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This place is under new management... | 0:00:02 | 0:00:04 | |
by order of the Peaky Blinders. | 0:00:04 | 0:00:06 | |
Just write down, "Peace between the Jews and the Italians." | 0:00:06 | 0:00:13 | |
And war... | 0:00:13 | 0:00:14 | |
..against the Gypsies. | 0:00:15 | 0:00:17 | |
'I love him, Tom. | 0:00:17 | 0:00:19 | |
'I know.' | 0:00:19 | 0:00:20 | |
That's why I'll keep him away from the old business | 0:00:20 | 0:00:23 | |
and put him charge of the new. | 0:00:23 | 0:00:25 | |
Some idiots at The Marquis Of Lorne. | 0:00:25 | 0:00:27 | |
They tried to stop me and Isaiah from drinking, but it's all right. | 0:00:27 | 0:00:30 | |
We fought them off. | 0:00:30 | 0:00:31 | |
The Marquis, eh? | 0:00:31 | 0:00:32 | |
This programme contains strong language and scenes of sexual violence, which some viewers may find upsetting | 0:00:32 | 0:00:36 | |
What do we want with a 1,000 guinea horse? | 0:00:37 | 0:00:39 | |
When we make our move on Sabini's racing pitches | 0:00:39 | 0:00:41 | |
a good racehorse is a passport to the owners' enclosure. | 0:00:41 | 0:00:44 | |
May Carleton. I breed racehorses and train them. | 0:00:44 | 0:00:47 | |
'I have made arrangements with men I trust.' | 0:00:53 | 0:00:57 | |
If I should die... | 0:00:57 | 0:00:59 | |
then you will die. | 0:00:59 | 0:01:00 | |
GOAT BLEATS | 0:01:05 | 0:01:07 | |
MURMUR OF VOICES | 0:01:15 | 0:01:18 | |
# Take a little walk to the edge of town | 0:01:18 | 0:01:22 | |
# And go across the tracks | 0:01:22 | 0:01:25 | |
# Where the viaduct looms like a bird of doom | 0:01:26 | 0:01:31 | |
# As it shifts and cracks... # | 0:01:31 | 0:01:33 | |
WOMAN MOANS ECSTATICALLY | 0:01:35 | 0:01:37 | |
# ..Where secrets lie in the border fires | 0:01:37 | 0:01:39 | |
# In the humming wires Hey, man, you know you're never... # | 0:01:39 | 0:01:42 | |
Would you stop the noise?! | 0:01:42 | 0:01:44 | |
# ..Past the square, past the bridge past the mills, past the stacks | 0:01:44 | 0:01:49 | |
# On a gathering storm comes a tall handsome man | 0:01:51 | 0:01:56 | |
# In a dusty black coat with a red right hand... # | 0:01:56 | 0:02:00 | |
HE SNIFFS | 0:02:05 | 0:02:08 | |
You're working tonight? | 0:02:09 | 0:02:11 | |
Not so much work as pleasure. | 0:02:12 | 0:02:14 | |
Others are doing my work for me tonight. | 0:02:14 | 0:02:17 | |
Gentlemen, welcome, welcome. | 0:02:18 | 0:02:21 | |
Mr Solomon. | 0:02:21 | 0:02:22 | |
You must be Arthur. | 0:02:22 | 0:02:24 | |
-That is right. -Arthur, Arthur! | 0:02:24 | 0:02:27 | |
-It is a pleasure to meet you, sir. -I have heard so much about you. | 0:02:27 | 0:02:30 | |
Shalom. Let me just say... | 0:02:30 | 0:02:33 | |
Shalom. | 0:02:33 | 0:02:35 | |
CROCKERY SMASHES | 0:02:37 | 0:02:39 | |
For luck. | 0:02:39 | 0:02:40 | |
# ..They're a-whispering his name through this disappearing land | 0:02:41 | 0:02:45 | |
# But hidden in his coat is a red right hand... # | 0:02:45 | 0:02:50 | |
You understand I am the commanding officer on this operation | 0:02:58 | 0:03:01 | |
and you are here purely as an observer? | 0:03:01 | 0:03:04 | |
Just do your duty! | 0:03:06 | 0:03:08 | |
Dear Lord, for what we are about to receive, | 0:03:10 | 0:03:14 | |
may the Lord make us truly grateful. | 0:03:14 | 0:03:16 | |
Amen. | 0:03:16 | 0:03:17 | |
Amen! | 0:03:21 | 0:03:23 | |
Amen. | 0:03:24 | 0:03:25 | |
The Passover started off way out there in the Far East - | 0:03:28 | 0:03:32 | |
out in the sand, out in the desert, | 0:03:32 | 0:03:34 | |
where my forefathers come from - | 0:03:34 | 0:03:35 | |
the Jews, the brews, whatever you want to call them. | 0:03:35 | 0:03:37 | |
-DOOR RUMBLES SHUT -It started out as a little speck on the horizon... | 0:03:37 | 0:03:41 | |
Arthur, this ain't right! | 0:03:41 | 0:03:42 | |
Billy, don't worry, mate. If you want, you can leave. | 0:03:42 | 0:03:45 | |
If you need to go to the little boy's room, you can leave. | 0:03:45 | 0:03:47 | |
-We're going to open them in a minute anyway. -He's all right. Billy Boy. | 0:03:47 | 0:03:50 | |
-Do you want to leave? -No, you are all right. | 0:03:50 | 0:03:52 | |
-You want to stay? -I'll stay. | 0:03:52 | 0:03:55 | |
You stay there, then, treacle. OK. | 0:03:55 | 0:03:57 | |
So, the Pharaoh, have you heard of him? | 0:03:57 | 0:04:00 | |
He kept my people, the Jewish people, in slavery | 0:04:00 | 0:04:04 | |
for thousands and thousands of years. | 0:04:04 | 0:04:07 | |
Persecuted race. | 0:04:07 | 0:04:08 | |
He did, he persecuted my race. The killing of the innocent, right? | 0:04:08 | 0:04:14 | |
Seder, this feast what we is having here, right? | 0:04:14 | 0:04:17 | |
Seder is basically the day when the Jewish angels decided, you know, | 0:04:17 | 0:04:23 | |
that the evil fucking Egyptians had pushed their fucking luck. | 0:04:23 | 0:04:27 | |
-Right. -It's part of our tradition, to do with Seder, right, | 0:04:27 | 0:04:32 | |
that in order to make it good with God to kill a king... | 0:04:32 | 0:04:36 | |
..we have to carry out the Korban Pesach. | 0:04:38 | 0:04:42 | |
-Right. -That is the ritual sacrifice of the Passover goat. | 0:04:42 | 0:04:49 | |
GOAT BLEATS | 0:04:49 | 0:04:51 | |
-It's a goat! -Yeah, and we are going to sacrifice it. | 0:04:53 | 0:04:58 | |
Tonight. | 0:04:58 | 0:04:59 | |
That is part of the reason why we have to shut the doors as well. | 0:04:59 | 0:05:03 | |
But this year we thought we'd give the fucking goat a name. | 0:05:03 | 0:05:07 | |
-You've named it? -We fucking did. Yeah. | 0:05:07 | 0:05:10 | |
They named the fucking goat. | 0:05:10 | 0:05:11 | |
After the evil fucking Egyptian pharaoh. | 0:05:11 | 0:05:14 | |
The fucking enemy! | 0:05:14 | 0:05:15 | |
That's right! You know what we called him? | 0:05:15 | 0:05:17 | |
What did you call him? | 0:05:17 | 0:05:18 | |
Tommy Shelby. | 0:05:18 | 0:05:19 | |
GUNSHOT | 0:05:20 | 0:05:22 | |
SHOUTING AND COMMOTION | 0:05:22 | 0:05:24 | |
Police! Stay where you are. | 0:05:37 | 0:05:38 | |
SHOUTING AND COMMOTION | 0:05:38 | 0:05:40 | |
GUNSHOT | 0:05:42 | 0:05:44 | |
You're all fired. | 0:05:44 | 0:05:45 | |
Fuck you! | 0:05:45 | 0:05:47 | |
That's right, let's take the load off. | 0:05:47 | 0:05:49 | |
So, then the evil Egyptian scum | 0:05:52 | 0:05:57 | |
was finally cleansed | 0:05:57 | 0:06:01 | |
by the blood of the Passover goat. | 0:06:01 | 0:06:03 | |
That's from Sabini. | 0:06:10 | 0:06:12 | |
You tell your Gypsy king... | 0:06:14 | 0:06:16 | |
HE SCREAMS | 0:06:16 | 0:06:17 | |
..that whoever comes down south | 0:06:17 | 0:06:19 | |
shall return north in many fucking pieces. | 0:06:19 | 0:06:23 | |
KNIFE SLASHES FLESH, HE SCREAMS | 0:06:26 | 0:06:28 | |
The fucking animal. He come in here, right, | 0:06:38 | 0:06:40 | |
with a fucking gun and a razor, he shot him in the face. | 0:06:40 | 0:06:44 | |
My lads, they restrained him. Look at him. He is dead. | 0:06:44 | 0:06:47 | |
Is he dead? | 0:06:47 | 0:06:48 | |
He is fucking dead! | 0:06:48 | 0:06:50 | |
He wants arresting or some thing, right? Surely. | 0:06:50 | 0:06:53 | |
Not again! Michael! No, you can't take him away again! | 0:07:00 | 0:07:03 | |
You can't take my son away! | 0:07:03 | 0:07:04 | |
-Give me the boy. -Come back here. | 0:07:04 | 0:07:06 | |
Listen, we are arresting him for taking part in a fight... | 0:07:06 | 0:07:10 | |
Ow, you...! | 0:07:10 | 0:07:11 | |
Don't you fucking touch him! Get off him! | 0:07:11 | 0:07:15 | |
Don't say anything. Tommy will get you out. | 0:07:15 | 0:07:18 | |
I'll be all right... | 0:07:18 | 0:07:19 | |
You should know that, as of this night, Tommy Shelby is finished. | 0:07:24 | 0:07:29 | |
Mick, this is Thomas Shelby. He's come to check up on his filly. | 0:07:43 | 0:07:47 | |
Yes. I've heard about him. | 0:07:48 | 0:07:50 | |
Micky is the best horseman in England. | 0:07:51 | 0:07:54 | |
He likes to waste money, I know that. | 0:07:54 | 0:07:58 | |
According to the reports I've been given | 0:07:58 | 0:08:00 | |
you're spending £2 a month on worming powder. | 0:08:00 | 0:08:02 | |
What? You want a horse with worms? | 0:08:02 | 0:08:04 | |
Horses get worms from the water trough. | 0:08:04 | 0:08:06 | |
If you put goldfish in them, they eat the worm eggs. | 0:08:06 | 0:08:08 | |
Goldfish? | 0:08:08 | 0:08:10 | |
That'll be a Gypsy thing, is it? | 0:08:11 | 0:08:13 | |
No, it's an accounting thing. | 0:08:13 | 0:08:15 | |
Goldfish cost a penny each. | 0:08:15 | 0:08:17 | |
Or you can win them at the fair. | 0:08:17 | 0:08:19 | |
If you want, I'll dispense with the vet altogether. | 0:08:23 | 0:08:25 | |
Excuse me. | 0:08:25 | 0:08:27 | |
Did you ever consider a career in diplomacy? | 0:08:30 | 0:08:32 | |
Hello, hello. How are you, eh? | 0:08:37 | 0:08:40 | |
Goldfish? Seriously? | 0:08:40 | 0:08:41 | |
Yep. You people have a lot to learn. | 0:08:41 | 0:08:45 | |
They asked me if I wanted a fire in the guest bedroom. | 0:09:03 | 0:09:06 | |
I said no. | 0:09:08 | 0:09:10 | |
Just one fire tonight. | 0:09:12 | 0:09:14 | |
Bold and fearless, eh? | 0:09:16 | 0:09:17 | |
Yes. | 0:09:17 | 0:09:19 | |
Though I'm not really fearless. | 0:09:20 | 0:09:22 | |
-Drink? -Why not? | 0:09:31 | 0:09:33 | |
Madam, there is a telephone call. | 0:09:48 | 0:09:49 | |
I'll take it in the drawing room. | 0:09:49 | 0:09:51 | |
It's for Mr Shelby. | 0:09:51 | 0:09:52 | |
We had a deal. | 0:09:57 | 0:09:58 | |
Hey? | 0:09:59 | 0:10:01 | |
We had a fucking deal! | 0:10:01 | 0:10:02 | |
I would thank you to moderate your language in a place of worship. | 0:10:04 | 0:10:08 | |
We had a fucking deal. | 0:10:08 | 0:10:10 | |
Mr Shelby. | 0:10:14 | 0:10:15 | |
If you read the papers, you might have seen that the Home Secretary | 0:10:18 | 0:10:22 | |
has got himself into a bit of a fizz about certain moral issues. | 0:10:22 | 0:10:28 | |
Prostitution, protection, | 0:10:28 | 0:10:30 | |
racketeering, drinking, | 0:10:30 | 0:10:32 | |
cocaine and, of course... | 0:10:32 | 0:10:34 | |
gambling. | 0:10:34 | 0:10:35 | |
He has demanded results. | 0:10:37 | 0:10:39 | |
You offered me protection. You promised me protection. | 0:10:39 | 0:10:44 | |
Well, no, you see it was Mr Churchill that made you that promise. | 0:10:44 | 0:10:48 | |
And the Home Secretary outranks him, so... | 0:10:49 | 0:10:53 | |
And I can hardly be blamed if your demented brother | 0:10:55 | 0:10:57 | |
decides to go on some sort of blood orgy during dinner. | 0:10:57 | 0:11:01 | |
Don't fucking lie to me! | 0:11:01 | 0:11:02 | |
-SHOUTS: -Do not sit here in your fucking church and lie to me! | 0:11:02 | 0:11:05 | |
You will need to contain your emotions | 0:11:08 | 0:11:10 | |
or this meeting is at an end. | 0:11:10 | 0:11:12 | |
Good. | 0:11:21 | 0:11:23 | |
That's better. | 0:11:24 | 0:11:26 | |
So... | 0:11:28 | 0:11:29 | |
..let us review the new situation. | 0:11:30 | 0:11:34 | |
I have your brother in a prison cell | 0:11:34 | 0:11:36 | |
charged with the murder of Billy Kitchen. | 0:11:36 | 0:11:39 | |
The case against him is strong | 0:11:39 | 0:11:42 | |
and I have no doubt that his destiny is to hang. | 0:11:42 | 0:11:46 | |
And then there is Polly's son, Michael. | 0:11:47 | 0:11:50 | |
He has already admitted to helping Arthur burn down the Marquis pub. | 0:11:50 | 0:11:54 | |
He was a tough nut to crack, that boy, but crack he did. | 0:11:56 | 0:12:00 | |
So I have your brother facing the noose, | 0:12:00 | 0:12:03 | |
I have your cousin facing five years for arson. | 0:12:03 | 0:12:06 | |
And I have your entire organisation in disarray | 0:12:06 | 0:12:11 | |
in Birmingham and in London. | 0:12:11 | 0:12:12 | |
What do you want? | 0:12:12 | 0:12:13 | |
What do I want?! | 0:12:15 | 0:12:16 | |
I don't understand. | 0:12:17 | 0:12:19 | |
I have already agreed to do your fucking killing for you. | 0:12:21 | 0:12:24 | |
Now, what is it you want from me? | 0:12:25 | 0:12:28 | |
There you go, you see. | 0:12:30 | 0:12:32 | |
An agreement is not the same thing as an assurance, now, is it? | 0:12:34 | 0:12:39 | |
You see, I found... I wasn't sleeping so well. | 0:12:41 | 0:12:47 | |
It wasn't just the smell and the noise in that room, no. | 0:12:47 | 0:12:52 | |
It was the nagging doubt. The knowledge... | 0:12:52 | 0:12:56 | |
The knowledge that... | 0:12:57 | 0:12:58 | |
..Tommy Shelby is not afraid to die. | 0:13:00 | 0:13:03 | |
Therefore... | 0:13:05 | 0:13:06 | |
..the threat to your own life might not be enough | 0:13:07 | 0:13:11 | |
to make it certain that you will obey me on the given day. | 0:13:11 | 0:13:15 | |
I needed also the power of life and death over your family. | 0:13:18 | 0:13:23 | |
And that I now have. | 0:13:23 | 0:13:25 | |
Your brother. | 0:13:25 | 0:13:26 | |
Your cousin. | 0:13:26 | 0:13:28 | |
And your sister. | 0:13:28 | 0:13:29 | |
I have known her address in Primrose Hill since the day she moved in. | 0:13:31 | 0:13:37 | |
She is safe only as long as I want her to be. | 0:13:37 | 0:13:41 | |
I have been ahead of you... | 0:13:41 | 0:13:43 | |
..every step of the way. | 0:13:45 | 0:13:46 | |
And, as my father used to say... | 0:13:47 | 0:13:50 | |
..to make sure your dog obeys you, | 0:13:51 | 0:13:53 | |
you have to show it the stick once in a while. | 0:13:53 | 0:13:56 | |
PHONE RINGS | 0:14:04 | 0:14:05 | |
Tommy, Arthur is in solitary confinement. | 0:14:05 | 0:14:07 | |
Michael is in the remand wing of... | 0:14:07 | 0:14:09 | |
I already know. Get out, shut the doors. | 0:14:09 | 0:14:11 | |
PHONE CONTINUES TO RING | 0:14:13 | 0:14:15 | |
'Tommy? | 0:14:26 | 0:14:27 | |
'It's me.' | 0:14:28 | 0:14:30 | |
Tommy, can you hear me? | 0:14:33 | 0:14:34 | |
Yes, er, Grace. | 0:14:36 | 0:14:38 | |
I think you called. I...haven't slept. | 0:14:38 | 0:14:41 | |
Grace, this is not a good time. | 0:14:44 | 0:14:46 | |
I can call you back. | 0:14:46 | 0:14:48 | |
-No, it's fine. It's all right. -Can we meet? | 0:14:48 | 0:14:51 | |
Yes. We'll meet. | 0:14:52 | 0:14:54 | |
When? | 0:14:54 | 0:14:56 | |
Grace, there are some things I have to do first. | 0:15:00 | 0:15:02 | |
John? | 0:15:12 | 0:15:13 | |
The coppers have lifted ten of our men in Camden Town, | 0:15:14 | 0:15:17 | |
the rest of them are on the run. | 0:15:17 | 0:15:19 | |
-They've taken Michael. -Business first. | 0:15:19 | 0:15:21 | |
-They took Michael last night. -I said business first. | 0:15:21 | 0:15:23 | |
-They picked him up... -Polly, business first! | 0:15:23 | 0:15:25 | |
John? | 0:15:25 | 0:15:26 | |
They took all our whisky, | 0:15:26 | 0:15:29 | |
so no doubt they'll be supping that for Christmas. | 0:15:29 | 0:15:31 | |
They've impounded all our vans, put their own locks on the warehouse. | 0:15:31 | 0:15:36 | |
The Eden Club and all our pubs have been raided by the coppers | 0:15:37 | 0:15:42 | |
and handed back to Sabini and Solomons. | 0:15:42 | 0:15:44 | |
The Black Country boys think it was Arthur killed Billy | 0:15:46 | 0:15:49 | |
because that's what the coppers told them. | 0:15:49 | 0:15:51 | |
So there'll be no more free passes for our whisky boats. | 0:15:51 | 0:15:54 | |
I don't give a fuck about whisky. | 0:15:54 | 0:15:56 | |
I don't give a fuck about Billy Kitchen. | 0:15:56 | 0:15:58 | |
I want my son out of prison. Now. | 0:15:58 | 0:16:01 | |
Thomas, I spoke to Johnny Dogs. | 0:16:01 | 0:16:02 | |
This meeting should just be family. | 0:16:02 | 0:16:04 | |
-I can help. -It's family only, she is not blood, Tommy! -Let her speak. | 0:16:04 | 0:16:07 | |
-Or is this a business...? Have you forgotten...? -ENOUGH! | 0:16:07 | 0:16:10 | |
Enough, Polly. | 0:16:12 | 0:16:13 | |
Esme? | 0:16:13 | 0:16:14 | |
I spoke to Johnny Dogs. The Lees are kin. | 0:16:16 | 0:16:18 | |
-The bloody Lees! -They can give us men! | 0:16:18 | 0:16:20 | |
We don't need more fucking men! | 0:16:20 | 0:16:22 | |
It's men that have done the damage! | 0:16:22 | 0:16:25 | |
It... It is men fighting like cockerels | 0:16:25 | 0:16:28 | |
that have put us here in the first place. | 0:16:28 | 0:16:30 | |
Esme, I'll take up their offer. We need men. | 0:16:32 | 0:16:34 | |
If Michael ever gets out of prison, | 0:16:42 | 0:16:46 | |
I am taking him away from this family. | 0:16:46 | 0:16:48 | |
For good. | 0:16:48 | 0:16:50 | |
This life is bad. | 0:16:52 | 0:16:54 | |
This life is all bad. | 0:16:58 | 0:17:01 | |
-Aunt Pol, what are you doing? -Shut up and walk. | 0:17:01 | 0:17:03 | |
DOOR CLOSES | 0:17:08 | 0:17:10 | |
Thomas? | 0:17:12 | 0:17:13 | |
Should I go and speak to Queen Mary Lee at the Black Patch? | 0:17:15 | 0:17:18 | |
Yes. | 0:17:24 | 0:17:25 | |
She can give us soldiers for a few nights. | 0:17:25 | 0:17:27 | |
Mm, good. | 0:17:27 | 0:17:28 | |
John, go and bring up the car. | 0:17:32 | 0:17:35 | |
DOOR CLOSES | 0:17:54 | 0:17:55 | |
Imagine riding away, Thomas. | 0:17:55 | 0:17:58 | |
Living the real life, you know? | 0:17:58 | 0:18:01 | |
Your Gypsy half is the stronger. | 0:18:01 | 0:18:03 | |
You just want to ride away. | 0:18:05 | 0:18:07 | |
France is the new place for us, they say. | 0:18:10 | 0:18:13 | |
Lot of metal lying around still. | 0:18:13 | 0:18:15 | |
Guns and trucks and spent shells and things. | 0:18:17 | 0:18:19 | |
Then you go south. | 0:18:20 | 0:18:22 | |
Saintes-Maries, where the Black Madonna is. | 0:18:23 | 0:18:29 | |
My brothers go sometimes for the fair. | 0:18:29 | 0:18:31 | |
It's like a home for us. | 0:18:33 | 0:18:34 | |
They still let you get lost there. | 0:18:38 | 0:18:40 | |
I've been to France, Esme. | 0:18:53 | 0:18:54 | |
So has John. | 0:18:56 | 0:18:58 | |
Now get your coat | 0:19:00 | 0:19:02 | |
and go with your husband. | 0:19:02 | 0:19:04 | |
And if you ever talk about getting lost again, | 0:19:13 | 0:19:16 | |
I will cut you... | 0:19:16 | 0:19:17 | |
..from this family. | 0:19:18 | 0:19:19 | |
What family? | 0:19:30 | 0:19:31 | |
KEYS CLANK IN LOCK | 0:19:46 | 0:19:49 | |
KNOCK AT DOOR Come in. | 0:19:50 | 0:19:52 | |
DOOR OPENS | 0:19:52 | 0:19:54 | |
MALE VOICES IN BACKGROUND | 0:19:54 | 0:19:57 | |
Ah, Polly. | 0:19:57 | 0:19:59 | |
Come to see my son. | 0:20:01 | 0:20:03 | |
Close the door. | 0:20:04 | 0:20:06 | |
I've just been conducting... | 0:20:10 | 0:20:12 | |
an interrogation. | 0:20:12 | 0:20:15 | |
It can be awfully hard on the hands. | 0:20:15 | 0:20:18 | |
My son, Michael, where is he? | 0:20:18 | 0:20:21 | |
Do you think I need a shave? | 0:20:21 | 0:20:22 | |
It's been a long day. | 0:20:24 | 0:20:27 | |
I need to shave, don't you think? | 0:20:27 | 0:20:29 | |
Well, maybe it can wait till later. | 0:20:31 | 0:20:34 | |
Your son has been having a hard time of it, I am told. | 0:20:37 | 0:20:41 | |
And that is why I thought that you and I, together, | 0:20:41 | 0:20:44 | |
we should do whatever we can to get him freed. | 0:20:44 | 0:20:47 | |
I...I have a form here, a release form, | 0:20:48 | 0:20:52 | |
and with my signature he can be freed by tomorrow morning at dawn. | 0:20:52 | 0:20:58 | |
So sign it. | 0:21:15 | 0:21:16 | |
He didn't do anything. | 0:21:19 | 0:21:20 | |
"Sign it, Mr Campbell, please, sir." | 0:21:20 | 0:21:25 | |
Something like that, that'd be a way to say it, wouldn't it? | 0:21:25 | 0:21:29 | |
Now... | 0:21:30 | 0:21:32 | |
..what would prompt me to do you such a favour, hmm? | 0:21:33 | 0:21:36 | |
What do you want? | 0:21:39 | 0:21:41 | |
Information? | 0:21:44 | 0:21:45 | |
You mean inside information about Tommy Shelby's criminal empire? | 0:21:45 | 0:21:50 | |
With respect, | 0:21:52 | 0:21:54 | |
I would say that I know more about Tommy's dealings than you do. | 0:21:54 | 0:21:57 | |
He doesn't trouble the family with Irish business, for instance, | 0:21:57 | 0:22:00 | |
does he? No. | 0:22:00 | 0:22:03 | |
So, no... | 0:22:03 | 0:22:06 | |
it's not information I need. | 0:22:06 | 0:22:07 | |
What else could you give me... | 0:22:15 | 0:22:17 | |
..in return for my signature? | 0:22:19 | 0:22:21 | |
I'm talking about a simple transaction here. | 0:22:23 | 0:22:25 | |
I have a great curiosity. | 0:22:28 | 0:22:30 | |
Like a magpie...sees something... | 0:22:31 | 0:22:34 | |
..something shining in the mud. | 0:22:36 | 0:22:38 | |
Oh, he has no need for the silver, but... | 0:22:41 | 0:22:44 | |
..but he takes it anyway. | 0:22:45 | 0:22:47 | |
Sign the form. | 0:23:13 | 0:23:15 | |
"Please, sir..." | 0:23:15 | 0:23:17 | |
Please, sir... | 0:23:17 | 0:23:19 | |
I will sign that form with this hand... | 0:23:21 | 0:23:26 | |
..when I am finished. | 0:23:26 | 0:23:28 | |
It's a deal? | 0:23:28 | 0:23:30 | |
It's a deal. | 0:23:30 | 0:23:32 | |
You don't cry? | 0:23:35 | 0:23:38 | |
-Oh, I can cry. -So... | 0:23:38 | 0:23:40 | |
..that is what I want. | 0:23:41 | 0:23:43 | |
I need you to cry. | 0:23:44 | 0:23:46 | |
I will try. | 0:23:48 | 0:23:49 | |
"I need a favour, Mr Campbell, sir. And I will do anything... | 0:23:52 | 0:23:58 | |
"Anything in return." | 0:23:58 | 0:24:00 | |
That's what you might have said, hmm? | 0:24:00 | 0:24:02 | |
I felt something when... | 0:24:05 | 0:24:07 | |
..when I had you up against that car and you felt it, too. | 0:24:09 | 0:24:13 | |
(Don't tell me you didn't, Polly.) | 0:24:13 | 0:24:16 | |
Because... | 0:24:16 | 0:24:18 | |
Oh, and now you think you're... | 0:24:18 | 0:24:21 | |
..sort of respectable... | 0:24:22 | 0:24:24 | |
with your son and your house | 0:24:24 | 0:24:27 | |
and your maid, but I know what you are, | 0:24:27 | 0:24:30 | |
you Gypsy Fenian slut. | 0:24:30 | 0:24:32 | |
Do you want it on the floor or on the desk, Mr Campbell? | 0:24:33 | 0:24:37 | |
Now you cry. | 0:24:47 | 0:24:50 | |
You cry! | 0:24:50 | 0:24:52 | |
Get out. Get out. | 0:24:59 | 0:25:01 | |
Get out! | 0:25:03 | 0:25:05 | |
No. No! | 0:25:05 | 0:25:07 | |
I want him free. | 0:25:07 | 0:25:09 | |
I will get him free. | 0:25:09 | 0:25:11 | |
You don't need to shave. | 0:25:15 | 0:25:17 | |
You don't need to do anything. | 0:25:19 | 0:25:20 | |
Victory's just doing nothing, as well. | 0:25:23 | 0:25:27 | |
Doing it soft and gentle. | 0:25:27 | 0:25:29 | |
Should I talk or not talk? | 0:25:38 | 0:25:40 | |
Should it be like I am weak and small, yes? | 0:25:43 | 0:25:46 | |
Do you want me to talk or not talk? | 0:25:50 | 0:25:51 | |
Talk. | 0:25:54 | 0:25:56 | |
You're small and weak. | 0:25:56 | 0:25:58 | |
Then that is what I am - | 0:25:59 | 0:26:02 | |
small and weak. | 0:26:02 | 0:26:04 | |
Look. | 0:26:05 | 0:26:07 | |
Feel. | 0:26:09 | 0:26:10 | |
You made me cry. | 0:26:12 | 0:26:14 | |
No! | 0:26:19 | 0:26:21 | |
We had an agreement, right? | 0:26:21 | 0:26:24 | |
Yes. Yes! | 0:26:24 | 0:26:25 | |
DOOR OPENS | 0:26:28 | 0:26:30 | |
Where've you been? | 0:26:34 | 0:26:37 | |
I went to the Spotted Dog in Digbeth for a glass or two of rum. | 0:26:37 | 0:26:42 | |
Was it one glass or two? | 0:26:44 | 0:26:47 | |
It was three. | 0:26:47 | 0:26:49 | |
Where's the baby? | 0:26:49 | 0:26:52 | |
Sleeping. | 0:26:52 | 0:26:53 | |
More like five. | 0:26:55 | 0:26:56 | |
It was more like six. | 0:27:01 | 0:27:02 | |
Did you meet the maid? | 0:27:05 | 0:27:08 | |
I talked politics with her and she got bored and went to bed. | 0:27:08 | 0:27:11 | |
I phoned James. | 0:27:15 | 0:27:17 | |
He talked to the lawyer anyway. | 0:27:17 | 0:27:20 | |
He said he'd take Arthur's case for free, so we don't need Tommy. | 0:27:20 | 0:27:23 | |
Pol? | 0:27:27 | 0:27:30 | |
We'll get Michael free, as well, I promise. | 0:27:30 | 0:27:32 | |
There's no need, they're letting him out in the morning. | 0:27:32 | 0:27:35 | |
If the baby wants anything at night, ring the bell by the bed. | 0:27:39 | 0:27:44 | |
She gets paid to work 24 hours, that girl, she's getting lazy. | 0:27:44 | 0:27:47 | |
Well... | 0:27:49 | 0:27:51 | |
..take advantage if you're nice. | 0:27:52 | 0:27:55 | |
# Forgive me, Hera I cannot stay | 0:28:05 | 0:28:10 | |
# He cut out my tongue There is nothing to say | 0:28:10 | 0:28:15 | |
# Love me, oh Lord He threw me away | 0:28:17 | 0:28:21 | |
# He laughed at my sins In his arms I must stay | 0:28:23 | 0:28:27 | |
# He wrote, "I'm broke, Please send for me." | 0:28:31 | 0:28:38 | |
# Her skin is white And I'm light as the sun | 0:28:41 | 0:28:46 | |
# So holy light shines on the things you have done | 0:28:46 | 0:28:51 | |
# So I asked him How he became this man? | 0:28:53 | 0:28:57 | |
# How did he learn to hold fruit in his hands? | 0:28:58 | 0:29:02 | |
# And where is the lamb that gave you your name? | 0:29:02 | 0:29:07 | |
# He had to leave Though I begged him to stay | 0:29:07 | 0:29:11 | |
# We speak when spoken to | 0:29:13 | 0:29:18 | |
# And that suits us well | 0:29:18 | 0:29:20 | |
# That suits us well | 0:29:24 | 0:29:27 | |
# That suits me well. # | 0:29:29 | 0:29:32 | |
You need cream on them cuts or they'll go bad. | 0:29:34 | 0:29:37 | |
The screws told me why I've been freed. | 0:29:44 | 0:29:46 | |
They told me what you did. | 0:29:51 | 0:29:53 | |
They thought it was funny. | 0:30:00 | 0:30:02 | |
Maybe it is. | 0:30:09 | 0:30:10 | |
What are you doing, Tommy? | 0:30:36 | 0:30:37 | |
Shovelling shit, Curly. Just like you. | 0:30:38 | 0:30:41 | |
And why are you doing that, Tommy? | 0:30:48 | 0:30:50 | |
To remind myself of what I'd be if I wasn't who I am. | 0:30:50 | 0:30:54 | |
Tommy? | 0:31:26 | 0:31:28 | |
What's going on? | 0:31:28 | 0:31:29 | |
I think Tommy's lost his mind, Charlie! | 0:31:29 | 0:31:31 | |
Well, it's honest work, Curly... | 0:31:33 | 0:31:38 | |
but I don't want to get used to it, | 0:31:38 | 0:31:41 | |
so I'll need six cans of petrol. | 0:31:41 | 0:31:44 | |
Bring them to the garage, put them in the back of the car. | 0:31:44 | 0:31:48 | |
Six cans? | 0:31:49 | 0:31:51 | |
Tommy, if you ever want a job, I'll get you your own shovel. | 0:31:52 | 0:31:55 | |
Petrol, yeah. Yeah. | 0:31:58 | 0:32:00 | |
# Climbed over mountains | 0:32:18 | 0:32:22 | |
# Travelled the sea | 0:32:22 | 0:32:26 | |
# Cast down off heaven | 0:32:26 | 0:32:30 | |
# Cast down on my knees | 0:32:30 | 0:32:33 | |
# I've lain with the devil | 0:32:35 | 0:32:37 | |
# Cursed God above | 0:32:39 | 0:32:41 | |
# Forsaken heaven | 0:32:43 | 0:32:46 | |
# To bring you my love... # | 0:32:46 | 0:32:50 | |
Far too gorgeous for some half-blind auntie. | 0:32:52 | 0:32:55 | |
She's my harshest critic. I have to be perfect. | 0:32:55 | 0:32:58 | |
She's not half-blind, she's half-deaf. | 0:33:00 | 0:33:03 | |
So what time will you be back? | 0:33:03 | 0:33:06 | |
Before midnight. | 0:33:06 | 0:33:07 | |
I'll be awake. | 0:33:09 | 0:33:11 | |
Is this your house? | 0:34:06 | 0:34:08 | |
Yes. Have a seat. | 0:34:08 | 0:34:10 | |
Do I not get a drink? | 0:34:22 | 0:34:24 | |
Please. | 0:34:24 | 0:34:25 | |
-You want one? -Yes. | 0:34:29 | 0:34:32 | |
Still whisky? | 0:34:32 | 0:34:33 | |
Yes. | 0:34:34 | 0:34:36 | |
But other things have changed. | 0:34:36 | 0:34:38 | |
I saw vans with your name on at the docks. | 0:34:38 | 0:34:40 | |
Yes, some things have changed. | 0:34:40 | 0:34:42 | |
Tommy, I really wasn't sure about coming tonight... | 0:34:59 | 0:35:02 | |
I lit a fire in the bedroom upstairs. | 0:35:02 | 0:35:04 | |
My plan was that we sit here for a while and... | 0:35:06 | 0:35:10 | |
talk about old times, | 0:35:10 | 0:35:12 | |
drink some whisky. | 0:35:12 | 0:35:14 | |
And I was going to tell you | 0:35:16 | 0:35:19 | |
I hadn't spent a day without thinking about you. | 0:35:19 | 0:35:22 | |
And then we were going to go upstairs | 0:35:22 | 0:35:24 | |
and sleep together. | 0:35:24 | 0:35:25 | |
But just now, on the way to opening the door, | 0:35:27 | 0:35:31 | |
I changed my mind. | 0:35:31 | 0:35:32 | |
So just have one drink, | 0:35:35 | 0:35:37 | |
tell me how happy you are in New York and then you can go. | 0:35:37 | 0:35:40 | |
You "changed your mind"? | 0:35:40 | 0:35:42 | |
Mmm. So you can go. | 0:35:42 | 0:35:44 | |
As a matter of fact, I am happy in New York. | 0:35:49 | 0:35:52 | |
-And I am married. -Oh, yeah, he's rich, I know. | 0:35:52 | 0:35:55 | |
And he's sweet and he's kind to me, | 0:35:55 | 0:35:58 | |
so what makes you think that I would have gone to bed with you | 0:35:58 | 0:36:02 | |
after one whisky and some conversation? | 0:36:02 | 0:36:04 | |
-I was accounting for three whiskies. -How dare you? | 0:36:04 | 0:36:07 | |
Doesn't matter now, because I've changed my mind. | 0:36:07 | 0:36:09 | |
I came here because you asked me. | 0:36:09 | 0:36:12 | |
Even though he's sweet and he's kind to you? | 0:36:12 | 0:36:14 | |
-And now I feel like an idiot. -Well, then go. | 0:36:14 | 0:36:17 | |
(Jesus.) | 0:36:17 | 0:36:18 | |
But you're still here. | 0:36:30 | 0:36:32 | |
Are you so certain? | 0:36:35 | 0:36:37 | |
That you're still in love with me? | 0:36:37 | 0:36:39 | |
I was, but I'm not any more. | 0:36:41 | 0:36:44 | |
You're not armed, Grace, are you? | 0:36:49 | 0:36:51 | |
No, I'm not armed. | 0:36:51 | 0:36:53 | |
I don't carry guns. I don't have to. | 0:36:53 | 0:36:57 | |
You don't have a sense of humour any more, either. | 0:37:03 | 0:37:05 | |
What are you talking about? | 0:37:05 | 0:37:07 | |
Thing is, I hate reunions. | 0:37:17 | 0:37:20 | |
I didn't want to sit here for hours talking about nothing | 0:37:20 | 0:37:23 | |
and dancing around what we really want to say. | 0:37:23 | 0:37:26 | |
So now... | 0:37:27 | 0:37:29 | |
I know you're happy in New York. I know your husband's rich | 0:37:29 | 0:37:32 | |
and sweet and kind to you. I know you're unarmed | 0:37:32 | 0:37:35 | |
and you didn't come here for sex, because you don't love me any more. | 0:37:35 | 0:37:40 | |
And it's only three minutes past. | 0:37:40 | 0:37:44 | |
Another drink? | 0:37:44 | 0:37:46 | |
I'll take that as a yes. | 0:37:49 | 0:37:52 | |
It's good to see you, Grace. | 0:37:55 | 0:37:56 | |
So you didn't light the fire? | 0:37:58 | 0:38:00 | |
You see, my real plan... | 0:38:04 | 0:38:07 | |
..was that we go out. | 0:38:09 | 0:38:10 | |
I want to impress you. | 0:38:12 | 0:38:14 | |
Now... | 0:38:14 | 0:38:16 | |
..do you like Charlie Chaplin? | 0:38:18 | 0:38:19 | |
Yes, I like Charlie Chaplin. | 0:38:22 | 0:38:24 | |
Good. | 0:38:24 | 0:38:26 | |
But I bet you've never heard Charlie Chaplin speak. | 0:38:26 | 0:38:29 | |
I thought you were taking me to see Charlie Chaplin. | 0:38:31 | 0:38:33 | |
-I am. -This isn't a picture house. | 0:38:33 | 0:38:36 | |
No, it's not a picture house. | 0:38:36 | 0:38:38 | |
So how will I see Charlie Chaplin? | 0:38:38 | 0:38:40 | |
You will see him and you will hear him, just like I promised. | 0:38:40 | 0:38:44 | |
-There you go, there's Chaplin. -Oh, my God, that's him. -Mm-hm. | 0:38:44 | 0:38:48 | |
-That's really Charlie Chaplin in person. -Yep. | 0:38:48 | 0:38:50 | |
He's in England, promoting his film. | 0:38:50 | 0:38:53 | |
-And how the hell do you know Charlie Chaplin? -I don't, | 0:38:53 | 0:38:55 | |
I know his bodyguard, Wag MacDonald. | 0:38:55 | 0:38:58 | |
It's that chap there. | 0:38:58 | 0:38:59 | |
I was a bookie in Birmingham, then he went to Los Angeles. | 0:38:59 | 0:39:03 | |
You see, Wag is also a Romany Gypsy, as is Chaplin. | 0:39:03 | 0:39:06 | |
But he keeps it a secret. | 0:39:06 | 0:39:08 | |
Chaplin was born on the Black Patch, a Gypsy camp in Birmingham. | 0:39:08 | 0:39:12 | |
That's why he gave Wag the job, even though Wag was on the run. | 0:39:12 | 0:39:15 | |
Thank you. | 0:39:15 | 0:39:16 | |
Thank you. | 0:39:18 | 0:39:20 | |
See, we've all got secrets, Grace. | 0:39:20 | 0:39:22 | |
Come on, I'll introduce you. | 0:39:22 | 0:39:24 | |
Hello, Wag. Mr Chaplin, this is Grace. | 0:39:28 | 0:39:31 | |
Hello, Mr Chaplin. | 0:39:31 | 0:39:32 | |
PHONE RINGS | 0:39:35 | 0:39:39 | |
-Hello. -Hello, Mr Campbell. | 0:39:41 | 0:39:43 | |
You said you knew my sister's address in Primrose Hill. | 0:39:43 | 0:39:47 | |
So I expect you have men watching the house, | 0:39:47 | 0:39:49 | |
to see who comes and goes. | 0:39:49 | 0:39:52 | |
Well, tonight, your men will see me return to the house | 0:39:52 | 0:39:54 | |
with a very beautiful woman. | 0:39:54 | 0:39:56 | |
She will stay until just before midnight. | 0:39:56 | 0:39:59 | |
Course, I'll close the curtains. | 0:39:59 | 0:40:01 | |
Can you guess who the woman is? | 0:40:03 | 0:40:05 | |
Liar! | 0:40:08 | 0:40:09 | |
Sleep well, Mr Campbell. | 0:40:09 | 0:40:11 | |
Tommy. | 0:40:21 | 0:40:22 | |
Tommy, do you have someone? | 0:40:24 | 0:40:26 | |
(It's too late, Tommy.) | 0:40:34 | 0:40:37 | |
(It's 11, Grace.) | 0:40:37 | 0:40:39 | |
I mean, it's too late. | 0:40:39 | 0:40:40 | |
If you'd come with me to New York... | 0:40:43 | 0:40:46 | |
I had things to do. | 0:40:46 | 0:40:48 | |
You mean the coin landed the wrong way? | 0:40:50 | 0:40:53 | |
It couldn't have worked. | 0:40:53 | 0:40:55 | |
That was a question. | 0:40:58 | 0:40:59 | |
(Tommy, do you have someone?) | 0:41:12 | 0:41:14 | |
(I have a race horse.) | 0:41:17 | 0:41:19 | |
She's going to win the Derby. | 0:41:21 | 0:41:22 | |
MUSIC: Catherine by PJ Harvey | 0:41:22 | 0:41:24 | |
# Till the light that shines on me | 0:41:26 | 0:41:29 | |
# I damn to hell every second you breathe | 0:41:29 | 0:41:33 | |
# I envy the road the ground you tread under | 0:41:37 | 0:41:41 | |
# I envy the wind your hair riding over | 0:41:41 | 0:41:45 | |
# I envy the pillow your head rests and slumbers | 0:41:45 | 0:41:48 | |
# I envy to murderous envy your lover | 0:41:48 | 0:41:53 | |
# Till the light shines on me | 0:41:53 | 0:41:56 | |
# I damn to hell every second you breathe | 0:41:56 | 0:41:59 | |
# Till the light shines on me | 0:42:01 | 0:42:04 | |
# I damn to hell every second you breathe | 0:42:04 | 0:42:09 | |
# Till the light shines on me... # | 0:42:09 | 0:42:14 | |
-I'll drive you. -HE CLEARS THROAT | 0:42:17 | 0:42:19 | |
When do you sail back? | 0:42:23 | 0:42:25 | |
We don't know yet. | 0:42:28 | 0:42:29 | |
You don't have a return ticket? | 0:42:31 | 0:42:33 | |
This wasn't right, Tommy. | 0:42:34 | 0:42:35 | |
When do you go back, Grace? | 0:42:37 | 0:42:38 | |
They're doing tests on us. | 0:42:44 | 0:42:46 | |
I don't know when they'll be finished. | 0:42:46 | 0:42:48 | |
We're having treatment. | 0:42:53 | 0:42:54 | |
A doctor in Harley Street. | 0:42:55 | 0:42:57 | |
Some new thing. A breakthrough. | 0:42:58 | 0:43:00 | |
We're trying for a baby. | 0:43:03 | 0:43:05 | |
Why did you come here tonight? | 0:43:30 | 0:43:31 | |
The doctor believes it's surely me who's at fault. | 0:43:38 | 0:43:41 | |
-I am sorry. It is no-one's fault. -I'm tired of that. | 0:43:49 | 0:43:52 | |
Can I see you again? | 0:44:04 | 0:44:05 | |
Grace? | 0:44:10 | 0:44:11 | |
You're used to working under cover, eh? | 0:44:16 | 0:44:18 | |
I've never lied to him once. | 0:44:21 | 0:44:23 | |
So tell him the truth. | 0:44:26 | 0:44:27 | |
Put your arms up. | 0:44:47 | 0:44:48 | |
What have we got here then? | 0:44:57 | 0:44:59 | |
Take your fucking hands off me! | 0:45:03 | 0:45:05 | |
Here he is. The King of London Town. | 0:45:07 | 0:45:10 | |
You been enjoying yourself? | 0:45:20 | 0:45:22 | |
Oh, yes, fucking great. | 0:45:22 | 0:45:24 | |
Surrounded by Sabini's men. | 0:45:24 | 0:45:26 | |
Rats everywhere. | 0:45:26 | 0:45:28 | |
Fucking cockneys. | 0:45:29 | 0:45:30 | |
Well, at least you're going to get what you've always wanted. | 0:45:31 | 0:45:34 | |
-And what's that? -You've tried to hang yourself twice. | 0:45:34 | 0:45:37 | |
Now the King's going to do it for you. | 0:45:37 | 0:45:39 | |
-I've been a fucking idiot. -Yeah. | 0:45:44 | 0:45:46 | |
I haven't appreciated nothing, John. | 0:45:47 | 0:45:49 | |
Are you fucking repenting or something? | 0:45:49 | 0:45:51 | |
Drawing. | 0:45:51 | 0:45:52 | |
I used to be good at drawing. | 0:45:53 | 0:45:55 | |
Arthur, please. For God's sake. I don't need this. | 0:45:55 | 0:45:57 | |
I should have listened more in class... | 0:45:57 | 0:45:59 | |
What fucking class? You were never there! | 0:45:59 | 0:46:01 | |
I used to draw horses. | 0:46:03 | 0:46:04 | |
Arthur... | 0:46:04 | 0:46:06 | |
Stallions. Great big ones. They looked real. | 0:46:06 | 0:46:09 | |
Arthur. Not stallions, not now. | 0:46:09 | 0:46:11 | |
I should have done more with my life, John. Good things. | 0:46:12 | 0:46:16 | |
-Arthur, for God's sake... -Even Ada said it wasn't my fault. | 0:46:16 | 0:46:19 | |
-Arthur, will you listen? -They are going to hang me, John. | 0:46:19 | 0:46:21 | |
They're not going to hang you. | 0:46:21 | 0:46:23 | |
Says who? | 0:46:23 | 0:46:24 | |
Tommy. | 0:46:26 | 0:46:27 | |
And how is Houdini going to get me out of this? | 0:46:30 | 0:46:34 | |
-Well... -Don't tell me. He's got a plan. | 0:46:34 | 0:46:36 | |
-But you don't know what that plan is, do you, John? -I do... | 0:46:37 | 0:46:40 | |
Because we just, we can't be trusted. | 0:46:40 | 0:46:43 | |
All right. If he's so fucking clever, why am I in here? | 0:46:43 | 0:46:47 | |
-Well... -Why is all our men and half our whisky being lifted? | 0:46:47 | 0:46:51 | |
Hmm? | 0:46:51 | 0:46:53 | |
The Jew and the cockney have run rings round him. | 0:46:53 | 0:46:55 | |
-Will you shut up? -Look at you. Look. | 0:46:55 | 0:46:57 | |
A big fucking man... | 0:46:57 | 0:46:59 | |
Fucking shut up! | 0:46:59 | 0:47:00 | |
He's already told me what I've got to do. | 0:47:03 | 0:47:05 | |
What business have you got here? | 0:47:23 | 0:47:25 | |
I just pulled over. I never smoke and drive, you know. | 0:47:25 | 0:47:29 | |
Where are you from? | 0:47:29 | 0:47:30 | |
I'm from Ireland. | 0:47:30 | 0:47:32 | |
The beautiful north, where the rocks sing in the wind. | 0:47:32 | 0:47:34 | |
Where in the beautiful north? | 0:47:34 | 0:47:36 | |
You know, I just pulled over for a fag. | 0:47:36 | 0:47:38 | |
I want to see some identification. | 0:47:38 | 0:47:40 | |
Hey! | 0:47:40 | 0:47:41 | |
# Come home | 0:48:00 | 0:48:02 | |
# Like me | 0:48:02 | 0:48:04 | |
# You're home now | 0:48:06 | 0:48:09 | |
# Here with me | 0:48:09 | 0:48:11 | |
# Come home | 0:48:11 | 0:48:14 | |
# With your son | 0:48:14 | 0:48:17 | |
# Tomorrow might never come... # | 0:48:17 | 0:48:21 | |
May! | 0:48:21 | 0:48:22 | |
Tommy! | 0:48:22 | 0:48:24 | |
Does it really stop the horses from getting worms? | 0:48:33 | 0:48:36 | |
Yep. It really does. | 0:48:38 | 0:48:39 | |
Anyway, I thought it would make you smile. | 0:48:44 | 0:48:47 | |
I'm sorry that you had to drive through the night. | 0:48:49 | 0:48:51 | |
Must be exhausted. You can go and sleep if you want. | 0:48:51 | 0:48:53 | |
May? | 0:48:55 | 0:48:56 | |
We have to stop. | 0:48:58 | 0:49:00 | |
This. | 0:49:01 | 0:49:02 | |
I came here to tell you we have to stop. | 0:49:03 | 0:49:05 | |
Why? | 0:49:08 | 0:49:09 | |
Because I'm me and you're you? That old thing? | 0:49:10 | 0:49:13 | |
There's someone. | 0:49:14 | 0:49:15 | |
For a long time. | 0:49:18 | 0:49:19 | |
And I didn't want you to think anything about how it's going to be | 0:49:24 | 0:49:27 | |
after the race. | 0:49:27 | 0:49:28 | |
HE CLEARS THROAT | 0:49:30 | 0:49:31 | |
Not many of your people know about me | 0:49:34 | 0:49:36 | |
so I haven't done the damage that would come. | 0:49:36 | 0:49:38 | |
"My people"? | 0:49:38 | 0:49:39 | |
-But the damage isn't done, is what I mean. -Right. | 0:49:42 | 0:49:46 | |
And even if it's like this, I want the horse to stay here. | 0:49:50 | 0:49:53 | |
To stay. Yes, of course. | 0:49:53 | 0:49:55 | |
Epsom is close. | 0:49:55 | 0:49:56 | |
I haven't got my outfit yet, so it's all right. | 0:49:56 | 0:49:58 | |
You can still be with me in the enclosure. | 0:49:59 | 0:50:01 | |
Very gracious of you, Sir(!) | 0:50:01 | 0:50:03 | |
You can wear something... | 0:50:03 | 0:50:05 | |
It's funny, isn't it, | 0:50:05 | 0:50:06 | |
because you'll be up there and I'll be down in the ring. | 0:50:06 | 0:50:10 | |
Sort of upside down, isn't it? | 0:50:10 | 0:50:12 | |
You can still be with me after and you can still wear something. | 0:50:13 | 0:50:16 | |
I will be covered in mud, from the ring. | 0:50:16 | 0:50:18 | |
May, forget about men like me. | 0:50:21 | 0:50:22 | |
I was going to tell you how much she's improved. | 0:50:22 | 0:50:25 | |
There are other men who... | 0:50:31 | 0:50:32 | |
I think she stands a chance of placing. So... | 0:50:32 | 0:50:34 | |
So the silly part of our business is done. | 0:50:34 | 0:50:36 | |
Are you going to drive straight off to Birmingham, or...? | 0:50:36 | 0:50:39 | |
What if I said, er, "All right, I'll stay"? | 0:50:45 | 0:50:49 | |
After what I just said. | 0:50:49 | 0:50:50 | |
Then that would be all right. | 0:50:56 | 0:50:58 | |
You talk about "damage". The damage not yet done. | 0:51:03 | 0:51:06 | |
You don't think half of London already thinks | 0:51:06 | 0:51:08 | |
that I am fucking a racketeer? | 0:51:08 | 0:51:10 | |
Laughing about it. Laying bets on when you'll steal the silver. | 0:51:11 | 0:51:14 | |
You think your people are ruthless? Try mine. | 0:51:17 | 0:51:19 | |
So that is why you carry on, eh? | 0:51:23 | 0:51:26 | |
Because you can't back down. | 0:51:26 | 0:51:28 | |
Amongst many other illogical reasons. | 0:51:30 | 0:51:33 | |
So will you drive straight off, or? | 0:51:37 | 0:51:39 | |
I haven't got any petrol in the garage. | 0:51:39 | 0:51:41 | |
I have some cans of petrol in the car. | 0:51:46 | 0:51:47 | |
Good. So you can go. | 0:51:47 | 0:51:49 | |
They look happy in there, eh? | 0:52:19 | 0:52:20 | |
And why wouldn't they be? | 0:52:22 | 0:52:23 | |
Who is she? | 0:52:37 | 0:52:38 | |
Someone who's sailing away. | 0:52:40 | 0:52:42 | |
So let her sail. | 0:52:52 | 0:52:53 | |
You've told me about her. Like a gentleman. | 0:52:56 | 0:52:58 | |
Now kindly behave like a gangster again. | 0:52:58 | 0:53:00 | |
Feel sorry for me. It's fine. | 0:53:05 | 0:53:07 | |
Because your horse will come fifth or sixth. | 0:53:18 | 0:53:20 | |
But I will win you. | 0:53:22 | 0:53:24 | |
Mr Shelby is just parking his car. | 0:53:32 | 0:53:34 | |
He said for you to wait in here. | 0:53:34 | 0:53:36 | |
Isn't this is impressive? | 0:53:41 | 0:53:43 | |
And what is it you exactly do here? | 0:53:44 | 0:53:46 | |
I exactly am a secretary to Mr Shelby. | 0:53:48 | 0:53:52 | |
A secretary! My, my, my! | 0:53:52 | 0:53:55 | |
All that paperwork. | 0:53:55 | 0:53:57 | |
Do you want tea? | 0:53:59 | 0:54:01 | |
No. | 0:54:01 | 0:54:02 | |
I keep everything locked up, Mr Campbell. Everything of value. | 0:54:48 | 0:54:52 | |
Take a seat. | 0:55:00 | 0:55:02 | |
HE CLEARS THROAT | 0:55:02 | 0:55:03 | |
How is your company treasurer, Polly? | 0:55:07 | 0:55:09 | |
Why do you ask? | 0:55:11 | 0:55:13 | |
Oh. Just give her my regards. | 0:55:13 | 0:55:15 | |
Ah! | 0:55:19 | 0:55:20 | |
You like to play with fire, don't you, Mr Shelby? | 0:55:26 | 0:55:30 | |
Yesterday, | 0:55:33 | 0:55:34 | |
in Belgravia, | 0:55:34 | 0:55:36 | |
Field Marshall Russell's house was burnt out. | 0:55:36 | 0:55:39 | |
An incendiary device was put through his letter box. | 0:55:39 | 0:55:42 | |
Which means | 0:55:42 | 0:55:44 | |
that he will have to find somewhere else to live | 0:55:45 | 0:55:47 | |
for at least the next three months. | 0:55:47 | 0:55:49 | |
Which also means that your plan for me to break in and shoot him | 0:55:52 | 0:55:56 | |
in his bed is no longer an operational possibility. | 0:55:56 | 0:55:59 | |
Indeed, but if you think a wee burn frees you from your obligations, | 0:55:59 | 0:56:04 | |
think again... | 0:56:04 | 0:56:05 | |
I will keep my side of the bargain. | 0:56:05 | 0:56:08 | |
Oh, by God, you will. | 0:56:08 | 0:56:09 | |
I will shoot your Field Marshal. | 0:56:09 | 0:56:10 | |
But I will do it in a way that serves my purpose. | 0:56:10 | 0:56:13 | |
The only purpose is MY purpose. | 0:56:13 | 0:56:15 | |
I will carry out the assassination at a place of my choosing. | 0:56:15 | 0:56:18 | |
Listen to me. | 0:56:20 | 0:56:21 | |
All operational detail must be mutually agreed. | 0:56:22 | 0:56:25 | |
I am a soldier of experience and I will determine where and when... | 0:56:25 | 0:56:29 | |
Now, that man has 24-hour armed police protection. | 0:56:29 | 0:56:32 | |
Your plan was full of holes, Mr Campbell. | 0:56:32 | 0:56:34 | |
My plan was mutually agreed! | 0:56:34 | 0:56:35 | |
And now your plan is up in smoke! | 0:56:35 | 0:56:38 | |
And I have formulated the only viable alternative. | 0:56:38 | 0:56:40 | |
For God's sake. What do you mean? | 0:56:40 | 0:56:43 | |
How would you get to him? | 0:56:44 | 0:56:46 | |
I won't. | 0:56:48 | 0:56:50 | |
He'll come to me. | 0:56:50 | 0:56:51 | |
Now listen to me, Mr Shelby. | 0:56:55 | 0:56:57 | |
When this meeting is concluded | 0:56:57 | 0:56:59 | |
I must report directly to Mr Winston Churchill. | 0:56:59 | 0:57:04 | |
Your relationship with Mr Churchill is not my concern. | 0:57:04 | 0:57:08 | |
And Mr Winston Churchill will need to hear details. | 0:57:08 | 0:57:13 | |
Well, you tell him he'll have to trust me. | 0:57:13 | 0:57:15 | |
Look, Mr Campbell, I will carry out my mission. | 0:57:20 | 0:57:23 | |
-Good. Good. -But I will do it in a place where it will be impossible | 0:57:26 | 0:57:30 | |
for you or your men to have me shot afterwards. | 0:57:30 | 0:57:33 | |
Because that was your plan, eh? | 0:57:35 | 0:57:39 | |
Coppers front and back. No way out. | 0:57:39 | 0:57:41 | |
Me shot dead, dumped in the Thames. | 0:57:41 | 0:57:44 | |
I will do the killing, | 0:57:44 | 0:57:46 | |
but in a place where that will not be an option. | 0:57:46 | 0:57:48 | |
I have recently become a racehorse owner, Mr Campbell. | 0:57:51 | 0:57:54 | |
It's, er... | 0:57:59 | 0:58:00 | |
Well, perhaps you can guess which one is my horse. | 0:58:02 | 0:58:05 | |
HE COUGHS | 0:58:05 | 0:58:06 | |
Where and when? | 0:58:23 | 0:58:25 | |
Epsom. | 0:58:27 | 0:58:28 | |
Derby day. | 0:58:29 | 0:58:30 | |
MUSIC: Red Right Hand by Nick Cave and the Bad Seeds | 0:58:32 | 0:58:35 | |
# On a gathering storm comes a tall handsome man | 0:58:48 | 0:58:52 | |
# In a dusty black coat with a red right hand... # | 0:58:52 | 0:58:57 |