Oxfordshire constabulary found his body in a shallow grave. | 0:03:17 | 0:03:22 | |
I need to piss. | 0:03:24 | 0:03:25 | |
Nurse? | 0:03:27 | 0:03:28 | |
I know that it was you who carried out the murder of Mr Duggan. | 0:03:29 | 0:03:33 | |
Oh, by the way... | 0:03:51 | 0:03:54 | |
Grace, she went to New York. | 0:03:56 | 0:03:59 | |
A place called, er... | 0:03:59 | 0:04:00 | |
Poughkeepsie. | 0:04:02 | 0:04:04 | |
She's married now. | 0:04:06 | 0:04:07 | |
To a banker. He's rich. | 0:04:08 | 0:04:10 | |
I am sure she is very happy. | 0:04:10 | 0:04:12 | |
You have been under my microscope for some weeks now. | 0:04:14 | 0:04:17 | |
I have been observing every move you make. | 0:04:17 | 0:04:20 | |
That is why I was on hand to save your life. | 0:04:20 | 0:04:23 | |
I imagine being shot by a woman | 0:04:24 | 0:04:27 | |
hurts the same as being shot by a man. | 0:04:28 | 0:04:30 | |
Just a bit more shameful. | 0:04:31 | 0:04:33 | |
You know, Mr Campbell, when I got shot they gave me a medal. | 0:04:34 | 0:04:39 | |
Yeah. | 0:04:41 | 0:04:42 | |
(No medal for you I bet.) | 0:04:43 | 0:04:44 | |
Mr Shelby... | 0:04:46 | 0:04:47 | |
our reunion... | 0:04:49 | 0:04:51 | |
..is part of a very carefully worked out plan, | 0:04:53 | 0:04:56 | |
which has been in place for some time now. | 0:04:56 | 0:04:58 | |
Every time you lean on that stick I bet you see her face. | 0:05:00 | 0:05:04 | |
As a result of the information in my possession, | 0:05:04 | 0:05:07 | |
I can charge you with murder at any time | 0:05:08 | 0:05:11 | |
and provide two impeccable crown witnesses | 0:05:11 | 0:05:14 | |
whose testimony will lead you directly to the gallows. | 0:05:14 | 0:05:20 | |
You are on my hook, Mr Shelby. | 0:05:20 | 0:05:24 | |
And from this moment forward... | 0:05:24 | 0:05:26 | |
..you belong to me. | 0:05:28 | 0:05:30 | |
So, get well quickly. | 0:05:33 | 0:05:34 | |
I'll be in touch the moment I hear you can piss standing up. | 0:05:36 | 0:05:40 | |
Then I will send you your instructions. | 0:05:40 | 0:05:42 | |
Curly, you left the gate open? | 0:05:57 | 0:05:59 | |
No, I locked it. I pinched myself when I did it. | 0:05:59 | 0:06:02 | |
Get this stuff under cover. | 0:06:02 | 0:06:04 | |
Hey! | 0:06:06 | 0:06:08 | |
Who goes there? | 0:06:08 | 0:06:09 | |
Tommy? | 0:06:15 | 0:06:16 | |
Curly, get that oil you put on the legs when they go lame. | 0:06:16 | 0:06:19 | |
Are you fucking mad, Doyle? | 0:06:19 | 0:06:21 | |
The yellow stuff. Go on. | 0:06:21 | 0:06:23 | |
They said you'd be in for another three weeks. | 0:06:25 | 0:06:28 | |
I need to get on a boat to London. | 0:06:28 | 0:06:30 | |
Tonight. | 0:06:30 | 0:06:31 | |
You discharged yourself? | 0:06:34 | 0:06:36 | |
I'm a fucking sitting duck in there, Charlie. | 0:06:36 | 0:06:39 | |
Sabini could send a man at any time. | 0:06:39 | 0:06:41 | |
I need to get some things done. | 0:06:41 | 0:06:43 | |
You're burning up. | 0:06:43 | 0:06:44 | |
-Here. -Oh, Tommy! That stuff's for rubbing into fucking horses. | 0:06:45 | 0:06:50 | |
Ha! I am a horse. | 0:06:50 | 0:06:52 | |
If you were a horse, they'd shoot you with this many broken bones. | 0:06:52 | 0:06:56 | |
Get the black powder, Curly. Go. The black powder. | 0:06:56 | 0:07:00 | |
You pay for a bloody hospital and you're using witchcraft? | 0:07:00 | 0:07:05 | |
I need to sleep in the open air and feel the boat under me, Charlie. | 0:07:05 | 0:07:08 | |
Oh, Tommy. You're just like your mother. | 0:07:08 | 0:07:12 | |
Do you have a boat here? | 0:07:12 | 0:07:14 | |
Only the January. She's heavy. | 0:07:15 | 0:07:17 | |
London will take four days. | 0:07:17 | 0:07:19 | |
That'll do. Can you spare Curly? | 0:07:19 | 0:07:21 | |
He'll be my doctor. | 0:07:22 | 0:07:23 | |
Then God help you. | 0:07:25 | 0:07:26 | |
You have tobacco, Curly? | 0:07:26 | 0:07:28 | |
And tea and whisky. We'll have you running around like a colt. | 0:07:28 | 0:07:32 | |
Get him aboard. I'll fill her up. | 0:07:32 | 0:07:35 | |
If I sleep all the way, it's Camden Town we're heading for. | 0:07:35 | 0:07:38 | |
What business do you have in Camden Town, Tommy? | 0:07:38 | 0:07:40 | |
Tell Polly she's in charge while I'm away. | 0:07:40 | 0:07:42 | |
If I don't come back, tell her she's in charge for good. | 0:07:44 | 0:07:47 | |
# The ceiling is moving | 0:07:55 | 0:07:59 | |
# Moving in time | 0:07:59 | 0:08:03 | |
# Like a conveyor belt | 0:08:04 | 0:08:09 | |
# Above my eyes | 0:08:09 | 0:08:14 | |
# When under ether | 0:08:14 | 0:08:18 | |
# The mind comes alive | 0:08:18 | 0:08:23 | |
# But conscious of nothing | 0:08:23 | 0:08:27 | |
# But the will to survive | 0:08:27 | 0:08:31 | |
# Something's inside me | 0:08:32 | 0:08:37 | |
# Unborn and unblessed | 0:08:37 | 0:08:41 | |
# Disappears in the ether | 0:08:41 | 0:08:46 | |
# This world to the next | 0:08:46 | 0:08:49 | |
# Disappears in the ether | 0:08:50 | 0:08:55 | |
# One world to the next | 0:08:55 | 0:09:00 | |
# Human kindness. # | 0:09:02 | 0:09:08 | |
You hungry yet, Tommy? | 0:09:16 | 0:09:18 | |
You know what, Curly? | 0:09:24 | 0:09:25 | |
I think I am. | 0:09:26 | 0:09:27 | |
Where are we? | 0:09:29 | 0:09:30 | |
Heathrow. One more day and we'll be there. | 0:09:30 | 0:09:33 | |
I'll put something in the pan. Can you steer? | 0:09:33 | 0:09:36 | |
Give it a go. | 0:09:36 | 0:09:37 | |
You're almost there, too, Tommy. | 0:09:41 | 0:09:43 | |
TRAINS WHISTLE SOUNDS | 0:09:49 | 0:09:52 | |
Fucking hell, lads. Calm down. | 0:10:15 | 0:10:17 | |
Put him down, Ollie. Put him down, mate. | 0:10:22 | 0:10:26 | |
He's only little. | 0:10:26 | 0:10:28 | |
You on your own? | 0:10:30 | 0:10:32 | |
Seems so. | 0:10:34 | 0:10:35 | |
You're a brave lad, ain't you? You want to take a look at my bakery? | 0:10:35 | 0:10:38 | |
We bake all sorts here mate, yeah. | 0:10:40 | 0:10:42 | |
Did you know we bake over 10,000 loaves a week? | 0:10:42 | 0:10:45 | |
Can you believe it? | 0:10:45 | 0:10:47 | |
We bake the white bread, we bake the brown bread. | 0:10:47 | 0:10:50 | |
We bake all sorts. Would you like to try some? | 0:10:50 | 0:10:54 | |
Bread? Yeah? | 0:10:58 | 0:11:01 | |
All right. | 0:11:01 | 0:11:03 | |
What would you like, brown or white? | 0:11:03 | 0:11:05 | |
Try the brown. | 0:11:05 | 0:11:08 | |
Brown, right. | 0:11:08 | 0:11:10 | |
Not bad... | 0:11:21 | 0:11:23 | |
"Not bad," eh? "Not bad." | 0:11:23 | 0:11:27 | |
It's fucking awful, that stuff. | 0:11:29 | 0:11:31 | |
The fucking brown stuff is for the workers. | 0:11:31 | 0:11:34 | |
The white stuff, now that IS for the bosses. Come look. | 0:11:35 | 0:11:40 | |
I've heard very bad, bad, bad things | 0:11:43 | 0:11:47 | |
about you Birmingham people. | 0:11:47 | 0:11:50 | |
HE TUTS | 0:11:50 | 0:11:51 | |
You're Gypsies, right? | 0:11:52 | 0:11:55 | |
So what, do you live in a fucking tent or a caravan? | 0:11:56 | 0:11:59 | |
I came here to discuss business with you, Mr Solomons. | 0:11:59 | 0:12:03 | |
Well rum's for fun and fucking, innit? | 0:12:03 | 0:12:08 | |
So, whisky, now that... | 0:12:08 | 0:12:10 | |
That is for business. | 0:12:10 | 0:12:12 | |
Let's talk first, eh? | 0:12:12 | 0:12:14 | |
Suit yourself. | 0:12:18 | 0:12:21 | |
They say you had your life saved by a policeman. | 0:12:21 | 0:12:24 | |
I have policemen on my payroll. | 0:12:25 | 0:12:27 | |
I don't like policemen because policemen, they can't be trusted. | 0:12:27 | 0:12:32 | |
Mr Sabini uses policeman all the time. | 0:12:32 | 0:12:35 | |
That's why he's winning the war in London and you are losing it. | 0:12:35 | 0:12:39 | |
A war ain't over until it's over, mate. | 0:12:39 | 0:12:41 | |
You were in the war? | 0:12:44 | 0:12:45 | |
I once carried out my own personal form of stigmata on an Italian. | 0:12:50 | 0:12:55 | |
I pushed his face up against the trench and shoved a six-inch | 0:12:57 | 0:13:01 | |
nail up his fucking nose and I hammered it home with a duck board. | 0:13:01 | 0:13:05 | |
It was fucking biblical, mate. | 0:13:05 | 0:13:08 | |
So don't come in here and sit there in my chair and tell me | 0:13:09 | 0:13:13 | |
that I'm losing my war to a fucking wop. | 0:13:13 | 0:13:16 | |
That war was a long time ago. | 0:13:18 | 0:13:20 | |
You need to be more realistic. | 0:13:20 | 0:13:23 | |
"Realistic", yeah? | 0:13:23 | 0:13:25 | |
Realistic? | 0:13:27 | 0:13:29 | |
Well, if you weren't losing the war, then you wouldn't have sent me | 0:13:29 | 0:13:33 | |
the telegram. | 0:13:33 | 0:13:34 | |
Really? You forget your fucking telegram. | 0:13:34 | 0:13:37 | |
The telegram just said, "Hello." | 0:13:37 | 0:13:38 | |
Very simple, you want to sell me something. | 0:13:38 | 0:13:43 | |
What? | 0:13:43 | 0:13:45 | |
-We join forces. -Fuck off. | 0:13:45 | 0:13:47 | |
No! | 0:13:48 | 0:13:49 | |
Categorical. | 0:13:49 | 0:13:50 | |
Fucking ridiculous. | 0:13:51 | 0:13:53 | |
Mr Solomons. | 0:13:53 | 0:13:55 | |
Your distillery provides one-tenth of your income. | 0:13:57 | 0:14:01 | |
Protection is another 10%. | 0:14:02 | 0:14:04 | |
And the rest you make from the race tracks. | 0:14:04 | 0:14:06 | |
I know you keep a gun in the drawer. | 0:14:08 | 0:14:09 | |
I know you keep it beside the whiskey. | 0:14:09 | 0:14:11 | |
I know you offer a deal or death. | 0:14:11 | 0:14:13 | |
I know what I'm saying makes you angry. | 0:14:18 | 0:14:21 | |
But I am offering you a solution. You see, Mr Sabini is running | 0:14:21 | 0:14:25 | |
all your bookies off your courses. | 0:14:25 | 0:14:28 | |
And he is closing down the premises that take your rum. | 0:14:28 | 0:14:32 | |
And people don't trust your protection any more. | 0:14:34 | 0:14:36 | |
You're the bloke who shot Billy Kimber, right? | 0:14:38 | 0:14:41 | |
You did, you fucking shot him. That's you. | 0:14:42 | 0:14:46 | |
You fucking betrayed him, mate. | 0:14:46 | 0:14:48 | |
So it'd be entirely appropriate to do what | 0:14:48 | 0:14:51 | |
I am thinking in my head to you right now. | 0:14:51 | 0:14:53 | |
I can offer you 100 good men. All with weapons. | 0:14:55 | 0:14:59 | |
And a new relationship with the police. | 0:15:00 | 0:15:02 | |
Intelligence. Intelligence is a very valuable thing, innit, my friend? | 0:15:02 | 0:15:08 | |
And usually it comes far too fucking late. | 0:15:08 | 0:15:11 | |
Let's say I shot you already, right, in the fucking face. | 0:15:14 | 0:15:18 | |
And the bullet goes bone, mush, bone, cabinet over there. | 0:15:19 | 0:15:23 | |
Which is a shame, innit, | 0:15:23 | 0:15:25 | |
cos that cabinet's fucked now and I got to get shot of it. | 0:15:25 | 0:15:27 | |
So, what I'd do is this... | 0:15:27 | 0:15:31 | |
It's fucking simple, mate. | 0:15:31 | 0:15:33 | |
I cut that cabinet in half, don't I? | 0:15:39 | 0:15:43 | |
I do I just literally... I cut... | 0:15:43 | 0:15:46 | |
I cut the cabinet literally in half, mate. | 0:15:49 | 0:15:53 | |
And I take one half of the cabinet, all right, | 0:15:53 | 0:15:55 | |
and put it into a barrel and I take the other half of the cabinet | 0:15:55 | 0:15:59 | |
in all its pieces and I put that into another barrel, right? | 0:15:59 | 0:16:02 | |
And I send this barrel off to Mandalay. | 0:16:02 | 0:16:05 | |
And the other barrel off to somewhere like... | 0:16:05 | 0:16:08 | |
I don't know... | 0:16:08 | 0:16:10 | |
Timbuktu. | 0:16:11 | 0:16:12 | |
-You ever been? -No. | 0:16:12 | 0:16:15 | |
No? | 0:16:15 | 0:16:17 | |
Would you like to go? | 0:16:18 | 0:16:19 | |
No. | 0:16:21 | 0:16:22 | |
You know, I always thought | 0:16:24 | 0:16:25 | |
that you'd have a great, big, fucking gold ring in your nose. | 0:16:25 | 0:16:29 | |
I'm sorry, go on. | 0:16:31 | 0:16:33 | |
Tell us your plan. | 0:16:34 | 0:16:35 | |
HORN HONKS | 0:16:38 | 0:16:40 | |
Ada. | 0:16:52 | 0:16:53 | |
How the fuck did you find me? | 0:16:53 | 0:16:56 | |
What, are you reading Polly's letters? | 0:16:56 | 0:16:58 | |
Polly showed me the letter. | 0:16:58 | 0:16:59 | |
Look, you think you're safe because you moved flat, but you're not. | 0:16:59 | 0:17:02 | |
-Polly thinks the same. -When will you understand? | 0:17:02 | 0:17:04 | |
-I just want you all out of my life. -Ada, look at us, eh? | 0:17:04 | 0:17:09 | |
-And it'll happen again. -Yeah, well, next time I'll be ready. | 0:17:10 | 0:17:14 | |
In fact, I want them to try again cos I'll shoot their balls off! | 0:17:14 | 0:17:16 | |
-Ada, put the fucking gun away. -Get away from me, I'm late for work. | 0:17:16 | 0:17:19 | |
All right, fine. Fine. | 0:17:19 | 0:17:21 | |
Just take this. Take it. | 0:17:22 | 0:17:25 | |
Where you're living now is right on the edge of Sabini's territory | 0:17:26 | 0:17:29 | |
and all the coppers round there work for him. | 0:17:29 | 0:17:31 | |
I've got a lot of money coming in that I can't put through the banks. | 0:17:31 | 0:17:34 | |
My accountant says the best thing is to buy property for cash | 0:17:34 | 0:17:37 | |
and put it in the name of a family member. | 0:17:37 | 0:17:39 | |
A house? A whole house? | 0:17:41 | 0:17:44 | |
It's all yours. | 0:17:44 | 0:17:45 | |
Four storeys, eight bedrooms, kitchen, scullery... | 0:17:46 | 0:17:51 | |
Rooms for a maid, if your political conscience will allow. | 0:17:51 | 0:17:55 | |
At least go and have a look, eh? | 0:17:59 | 0:18:01 | |
Shoot the fucking lot of them. | 0:18:24 | 0:18:26 | |
-SEWELL CLEARS THROAT -Mr Sabini? The police are here. | 0:18:28 | 0:18:32 | |
Tell them to wipe their feet. | 0:18:34 | 0:18:36 | |
So why do I have to tell YOU everything? | 0:18:48 | 0:18:52 | |
We can't search every train that comes into London. | 0:18:52 | 0:18:55 | |
They don't use trains, they use boats. | 0:18:55 | 0:18:57 | |
The boatmen are all Gypsies. He's a fucking Gypsy. | 0:18:59 | 0:19:02 | |
Why do we have to tell them everything? | 0:19:02 | 0:19:04 | |
OK, we can't search every boat. | 0:19:04 | 0:19:06 | |
Lucky for me... | 0:19:10 | 0:19:12 | |
I have a boy in the Jews' rum house. | 0:19:12 | 0:19:15 | |
The Gypsy went to meet Solomons. | 0:19:15 | 0:19:17 | |
And after, they drank whisky and shook hands... | 0:19:17 | 0:19:21 | |
and then Alfie gave him some salt or... | 0:19:21 | 0:19:24 | |
some such kike thing that means peace. | 0:19:24 | 0:19:27 | |
What exactly d'you want us to do, Mr Sabini? | 0:19:27 | 0:19:31 | |
HE SNIFFS | 0:19:34 | 0:19:36 | |
Did you bring dog shit in here on your shoes? | 0:19:39 | 0:19:42 | |
HE SCOFFS | 0:19:43 | 0:19:46 | |
Check, have a look. | 0:19:46 | 0:19:47 | |
-SABINI SNIFFS -I can smell something. | 0:19:48 | 0:19:50 | |
You've got photographs of this Tommy Shelby, though, right? | 0:19:50 | 0:19:53 | |
We have military ID photographs | 0:19:53 | 0:19:55 | |
from his time with the Warwickshire Yeomanry. | 0:19:55 | 0:19:57 | |
Shelby won medals. | 0:19:57 | 0:19:59 | |
OK, so you've got his fucking photo. | 0:20:11 | 0:20:15 | |
If he shows his face in Camden Town, your coppers lift him. All right? | 0:20:15 | 0:20:21 | |
-You know... -SABINI SNIFFS | 0:20:22 | 0:20:24 | |
..sometimes when I smell something, it's something that's not real, | 0:20:24 | 0:20:27 | |
it's something more like a... Like a premonition. | 0:20:27 | 0:20:31 | |
It's like sometimes I smell something, | 0:20:31 | 0:20:34 | |
but it's not a smell, it's just... | 0:20:34 | 0:20:36 | |
..something isn't right. | 0:20:37 | 0:20:39 | |
Mr Sabini, we'll do everything we can to deal with this man. | 0:20:39 | 0:20:43 | |
Deal? | 0:20:44 | 0:20:45 | |
Did you say, "Do a deal"? | 0:20:47 | 0:20:49 | |
I didn't mean that. | 0:20:50 | 0:20:52 | |
Fuck. | 0:20:52 | 0:20:53 | |
Fuck. | 0:20:55 | 0:20:56 | |
-You've been fucking got at. -No, you're being ridiculous. | 0:21:00 | 0:21:03 | |
Somebody's fucking sat you down. | 0:21:03 | 0:21:05 | |
-SHOUTS: -Somebody's fucking sat you down and talked to you! | 0:21:05 | 0:21:08 | |
-Mr Sabini... -We should go. | 0:21:08 | 0:21:09 | |
This fucking Gypsy has sat down with the fucking coppers! | 0:21:09 | 0:21:13 | |
-Mr Sabini. -You fucking... -SMASHED GLASS DROWNS OUT SABINI | 0:21:13 | 0:21:16 | |
..and you're taking with both fucking hands - | 0:21:16 | 0:21:18 | |
off of me and off of him! | 0:21:18 | 0:21:20 | |
OK. So now YOU fucking follow Shelby. | 0:21:22 | 0:21:25 | |
You fucking follow him and you finish him! | 0:21:25 | 0:21:28 | |
SABINI SHOUTS IN ITALIAN | 0:21:30 | 0:21:32 | |
BELL TOLLS Oh... | 0:21:32 | 0:21:34 | |
SHE MUTTERS | 0:21:36 | 0:21:38 | |
Oh, shit! | 0:21:46 | 0:21:48 | |
SHE SIGHS | 0:22:01 | 0:22:03 | |
CHILDREN CHATTER AND YELL | 0:22:07 | 0:22:10 | |
PEOPLE CHATTER | 0:22:16 | 0:22:18 | |
-MAN: -I told yous, boys, 'ere she is. | 0:22:18 | 0:22:22 | |
ALL APPLAUD | 0:22:22 | 0:22:24 | |
What the bloody hell is going on? | 0:22:24 | 0:22:26 | |
When did you get back? | 0:22:28 | 0:22:31 | |
I didn't want to miss your birthday, Pol. | 0:22:31 | 0:22:34 | |
-ARTHUR: -Back to work. | 0:22:34 | 0:22:35 | |
How d'you know it's my birthday? Nobody ever knows. | 0:22:35 | 0:22:38 | |
Ah, it's different this year. John, Finn, bring the car round. | 0:22:38 | 0:22:42 | |
-Where are we going? -To unwrap your birthday present. After you. | 0:22:42 | 0:22:46 | |
Good morning! | 0:22:56 | 0:22:58 | |
-You said you were gonna buy Ada a house. -Yep, that's right, I did. | 0:23:11 | 0:23:15 | |
Just had a bit of cash left over. | 0:23:17 | 0:23:18 | |
This is ours? | 0:23:21 | 0:23:22 | |
No, Polly... | 0:23:23 | 0:23:25 | |
..this is yours. | 0:23:26 | 0:23:27 | |
Cos you deserve it. | 0:23:30 | 0:23:31 | |
What would I do with all these rooms? | 0:23:39 | 0:23:42 | |
Well, you could...relax for one. | 0:23:45 | 0:23:49 | |
Come here at weekends. | 0:23:50 | 0:23:52 | |
It has a garden, eh? | 0:23:54 | 0:23:56 | |
You love gardens. You can grow roses, Pol. | 0:23:58 | 0:24:01 | |
I don't know, have a piano. | 0:24:01 | 0:24:03 | |
Have people round, they can have a singsong, eh? | 0:24:03 | 0:24:06 | |
-God help the bloody neighbours(!) -Fuck the neighbours. | 0:24:06 | 0:24:10 | |
Welcome home, Pol. | 0:24:13 | 0:24:15 | |
Arthur, why don't you take the boys outside and wait by the car. | 0:24:28 | 0:24:32 | |
-TOMMY CLEARS THROAT -Pol... | 0:24:42 | 0:24:44 | |
I know you haven't been happy for a while. | 0:24:46 | 0:24:48 | |
And I know why. | 0:24:52 | 0:24:53 | |
Esme is all right, you know? | 0:24:59 | 0:25:00 | |
She's got a good heart, she has. | 0:25:03 | 0:25:06 | |
I've spoken to her... | 0:25:08 | 0:25:09 | |
..and she told me. | 0:25:11 | 0:25:12 | |
Told you what? | 0:25:17 | 0:25:18 | |
She told me what it is that would make you happy. | 0:25:19 | 0:25:22 | |
I've spoken to our contacts in the police. | 0:25:26 | 0:25:28 | |
They have contacts in the council, | 0:25:28 | 0:25:31 | |
and they have contacts with the people who keep the parish records. | 0:25:31 | 0:25:34 | |
Records of adoptions... | 0:25:36 | 0:25:37 | |
..and of confidential forced removals. | 0:25:39 | 0:25:41 | |
Now, with your permission... | 0:25:42 | 0:25:44 | |
..I'd like to grease a few palms | 0:25:45 | 0:25:46 | |
and take a look at the records they never showed you. | 0:25:46 | 0:25:49 | |
Pol... | 0:25:55 | 0:25:57 | |
I am going to find your son and daughter | 0:25:57 | 0:25:58 | |
and I'm gonna bring them home. | 0:25:58 | 0:26:00 | |
That's what this house is for. | 0:26:01 | 0:26:03 | |
So that YOU can bring your family home where they belong. | 0:26:03 | 0:26:07 | |
We're moving up, Pol. | 0:26:18 | 0:26:21 | |
KARL LAUGHS | 0:26:42 | 0:26:44 | |
Go have a look what you think. | 0:26:47 | 0:26:48 | |
KARL GIGGLES | 0:26:52 | 0:26:55 | |
Can you hear that? | 0:26:55 | 0:26:57 | |
KARL: 'Gah!' | 0:26:57 | 0:26:58 | |
Silence at last. | 0:26:58 | 0:27:00 | |
-And it belongs to us. -KARL: 'Gah...' | 0:27:02 | 0:27:05 | |
KARL: 'Mummy...' | 0:27:06 | 0:27:08 | |
What's in there? | 0:27:08 | 0:27:10 | |
MUSIC: Pull A U by The Kills | 0:27:10 | 0:27:13 | |
# Black magic and your two dollar | 0:27:23 | 0:27:28 | |
# Black magic and your two dollar All right | 0:27:28 | 0:27:33 | |
# Oh | 0:27:35 | 0:27:36 | |
# Uh | 0:27:38 | 0:27:39 | |
# Ooh. # | 0:27:40 | 0:27:41 | |
Still here? | 0:27:42 | 0:27:44 | |
Well, there's a lot coming in and a lot going out. | 0:27:44 | 0:27:47 | |
Well, as long as there's more coming in, we're all right. | 0:27:47 | 0:27:51 | |
This came for you today. | 0:27:52 | 0:27:53 | |
It's all the way from America, New York. | 0:27:54 | 0:27:56 | |
Somewhere called Poughkeepsie? | 0:27:56 | 0:27:58 | |
And the decorators doing The Garrison want paying. | 0:27:59 | 0:28:02 | |
Arthur forgot and pulled a gun when they asked, so... | 0:28:02 | 0:28:04 | |
they've stopped and everything's green. | 0:28:04 | 0:28:06 | |
All right, well, just pay it. | 0:28:06 | 0:28:08 | |
Oh, and we need to put an advert in the Mail - | 0:28:08 | 0:28:10 | |
"Garrison: Grand Reopening." | 0:28:10 | 0:28:12 | |
Oh, and you said there's a letter that had to go today. | 0:28:12 | 0:28:15 | |
Special delivery. I wrote it in the diary. | 0:28:15 | 0:28:18 | |
Yes...I haven't written it out yet. | 0:28:19 | 0:28:23 | |
Well, you can just tell me and I'll write it down. | 0:28:23 | 0:28:25 | |
I've learnt shorthand. | 0:28:25 | 0:28:27 | |
-Fair enough. -HE CLEARS THROAT | 0:28:28 | 0:28:31 | |
Dear Mr Churchill... | 0:28:32 | 0:28:33 | |
Has your pencil broken? | 0:28:38 | 0:28:40 | |
No. No, do go on. SHE CLEARS THROAT | 0:28:41 | 0:28:44 | |
Dear Mr Churchill... | 0:28:44 | 0:28:46 | |
I've been approached by an agent of the Crown to carry out a task, | 0:28:47 | 0:28:53 | |
as yet unspecified. | 0:28:53 | 0:28:56 | |
'His name is Major Campbell and I believe he reports to you.' | 0:28:56 | 0:29:00 | |
'Therefore, I decided to make direct contact with you | 0:29:02 | 0:29:05 | |
'to make sure that certain things are clearly understood.' | 0:29:05 | 0:29:09 | |
' "Mr Churchill, you should know that I am a former British soldier | 0:29:10 | 0:29:14 | |
' "and if you look at my war record, | 0:29:14 | 0:29:16 | |
' "you will see that I fought bravely at Verdun and at the Somme' | 0:29:16 | 0:29:20 | |
"Also, you will see that my actions at Mons | 0:29:20 | 0:29:23 | |
"saved thousands of Allied lives. | 0:29:23 | 0:29:25 | |
"I know that you resigned your ministerial position | 0:29:25 | 0:29:28 | |
"and the safety of an office | 0:29:28 | 0:29:30 | |
"to go and fight on the front line with the men. | 0:29:30 | 0:29:33 | |
"I read that you fought bravely, Mr Churchill. | 0:29:33 | 0:29:36 | |
"Therefore, I hope I will be treated in any dealings we have | 0:29:36 | 0:29:40 | |
"with a degree of respect, soldier to soldier. | 0:29:40 | 0:29:43 | |
"My demands are slight and my sacrifice in service of my country | 0:29:43 | 0:29:48 | |
"will no doubt once again be great. | 0:29:48 | 0:29:51 | |
"Yours sincerely, Thomas Shelby." | 0:29:51 | 0:29:53 | |
Military Medal and the DCM... | 0:29:55 | 0:29:58 | |
Distinguished Conduct Medal. | 0:30:00 | 0:30:02 | |
Hands up in this room, those who were at the Somme. | 0:30:04 | 0:30:07 | |
Those who were at the Battle of Verdun? | 0:30:09 | 0:30:11 | |
Thomas Shelby was a tunneller. | 0:30:18 | 0:30:20 | |
His demand is rather amusing. | 0:30:23 | 0:30:25 | |
He has asked that the Colonial Office grant him | 0:30:25 | 0:30:28 | |
-an Empire export licence. -MEN SCOFF | 0:30:28 | 0:30:31 | |
Specifically a licence covering India, Malay Peninsula, | 0:30:31 | 0:30:36 | |
Canada and Russia. | 0:30:36 | 0:30:38 | |
He plans to transport certain manufactured goods from Birmingham | 0:30:38 | 0:30:42 | |
to the Poplar Docks. | 0:30:42 | 0:30:44 | |
And you plan to agree to this demand? | 0:30:44 | 0:30:46 | |
Dear God, Major Campbell... | 0:30:46 | 0:30:49 | |
We will be asking this man to carry out an assassination | 0:30:50 | 0:30:54 | |
on behalf of the Crown, | 0:30:54 | 0:30:56 | |
once more risking his life. | 0:30:56 | 0:30:59 | |
These demands by comparison are slight and easily met | 0:30:59 | 0:31:04 | |
with a few quiet words over lunch with the appropriate ministers. | 0:31:04 | 0:31:08 | |
Sir...with the greatest respect... | 0:31:08 | 0:31:11 | |
Thomas Shelby is a murdering... | 0:31:11 | 0:31:14 | |
..cut-throat, mongrel, gangster. | 0:31:15 | 0:31:18 | |
And yet, the tunnels were dug beneath our feet to silence the guns | 0:31:19 | 0:31:25 | |
pointed at our heads. | 0:31:25 | 0:31:27 | |
Get Thomas Shelby's details from Campbell | 0:31:30 | 0:31:32 | |
and get some kind of royal appointment stamp. | 0:31:32 | 0:31:36 | |
Temporary. | 0:31:36 | 0:31:38 | |
-Temporary? -Just until the deed is done. | 0:31:38 | 0:31:42 | |
Agreed, Major Campbell? | 0:31:42 | 0:31:45 | |
And then I can... proceed as discussed? | 0:31:45 | 0:31:48 | |
Agreed, sir. | 0:31:51 | 0:31:52 | |
-HENRY: -Come on, let's go in. | 0:32:07 | 0:32:09 | |
Here, pass the ball! | 0:32:11 | 0:32:13 | |
HENRY LAUGHS | 0:32:14 | 0:32:16 | |
Come on. | 0:32:16 | 0:32:17 | |
MRS JOHNSON: 'Come on in, boys. Did you have a good game?' | 0:32:19 | 0:32:21 | |
-HENRY: -'I'm starving, have you done anything for lunch?' | 0:32:21 | 0:32:24 | |
It'll be on in a minute, in you go. | 0:32:24 | 0:32:25 | |
Go in and wash your hands, boys, all right? | 0:32:25 | 0:32:27 | |
'Come on, mister.' | 0:32:27 | 0:32:28 | |
Mrs Johnson? | 0:32:28 | 0:32:30 | |
Yes. Who are you? | 0:32:32 | 0:32:34 | |
I'm from Birmingham Council, Bordesley parish. | 0:32:35 | 0:32:37 | |
No-one wrote to me. What d'you want? | 0:32:38 | 0:32:41 | |
I would like to talk about your son, about Henry. | 0:32:41 | 0:32:44 | |
Can I come in? | 0:32:44 | 0:32:46 | |
I'd rather you didn't, he doesn't like to talk about this. | 0:32:46 | 0:32:49 | |
I see. | 0:32:49 | 0:32:51 | |
So what does Henry know about his real identity, Mrs Johnson? | 0:32:53 | 0:32:56 | |
I only deal with Mr Ross from the agency and he only ever writes, so... | 0:32:57 | 0:33:01 | |
Why are you here in person? | 0:33:01 | 0:33:03 | |
Well, the boy is approaching his 18th birthday. | 0:33:03 | 0:33:05 | |
This isn't right! | 0:33:06 | 0:33:08 | |
You're not from the council, something isn't right. | 0:33:09 | 0:33:11 | |
Hmm. What does he know, Mrs Johnson? | 0:33:11 | 0:33:14 | |
He knows his mother couldn't cope. | 0:33:17 | 0:33:18 | |
She drank too much, she used opium... she used to beat him. | 0:33:19 | 0:33:23 | |
But that isn't the truth, is it? | 0:33:25 | 0:33:26 | |
Look, I think you should come back when my husband's here. | 0:33:26 | 0:33:29 | |
Does he know what his real name is? | 0:33:29 | 0:33:31 | |
His real name is Johnson, Henry Johnson, | 0:33:31 | 0:33:34 | |
now I would like you to go away and come back when my husband's here. | 0:33:34 | 0:33:38 | |
The truth is he was taken from his mother without her permission. | 0:33:38 | 0:33:42 | |
-Henry, go back inside, please. -Who are you? | 0:33:42 | 0:33:45 | |
-Please, Henry, go on! -Your real name is Michael Gray. | 0:33:45 | 0:33:48 | |
-No! -Your real mother wants to see you. | 0:33:48 | 0:33:51 | |
Her address is on the back of this card. She just wants to talk. | 0:33:51 | 0:33:54 | |
-Go away. -She just wants to talk. | 0:33:54 | 0:33:56 | |
Go away and leave us alone. Go away! | 0:33:56 | 0:33:59 | |
Come on, let's go back inside. | 0:34:04 | 0:34:06 | |
Come on, I'll get you something to eat. | 0:34:06 | 0:34:07 | |
Come on, Henry. | 0:34:09 | 0:34:10 | |
Come on... Come on. | 0:34:12 | 0:34:14 | |
Call yourself a Shelby? Fucking hit him, Finn. | 0:34:15 | 0:34:19 | |
Hit him, that's right. | 0:34:20 | 0:34:22 | |
All right, Isiah, your turn. | 0:34:22 | 0:34:24 | |
Finn! Call yourself a Shelby? Fucking hit him, for fuck's sake! | 0:34:24 | 0:34:28 | |
Hit him. | 0:34:30 | 0:34:31 | |
LOUD GROANING | 0:34:32 | 0:34:35 | |
-MEN ALL YELL -Get him out of there, get him back! | 0:34:37 | 0:34:39 | |
Get him back! Arthur, for fuck's sake! | 0:34:39 | 0:34:41 | |
-Get him out of there! -ARTHUR GROANS | 0:34:41 | 0:34:44 | |
ARTHUR GROWLS | 0:34:56 | 0:34:58 | |
-GENERAL HUBBUB MAN: -Rockfair is down to sixes... | 0:34:58 | 0:35:02 | |
NOISE DROWNS OUT CONVERSATION | 0:35:07 | 0:35:10 | |
FOOTSTEPS APPROACH | 0:35:23 | 0:35:25 | |
Right, what happened? | 0:35:38 | 0:35:40 | |
-It was a fair fight. -Yeah. | 0:35:41 | 0:35:44 | |
Arthur just caught him with a good 'un. | 0:35:44 | 0:35:46 | |
I saw the body, don't fucking lie to me. | 0:35:50 | 0:35:53 | |
I saw the body, what fucking happened? | 0:35:53 | 0:35:55 | |
I'm not family, I'm saying nothing. | 0:35:56 | 0:35:59 | |
Arthur... | 0:36:04 | 0:36:05 | |
..he's blown a few times lately. | 0:36:06 | 0:36:08 | |
Six, seven. | 0:36:09 | 0:36:11 | |
It's like he's not there in the head. | 0:36:13 | 0:36:15 | |
He can't even hear "stop". Even his own name. | 0:36:16 | 0:36:19 | |
And then he cries. | 0:36:22 | 0:36:23 | |
Right, listen to me. | 0:36:29 | 0:36:30 | |
That's two fucking stories. | 0:36:32 | 0:36:33 | |
Your brother killed a boy. | 0:36:35 | 0:36:37 | |
There were witnesses, there will be questions, | 0:36:37 | 0:36:41 | |
get your story straight, it was an accident. | 0:36:41 | 0:36:44 | |
Fuck off. | 0:36:44 | 0:36:45 | |
I spoke to the doctor, he said the kid... | 0:36:53 | 0:36:55 | |
..probably had a weak heart. | 0:36:56 | 0:36:58 | |
We'll look after his mother. | 0:36:58 | 0:37:00 | |
It'll be fine. | 0:37:01 | 0:37:02 | |
Polly said I should have stuck with the medicine. | 0:37:04 | 0:37:06 | |
I said that you know best. | 0:37:08 | 0:37:10 | |
It's like a fucking boat, Tommy. | 0:37:14 | 0:37:16 | |
Full of heavy cargo, like coal or iron. | 0:37:19 | 0:37:21 | |
Sometimes it slips to one end. | 0:37:23 | 0:37:25 | |
And the boat tips. | 0:37:27 | 0:37:28 | |
I can feel it slipping. | 0:37:31 | 0:37:32 | |
And I can...feel the boat tipping. | 0:37:35 | 0:37:37 | |
But there ain't nothing I can do about it. | 0:37:39 | 0:37:41 | |
It's like me fuckin' head's just like this fuckin'... | 0:37:44 | 0:37:48 | |
black fucking barge! | 0:37:48 | 0:37:51 | |
And it just fucking...drifts... | 0:37:51 | 0:37:55 | |
in and out, in and out... | 0:37:55 | 0:37:58 | |
Well, we're home a long time now, Arthur. | 0:37:58 | 0:38:01 | |
We've home a long time. | 0:38:01 | 0:38:03 | |
-I thought you were all right. -Yeah, well... | 0:38:06 | 0:38:09 | |
I-I-I don't think I am...Tommy. | 0:38:09 | 0:38:14 | |
Take this fucking thing away from me. | 0:38:17 | 0:38:20 | |
Just fuck off, Arthur. | 0:38:26 | 0:38:28 | |
You know what? | 0:38:30 | 0:38:31 | |
I've had enough. | 0:38:34 | 0:38:36 | |
I've fucking had enough. Just fuck off. | 0:38:36 | 0:38:40 | |
ARTHUR SNIFFLES | 0:38:40 | 0:38:43 | |
(What?) | 0:38:43 | 0:38:44 | |
I'm supposed to treat you like a fucking kid again, eh? | 0:38:45 | 0:38:47 | |
Keep you away from guns and fucking rope, is that it? | 0:38:48 | 0:38:52 | |
-YELLS: -You think I haven't got enough on?! | 0:38:53 | 0:38:55 | |
-Stop it, Tommy. -Arthur? | 0:38:55 | 0:38:56 | |
-You think I haven't got enough on?! -Stop it. | 0:38:56 | 0:38:59 | |
-The war is done! Shut the door on it! -Stop it. | 0:38:59 | 0:39:02 | |
-Shut the door on it, like I did, eh? -Like you do? | 0:39:02 | 0:39:05 | |
Can you do that? Yeah? | 0:39:05 | 0:39:06 | |
-Like I fucking did. -I'm not fucking you. | 0:39:06 | 0:39:08 | |
-Shut the fucking door, eh? -But I'm not fucking you! | 0:39:08 | 0:39:11 | |
I...am not fucking you! | 0:39:11 | 0:39:14 | |
-Everyone fucking knows it! -ARTHUR PANTS | 0:39:14 | 0:39:17 | |
God! | 0:39:17 | 0:39:19 | |
Look at yourself. Eh? | 0:39:22 | 0:39:24 | |
-Look at yourself. -JUGS CLATTER | 0:39:26 | 0:39:30 | |
Take a long, hard, fucking look at yourself. | 0:39:30 | 0:39:34 | |
DOOR BANGS | 0:39:45 | 0:39:47 | |
ARTHUR SOBS | 0:39:47 | 0:39:50 | |
GLASS SMASHES | 0:39:57 | 0:39:59 | |
DOOR OPENS AND BANGS SHUT | 0:39:59 | 0:40:02 | |
HE MOUTHS | 0:40:06 | 0:40:08 | |
Time for lunch, sir. | 0:40:23 | 0:40:24 | |
I thought we could eat at the desk, like the old days. | 0:40:24 | 0:40:28 | |
HE CHUCKLES You remembered. | 0:40:32 | 0:40:36 | |
Tongue and pickle, sir. | 0:40:36 | 0:40:38 | |
But it's the single stroke of mustard, that's the thing. | 0:40:38 | 0:40:42 | |
-Hmm. -The fine detail. | 0:40:42 | 0:40:44 | |
Speaking of detail... | 0:40:47 | 0:40:49 | |
How much is Thomas Shelby paying you in bribes per week? Hm? | 0:40:50 | 0:40:56 | |
Actually, I already know - £2 a week, £8 a month, | 0:40:59 | 0:41:04 | |
plus extras for specific favours. | 0:41:04 | 0:41:06 | |
When I left, you were an honest man. | 0:41:08 | 0:41:11 | |
And now you're on the Peaky Blinders' payroll. | 0:41:11 | 0:41:14 | |
Shelby is a worm and feeds off the rotten parts of your mind. | 0:41:17 | 0:41:23 | |
He gets in through your ear, with a whisper. | 0:41:23 | 0:41:26 | |
He crawls in over your tongue as you lie to the judge and the pastor. | 0:41:26 | 0:41:32 | |
Mr Moss... | 0:41:33 | 0:41:34 | |
We are entering a bloody phase of a bloody war | 0:41:36 | 0:41:40 | |
with no quarter asked or given. | 0:41:40 | 0:41:42 | |
But as of this moment, you are now back on the side of the angels. | 0:41:44 | 0:41:50 | |
Shelby thinks you work for him, but in truth, you work for me. | 0:41:51 | 0:41:56 | |
And I will use you mercilessly. | 0:41:57 | 0:42:00 | |
Polly, these are the files for Michael and Anna Gray. | 0:42:50 | 0:42:53 | |
As you can see, one is white... | 0:42:55 | 0:42:56 | |
..and one is black. | 0:42:58 | 0:42:59 | |
What you saw in your dreams... | 0:43:05 | 0:43:06 | |
..was right. | 0:43:07 | 0:43:09 | |
Your daughter is dead. | 0:43:11 | 0:43:13 | |
Um... You do it, I can't read it. | 0:43:25 | 0:43:29 | |
After Anna was taken from you, she was put with a... | 0:43:33 | 0:43:36 | |
With a family of a... railway station master in Stafford. | 0:43:37 | 0:43:41 | |
She...never settled. | 0:43:44 | 0:43:47 | |
So she kept running away. | 0:43:47 | 0:43:49 | |
She got on a train to Birmingham once... | 0:43:52 | 0:43:54 | |
Eventually they sent her to Australia... | 0:43:54 | 0:43:57 | |
..where she died of something called spring fever. | 0:43:59 | 0:44:01 | |
So my little Anna... | 0:44:18 | 0:44:20 | |
..travelled all the way back across the world | 0:44:22 | 0:44:24 | |
to be with me in my dreams? | 0:44:24 | 0:44:26 | |
She came all by herself. | 0:44:29 | 0:44:31 | |
Well...that's one train they couldn't get her off. | 0:44:33 | 0:44:37 | |
But, Pol... | 0:44:46 | 0:44:47 | |
..Michael is alive. | 0:44:48 | 0:44:49 | |
SHE EXHALES SHARPLY | 0:44:52 | 0:44:54 | |
-He's in England... -SHE PANTS | 0:44:57 | 0:45:00 | |
..and I know where he lives, I went there. | 0:45:01 | 0:45:04 | |
-But, Pol... -And? | 0:45:06 | 0:45:07 | |
OK, Polly, listen to me. | 0:45:09 | 0:45:11 | |
Just listen to me, please. | 0:45:13 | 0:45:14 | |
Pol! | 0:45:17 | 0:45:18 | |
The woman that he calls "mother" will never let him come here. | 0:45:18 | 0:45:23 | |
Just tell me where he is, Tommy. | 0:45:25 | 0:45:27 | |
Polly, if you go there and you get mad | 0:45:29 | 0:45:32 | |
and she gets mad and she calls the police, | 0:45:32 | 0:45:35 | |
they will never let you anywhere near him | 0:45:35 | 0:45:38 | |
and the boy will get scared. | 0:45:38 | 0:45:40 | |
That's what will happen, Pol. | 0:45:41 | 0:45:43 | |
Polly. | 0:45:44 | 0:45:46 | |
-Polly... -You just tell me where he is, Thomas. | 0:45:47 | 0:45:49 | |
SHE COCKS GUN | 0:45:51 | 0:45:53 | |
-Tell me where he is, Thomas! -Polly... | 0:45:54 | 0:45:57 | |
Pulling the gun... | 0:46:01 | 0:46:02 | |
Pulling the gun is why I can't tell you. | 0:46:03 | 0:46:05 | |
Pol, I'm sorry, you're going to have to wait till he's 18. | 0:46:09 | 0:46:14 | |
Till he's old enough to make his own decision. | 0:46:14 | 0:46:16 | |
Wait?! | 0:46:21 | 0:46:23 | |
You tell me where he is! | 0:46:24 | 0:46:26 | |
If you shoot me, you'll never know. | 0:46:32 | 0:46:34 | |
GUNSHOT | 0:46:39 | 0:46:41 | |
MUSIC: I Want Some More by Dan Auerbach | 0:46:45 | 0:46:47 | |
# You got the tenderness that I been searchin' for | 0:47:06 | 0:47:11 | |
# Oh, oh, oh, I want some more... # | 0:47:11 | 0:47:15 | |
FINN: Mickey! Hurry up, the party's starting. | 0:47:15 | 0:47:17 | |
-Good, carry on. -Finn, where you going? | 0:47:23 | 0:47:25 | |
-To talk to Arthur. -Right. | 0:47:25 | 0:47:27 | |
ALL CHATTER AND LAUGH | 0:47:29 | 0:47:32 | |
-Arthur? -Go away. | 0:47:53 | 0:47:56 | |
-What's wrong? Why aren't you ready? -For what? | 0:47:58 | 0:48:01 | |
The Garrison. | 0:48:02 | 0:48:03 | |
The reopening of your pub. It's tonight. | 0:48:05 | 0:48:09 | |
-Tommy don't want me there. -It was Tommy who told me to get you. | 0:48:10 | 0:48:14 | |
He says it's your name above that door, | 0:48:14 | 0:48:16 | |
-so you've got to be there. -No... | 0:48:16 | 0:48:18 | |
No, look at me. | 0:48:18 | 0:48:20 | |
I'm staying away. Go away. | 0:48:21 | 0:48:24 | |
Get out. | 0:48:24 | 0:48:25 | |
I told you to go away. | 0:48:38 | 0:48:40 | |
Sometimes... | 0:48:45 | 0:48:47 | |
..when we boys are feeling blue... | 0:48:49 | 0:48:51 | |
This is what we do. | 0:48:53 | 0:48:54 | |
It's called Tokyo. | 0:48:55 | 0:48:57 | |
It's good stuff, Arthur. It'll help you. | 0:49:22 | 0:49:25 | |
For special occasions. | 0:49:27 | 0:49:29 | |
ARTHUR INHALES | 0:49:33 | 0:49:36 | |
ARTHUR SNIFFS | 0:49:37 | 0:49:40 | |
Oh, boys! My fucking Garrison! | 0:49:54 | 0:49:57 | |
Take that. Take that an' all. | 0:49:59 | 0:50:01 | |
'Ere you are, Lizzie. Let me get you a light. | 0:50:01 | 0:50:04 | |
There you go, my darling. Jeremiah, I'll be with you in a second. | 0:50:04 | 0:50:07 | |
-Oh! -MAN LAUGHS | 0:50:07 | 0:50:09 | |
Look at the place! | 0:50:09 | 0:50:11 | |
-You all right? -Busier we are, the faster time passes. | 0:50:14 | 0:50:17 | |
Yeah? | 0:50:17 | 0:50:18 | |
Arthur... Tokyo, it's fuel for races, eh? | 0:50:19 | 0:50:25 | |
-But you've seen a doped horse after a race... -Oh, yeah. | 0:50:25 | 0:50:28 | |
Grand openings and race days only, brother. | 0:50:29 | 0:50:31 | |
-All right? -'Go on then, Tommy!' | 0:50:32 | 0:50:35 | |
-'There you go, come on, drink up.' -Boys. | 0:50:35 | 0:50:37 | |
All right, Mick? | 0:50:37 | 0:50:38 | |
-Tom. -Finn! Gimme that. | 0:50:38 | 0:50:43 | |
Keep him off the whisky, John. | 0:50:44 | 0:50:46 | |
Pol. | 0:52:16 | 0:52:17 | |
POLLY LAUGHS | 0:52:27 | 0:52:30 | |
-Ada! I didn't know you were coming. -There's Aunt Polly. | 0:52:33 | 0:52:36 | |
-Aww... -Hi! | 0:52:36 | 0:52:38 | |
Hey, who's that? | 0:52:39 | 0:52:41 | |
-D'you want a cuddle? -Polly, that's right. | 0:52:41 | 0:52:44 | |
-Take him. -Polly... | 0:52:44 | 0:52:45 | |
-Oh, Ada, why don't you think about coming home? -Hello, Ada. | 0:52:45 | 0:52:49 | |
Say you'd... | 0:52:49 | 0:52:50 | |
-Tommy... -TOMMY CLEARS THROAT | 0:52:53 | 0:52:56 | |
-So what do you think, eh? -It's very... | 0:52:56 | 0:52:59 | |
-Gold? -Yeah. | 0:52:59 | 0:53:00 | |
-Hello, Ada. -Hello, trouble, how're you doing? | 0:53:03 | 0:53:06 | |
-Mmmm... -Oh, you're...spilling my drink! | 0:53:06 | 0:53:07 | |
SHE GIGGLES Hey, Arthur, look who it is. | 0:53:07 | 0:53:10 | |
So what d'you want me to say to her? | 0:53:10 | 0:53:12 | |
Just talk to her. No-one can get through to her. | 0:53:12 | 0:53:15 | |
Tell her I had no choice. | 0:53:15 | 0:53:18 | |
I appreciate this. | 0:53:19 | 0:53:21 | |
-Hello, brother. -Ada, come here, you! | 0:53:28 | 0:53:31 | |
-SHE GIGGLES -You big bear! | 0:53:31 | 0:53:34 | |
Polly? Why don't you come and join us? | 0:53:34 | 0:53:37 | |
-What? -I'm not an idiot. | 0:53:44 | 0:53:46 | |
He asked you to come, didn't he? | 0:53:47 | 0:53:48 | |
I don't want conversation, I want an address. | 0:53:56 | 0:54:00 | |
Until I have that... | 0:54:00 | 0:54:02 | |
..I've not got anything to say. | 0:54:03 | 0:54:05 | |
-Now, it's a party! -Yeah... | 0:54:05 | 0:54:08 | |
It is! Oh! | 0:54:08 | 0:54:10 | |
-And I'm going to enjoy myself. -No, Pol, don't be silly. | 0:54:13 | 0:54:17 | |
Excuse me? | 0:54:19 | 0:54:20 | |
Would you care to dance? | 0:54:22 | 0:54:24 | |
It'd...be my pleasure. | 0:54:26 | 0:54:28 | |
My love, pleasure hasn't even begun. | 0:54:35 | 0:54:39 | |
Excuse me? | 0:56:52 | 0:56:53 | |
I'm looking for someone called Elizabeth Gray. | 0:56:55 | 0:56:57 | |
I was told she lived here at number 17. | 0:56:58 | 0:57:00 | |
I came last night but there was nobody here. | 0:57:02 | 0:57:04 | |
So I waited. | 0:57:06 | 0:57:07 | |
What do you want with Elizabeth Gray? | 0:57:08 | 0:57:10 | |
I think she might be my mother. | 0:57:13 | 0:57:15 | |
# On a gathering storm comes a tall, handsome man | 0:58:06 | 0:58:10 | |
# In a dusty, black coat with a red right hand. # | 0:58:10 | 0:58:15 |