Browse content similar to Episode 2. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes, strong language | 0:00:02 | 0:00:04 | |
and some scenes of a sexual nature from the start | 0:00:04 | 0:00:06 | |
-'The Russians have made contact. -On your wedding night?' | 0:00:06 | 0:00:09 | |
Whoever it is up there, he gave the wrong name. | 0:00:09 | 0:00:11 | |
Can you do it? Can you kill? | 0:00:11 | 0:00:13 | |
You know why he didn't come, don't you? My bloody man. | 0:00:13 | 0:00:16 | |
'There was a fire at his restaurant.' | 0:00:16 | 0:00:17 | |
No fraternising with the foreigners. | 0:00:17 | 0:00:19 | |
He's a cavalry officer. In March we'll be engaged. | 0:00:19 | 0:00:24 | |
'But you want to try things first. | 0:00:24 | 0:00:26 | |
'Ruben Oliver. Portrait artist.' | 0:00:26 | 0:00:28 | |
You have my card. | 0:00:28 | 0:00:30 | |
What was in your heart was beautiful. | 0:00:30 | 0:00:33 | |
GUNSHOT | 0:00:33 | 0:00:34 | |
Just get this business done and get away from things like this. | 0:00:35 | 0:00:38 | |
Promise me. | 0:00:38 | 0:00:39 | |
I promise I will make us safe. | 0:00:39 | 0:00:43 | |
MUSIC: Red Right Hand by Nick Cave and the Bad Seeds | 0:00:44 | 0:00:47 | |
# Take a little walk to the edge of town | 0:01:01 | 0:01:05 | |
# And go across the tracks | 0:01:05 | 0:01:06 | |
# Where the viaduct looms like a bird of doom | 0:01:09 | 0:01:12 | |
# As it shifts and cracks | 0:01:12 | 0:01:17 | |
# Where secrets lie in the border fires | 0:01:17 | 0:01:21 | |
# In the humming wires | 0:01:21 | 0:01:23 | |
# Hey, man, you know you're never coming back | 0:01:23 | 0:01:26 | |
# Past the square, past the bridge Past the mills, past the stacks | 0:01:26 | 0:01:30 | |
# On a gathering storm comes a tall handsome man | 0:01:33 | 0:01:38 | |
# In a dusty black coat with a red right hand... # | 0:01:38 | 0:01:42 | |
Your brothers came to my house. | 0:01:53 | 0:01:55 | |
They said the Peaky Blinders had business with me. | 0:01:57 | 0:02:00 | |
You're not afraid of me? | 0:02:02 | 0:02:03 | |
So, what is it you want from a simple working man? | 0:02:12 | 0:02:17 | |
Fear. | 0:02:17 | 0:02:18 | |
Poor Mr Nutley drank too much. | 0:02:23 | 0:02:25 | |
He went for a piss on the train tracks | 0:02:27 | 0:02:29 | |
that run behind the factory. | 0:02:29 | 0:02:32 | |
Train came. | 0:02:32 | 0:02:33 | |
They found his body in Saltley broken into bits. | 0:02:35 | 0:02:37 | |
I know what you do. Tell me what you want. | 0:02:37 | 0:02:42 | |
There. | 0:02:47 | 0:02:49 | |
The lot, complete warehouse. Bays four, five and six. | 0:02:49 | 0:02:53 | |
You have the keys? | 0:02:53 | 0:02:55 | |
Yes, I have the keys. | 0:02:55 | 0:02:56 | |
What's in bay four? | 0:02:58 | 0:02:59 | |
Completed type 40s and type 21s waiting for the paint shop. | 0:03:00 | 0:03:04 | |
Bay five? | 0:03:04 | 0:03:06 | |
Paint shop and parts. | 0:03:06 | 0:03:08 | |
Uh-uh. | 0:03:08 | 0:03:09 | |
So, it's bay six. | 0:03:09 | 0:03:11 | |
What is? | 0:03:11 | 0:03:12 | |
Give me the keys to bay six. | 0:03:15 | 0:03:17 | |
It's just old stock in storage. | 0:03:18 | 0:03:21 | |
Give me the keys to bay six. | 0:03:21 | 0:03:23 | |
For your trouble. | 0:03:50 | 0:03:51 | |
Give it to your charity... | 0:03:52 | 0:03:54 | |
I'm only doing this for the safety of my family. | 0:04:03 | 0:04:06 | |
So, will it be just boys in your charitable institution | 0:05:32 | 0:05:34 | |
or girls, as well? | 0:05:34 | 0:05:36 | |
Both. | 0:05:38 | 0:05:39 | |
You must divide them. | 0:05:41 | 0:05:43 | |
You know how the little creatures can get. | 0:05:43 | 0:05:47 | |
Where are your people? You said they'd be here by five. | 0:05:47 | 0:05:50 | |
They're a law unto themselves. | 0:05:51 | 0:05:53 | |
You can never quite grasp who they are. | 0:05:53 | 0:05:56 | |
Like gripping wet soap. | 0:05:56 | 0:05:58 | |
I've done my research. | 0:06:00 | 0:06:01 | |
Perhaps you know them as the, er...Economic League. | 0:06:05 | 0:06:09 | |
Only once did I get a letter from them headed the Vigilance Committee. | 0:06:09 | 0:06:13 | |
Which tips the hand a little. | 0:06:13 | 0:06:16 | |
Nope. | 0:06:16 | 0:06:17 | |
The name I've heard is Section D. | 0:06:17 | 0:06:20 | |
That's what Special Branch calls them. | 0:06:21 | 0:06:24 | |
Businessmen, MPs, army officers. | 0:06:24 | 0:06:28 | |
Yes, it will be fun to bring such men to a Gypsy scrapyard. | 0:06:32 | 0:06:35 | |
You asked for privacy. | 0:06:38 | 0:06:40 | |
Since the election, the Government has decided that we are the enemy. | 0:06:40 | 0:06:44 | |
When all we're trying to do is save the country from revolution. | 0:06:45 | 0:06:49 | |
Are you political, Mr Shelby? | 0:06:51 | 0:06:53 | |
Because these odd fellows believe that the time is coming soon | 0:06:55 | 0:06:58 | |
when everyone must choose a side. | 0:06:58 | 0:07:00 | |
Are your people coming, or are they not coming? | 0:07:02 | 0:07:05 | |
Mr Shelby, you will learn that these men are far too grand | 0:07:05 | 0:07:08 | |
for the clock to govern them. | 0:07:08 | 0:07:10 | |
You'll get used to meeting in the small hours of the morning. | 0:07:11 | 0:07:15 | |
They're like monks. | 0:07:15 | 0:07:17 | |
So, when is your charitable institute opening? | 0:07:20 | 0:07:23 | |
When I fucking say. | 0:07:23 | 0:07:25 | |
Well, I'll stop by from time to time. | 0:07:27 | 0:07:30 | |
Hear confession from the little creatures. | 0:07:30 | 0:07:32 | |
You will meet Mr Patrick Jarvis, MP. | 0:07:34 | 0:07:37 | |
He'll probably want to become a trustee. | 0:07:37 | 0:07:40 | |
It's just his thing, to drop by in the evenings after a few drinks. | 0:07:40 | 0:07:45 | |
We'll make it a formal arrangement | 0:07:45 | 0:07:46 | |
as part of the... bigger deal between us. | 0:07:46 | 0:07:49 | |
I will have an office there. | 0:07:51 | 0:07:52 | |
THOMAS CLEARS THROAT | 0:07:52 | 0:07:55 | |
My God. Some devil gets into you, doesn't it, boy? | 0:08:03 | 0:08:06 | |
Mr Shelby, if I want to play the squire | 0:08:08 | 0:08:12 | |
in your place of false charity then I will. | 0:08:12 | 0:08:16 | |
Ambition for respectability doesn't make you a saint. | 0:08:16 | 0:08:20 | |
Am I wrong? | 0:08:20 | 0:08:21 | |
Oh, Lord. That's six, is it? | 0:08:26 | 0:08:28 | |
Well, I will wish you a good day. | 0:08:30 | 0:08:34 | |
The fuck are you going? | 0:08:34 | 0:08:35 | |
Did I not make it clear? | 0:08:35 | 0:08:38 | |
They said if they weren't here by morning prayers | 0:08:38 | 0:08:40 | |
then the meeting has been cancelled. | 0:08:40 | 0:08:43 | |
Perhaps Mr Jarvis has been held up at the House of Commons. | 0:08:43 | 0:08:47 | |
Perhaps Admiral Hall's been held up at the House of Lords. | 0:08:48 | 0:08:52 | |
Am I impressing you? | 0:08:52 | 0:08:54 | |
Or perhaps they've decided they don't care for doing business | 0:08:54 | 0:08:57 | |
with Gypsies in scrap-metal yards. | 0:08:57 | 0:09:00 | |
Which would be a poorer outcome for you. | 0:09:00 | 0:09:02 | |
You give them a message from me, priest. | 0:09:02 | 0:09:05 | |
You tell them I've been to the factories | 0:09:07 | 0:09:10 | |
and the armoured vehicles are in good condition. | 0:09:10 | 0:09:12 | |
How many? | 0:09:15 | 0:09:16 | |
27. | 0:09:19 | 0:09:20 | |
And the foreman is ours. | 0:09:20 | 0:09:22 | |
This is someone you will meet, | 0:09:25 | 0:09:27 | |
today, at the Ritz. | 0:09:27 | 0:09:30 | |
I have meetings today. | 0:09:30 | 0:09:32 | |
You have one meeting. | 0:09:32 | 0:09:33 | |
This one. In London. | 0:09:33 | 0:09:36 | |
So you'd best catch the milk train. | 0:09:37 | 0:09:40 | |
Cold. | 0:10:39 | 0:10:40 | |
My apologies, sir. | 0:10:40 | 0:10:41 | |
And how many times I asked you to tell them | 0:10:41 | 0:10:43 | |
about sending us the servants' crockery? | 0:10:43 | 0:10:45 | |
I have no control over the choice of service, sir. | 0:10:45 | 0:10:48 | |
Hmm. And what about the yesterday egg? And last year's fish? | 0:10:48 | 0:10:52 | |
And last century's tea leaves in a cracked pot? | 0:10:52 | 0:10:54 | |
Sir, I have a list of today's social engagements | 0:10:54 | 0:10:56 | |
-if you'd like to hear them. -Oh, are we in a rush today? | 0:10:56 | 0:10:59 | |
I have duties at the main house, sir. | 0:10:59 | 0:11:02 | |
Luncheon at the Ritz with Duke Mikhail Mikhailovich. | 0:11:02 | 0:11:05 | |
Cancelled. | 0:11:06 | 0:11:08 | |
What reason? | 0:11:08 | 0:11:10 | |
He says he's unwell, sir. | 0:11:10 | 0:11:12 | |
You're due to have tea at three with Prince Vsevolod Ivanovich | 0:11:14 | 0:11:18 | |
and Lady Mary Lewington, sir... | 0:11:18 | 0:11:20 | |
Mm. Good. | 0:11:22 | 0:11:24 | |
I miss out on the bore and meet the beauty. | 0:11:24 | 0:11:27 | |
However, in the absence of the Duke, | 0:11:27 | 0:11:29 | |
the Prince and the Lady too have cancelled, | 0:11:29 | 0:11:32 | |
sir. | 0:11:32 | 0:11:33 | |
Other than that your day is your own. | 0:11:36 | 0:11:39 | |
You do have one business appointment | 0:11:40 | 0:11:43 | |
to discuss automobiles. | 0:11:43 | 0:11:44 | |
With a Mr Thomas Shelby, sir. | 0:11:44 | 0:11:47 | |
MUSIC: DNA by the Kills | 0:11:51 | 0:11:54 | |
You asked for a meeting out in the open. | 0:12:14 | 0:12:16 | |
Fresh air and the fine aroma of shit. | 0:12:17 | 0:12:20 | |
"Neutral ground," you said. | 0:12:22 | 0:12:24 | |
This is hardly neutral ground. | 0:12:24 | 0:12:27 | |
Well, it's what you've got. | 0:12:27 | 0:12:30 | |
So, por favivo, sit down. | 0:12:30 | 0:12:35 | |
-Where is Thomas? -He got called away. | 0:12:35 | 0:12:37 | |
-He said he'd be here. -Yeah, he's busy. | 0:12:37 | 0:12:39 | |
I just told you he got called away. What do you want? | 0:12:39 | 0:12:42 | |
There has been a peace between the Peaky Blinders | 0:12:48 | 0:12:53 | |
and the Changretta family for two years now... | 0:12:53 | 0:12:56 | |
Do you want some tea or not? | 0:12:56 | 0:12:58 | |
Here, Finn, pour the Italians some English tea. Go on. | 0:12:58 | 0:13:02 | |
We don't want fucking tea! | 0:13:02 | 0:13:05 | |
We want an explanation. | 0:13:09 | 0:13:11 | |
Well, I'll have fucking tea. | 0:13:11 | 0:13:13 | |
Explanation for what? | 0:13:13 | 0:13:16 | |
The Little Venice restaurant in Forge Street was burnt down. | 0:13:16 | 0:13:20 | |
No, no, couldn't have been us. We was at a wedding. | 0:13:20 | 0:13:22 | |
You burnt it down to stop my son being at that same wedding. | 0:13:22 | 0:13:27 | |
Yeah, he wasn't missed. | 0:13:27 | 0:13:29 | |
You are such big boys now. | 0:13:33 | 0:13:36 | |
Where once you borrowed clothes from us to look like men. | 0:13:36 | 0:13:40 | |
How's the tea, Arthur? Is it...? | 0:13:40 | 0:13:42 | |
It's cold. | 0:13:44 | 0:13:45 | |
Please tell Tommy that we pay him whatever he asks us to pay. | 0:13:49 | 0:13:54 | |
We stay out of the city and off the tracks. | 0:13:54 | 0:13:57 | |
But you tell him from me | 0:13:57 | 0:14:01 | |
that my son will walk with any woman in this city. | 0:14:01 | 0:14:06 | |
Any woman he chooses. | 0:14:06 | 0:14:08 | |
Even if that woman works for the Emperor, Thomas Shelby. | 0:14:08 | 0:14:12 | |
My son is in love... | 0:14:12 | 0:14:14 | |
JOHN SNIGGERS | 0:14:14 | 0:14:16 | |
Sorry. | 0:14:16 | 0:14:18 | |
Do excuse me. | 0:14:18 | 0:14:20 | |
Carry on. | 0:14:20 | 0:14:21 | |
And if he wishes, | 0:14:25 | 0:14:28 | |
he will walk with the woman he loves. | 0:14:28 | 0:14:30 | |
OK. | 0:14:30 | 0:14:31 | |
Y'know... | 0:14:33 | 0:14:35 | |
It'd be hard for your son to walk anywhere | 0:14:35 | 0:14:38 | |
with a bullet in each knee, wouldn't it? | 0:14:38 | 0:14:41 | |
Too much. | 0:14:48 | 0:14:50 | |
You said too much, my friend. | 0:14:52 | 0:14:54 | |
Sabini says, "Suck and swallow." But no. Too much. | 0:14:55 | 0:14:59 | |
I spit. | 0:15:01 | 0:15:03 | |
Oh, fucking... Bit strong. | 0:15:09 | 0:15:11 | |
-JOHN LAUGHS -Fucking hell. | 0:15:17 | 0:15:19 | |
Isiah. Put two extra men on our pubs in Nechells. | 0:15:19 | 0:15:24 | |
What you talking about, Arthur? | 0:15:24 | 0:15:26 | |
We're not scared of fucking eyeties any more. | 0:15:26 | 0:15:28 | |
Don't tell Tommy about the chair and clean this fucking shit up. | 0:15:28 | 0:15:32 | |
We're not scared of fucking wops! | 0:15:33 | 0:15:36 | |
All right, John. | 0:15:36 | 0:15:38 | |
Arthur! | 0:15:38 | 0:15:39 | |
Hello, Ada. | 0:15:44 | 0:15:45 | |
Tommy Shelby in a library. | 0:15:49 | 0:15:50 | |
LOUDLY: I'm here to borrow a book about the Russian Revolution. | 0:15:50 | 0:15:53 | |
Shh! | 0:15:53 | 0:15:54 | |
Have you got a new wharf at Maida Vale now? | 0:16:01 | 0:16:04 | |
I've got a new wharf everywhere now. | 0:16:04 | 0:16:06 | |
I sometimes see our trucks driving past. | 0:16:06 | 0:16:09 | |
"Our" trucks? | 0:16:09 | 0:16:10 | |
Shelby trucks. | 0:16:11 | 0:16:13 | |
Why the interest? | 0:16:14 | 0:16:16 | |
I just want to broaden my mind. | 0:16:16 | 0:16:18 | |
Well, this is a list of the bastards who ran away. | 0:16:18 | 0:16:21 | |
And this is written from the point of view of the people's struggle. | 0:16:21 | 0:16:25 | |
Uh-huh. | 0:16:25 | 0:16:26 | |
There was a Russian at your wedding. | 0:16:28 | 0:16:32 | |
He wouldn't tell me how come he got invited. | 0:16:32 | 0:16:34 | |
Well, sometimes exiled Russian aristocrats | 0:16:37 | 0:16:42 | |
get invited to social occasions to add a bit of class. | 0:16:42 | 0:16:46 | |
Is that why he was there? | 0:16:46 | 0:16:48 | |
Why do you want to know? | 0:16:49 | 0:16:51 | |
He was nice. Maybe I'd like to see him again. | 0:16:51 | 0:16:55 | |
Would that be possible? | 0:16:55 | 0:16:57 | |
No. That would not be possible. | 0:16:57 | 0:16:58 | |
What business do you have with Russians, Tommy? | 0:16:58 | 0:17:01 | |
Can I rip this page out? | 0:17:03 | 0:17:05 | |
No, you cannot rip that page out. Property of the people. | 0:17:05 | 0:17:07 | |
Tommy, when Arthur took the Russian away he had his killing pistol | 0:17:07 | 0:17:10 | |
under his jacket. And then Johnny lit a fire in the woods. | 0:17:10 | 0:17:14 | |
You want all the details because you're bored, Ada. | 0:17:14 | 0:17:17 | |
You used to chase rats with a revolver, Ada. | 0:17:20 | 0:17:23 | |
Shh! For fuck's sake. | 0:17:23 | 0:17:25 | |
I might just have a job for you after all. | 0:17:25 | 0:17:27 | |
Did we run Kempton yesterday, or not? | 0:17:55 | 0:17:57 | |
Danny Lee got drunk. | 0:17:57 | 0:17:59 | |
Instead of injecting the horses with the cocaine, | 0:17:59 | 0:18:01 | |
he decided to share it with his cousins. | 0:18:01 | 0:18:04 | |
Jesus Christ. | 0:18:05 | 0:18:06 | |
He's your brother-in-law. | 0:18:06 | 0:18:08 | |
Tell Esme to speak to him about it. | 0:18:08 | 0:18:10 | |
Look. Before I start... | 0:18:10 | 0:18:13 | |
..I don't want you to do anything about this. | 0:18:16 | 0:18:18 | |
About what? | 0:18:20 | 0:18:21 | |
Vicente Changretta's son. | 0:18:23 | 0:18:25 | |
The one Lizzie was stepping out with. | 0:18:25 | 0:18:27 | |
What, Angel? | 0:18:27 | 0:18:28 | |
He's no bigger than two pence worth of change. | 0:18:28 | 0:18:30 | |
He heard you threatened him directly to shoot him in the knees. | 0:18:30 | 0:18:33 | |
And now he's going around Nechells | 0:18:33 | 0:18:35 | |
telling everyone he's going to kill you. | 0:18:35 | 0:18:37 | |
This is Lizzie's fault to start with, | 0:18:37 | 0:18:39 | |
Tommy's for leaving it up to you. | 0:18:39 | 0:18:41 | |
What are you talking about? | 0:18:41 | 0:18:43 | |
We run London. | 0:18:43 | 0:18:45 | |
We run the North, run the whole fucking country. | 0:18:45 | 0:18:47 | |
What do we care about some fucking Nechells Green eyeties? | 0:18:47 | 0:18:50 | |
We don't need to be getting involved in all these little piss pots. | 0:18:50 | 0:18:53 | |
What does Arthur say? | 0:18:53 | 0:18:54 | |
That's why I'm here... | 0:18:54 | 0:18:56 | |
and not him. | 0:18:56 | 0:18:58 | |
If he said it, there'd be a fight. | 0:18:58 | 0:19:01 | |
He says... | 0:19:01 | 0:19:04 | |
apologise. | 0:19:04 | 0:19:05 | |
He fucking said what? | 0:19:09 | 0:19:11 | |
We own the city. | 0:19:11 | 0:19:13 | |
But we don't need to rub everybody's noses in it. | 0:19:13 | 0:19:16 | |
If the old man decides to make a stand, | 0:19:16 | 0:19:18 | |
-he might get Sabini feeling sentimental... -Sabini's done. | 0:19:18 | 0:19:20 | |
They're all done. | 0:19:24 | 0:19:26 | |
And they all pay up. | 0:19:27 | 0:19:29 | |
But we don't...want...rebellions. | 0:19:30 | 0:19:34 | |
What does, erm... What does Tommy say? | 0:19:37 | 0:19:39 | |
Tommy's busy. He left me in charge. | 0:19:39 | 0:19:42 | |
What... What do you say? | 0:19:42 | 0:19:43 | |
Compromise. | 0:19:48 | 0:19:49 | |
Mm. | 0:19:49 | 0:19:50 | |
I've asked Lizzie to do it for you. | 0:19:51 | 0:19:53 | |
She's going to meet him, break up with him for good. | 0:19:53 | 0:19:56 | |
Apologise for any inconvenience. Say it was all her fault. | 0:19:56 | 0:19:59 | |
Fuck's sake! | 0:19:59 | 0:20:01 | |
You know what all this is? | 0:20:01 | 0:20:03 | |
This is Arthur's fucking missus. | 0:20:03 | 0:20:05 | |
Turn the other fucking cheek. | 0:20:05 | 0:20:08 | |
We'll be handing out Bibles in the fucking Bull Ring | 0:20:08 | 0:20:10 | |
-with her cousins... -John, you don't have to do anything. | 0:20:10 | 0:20:13 | |
-Ah, it's done. -Lizzie will do it for you. | 0:20:13 | 0:20:15 | |
Then it'll all calm down and nobody will lose face. | 0:20:15 | 0:20:18 | |
I'll take his fucking face, how about that? | 0:20:18 | 0:20:20 | |
John, do nothing. Oh! | 0:20:20 | 0:20:22 | |
I believe you have a reservation | 0:20:31 | 0:20:33 | |
for a private room in the name of Mr Romanov. | 0:20:33 | 0:20:36 | |
You work for Mr Romanov? | 0:20:39 | 0:20:42 | |
-Yes. -For his household or his office? | 0:20:42 | 0:20:45 | |
Is there a problem? | 0:20:45 | 0:20:47 | |
I'm afraid without the presence of the Duke Mikhail Mikhailovich | 0:20:47 | 0:20:49 | |
or Lady Lewington we shall have to ask for payment in advance. | 0:20:49 | 0:20:55 | |
Can I ask why? | 0:20:55 | 0:20:57 | |
Already Mr Romanov has four outstanding bills with us. | 0:20:57 | 0:21:00 | |
One for accommodation and three for dining. | 0:21:00 | 0:21:03 | |
And two banquets which we wrote off. | 0:21:03 | 0:21:05 | |
We've been asked to be understanding of our Russian friends | 0:21:05 | 0:21:09 | |
by His Majesty, but it has been some time now. | 0:21:09 | 0:21:11 | |
And... | 0:21:11 | 0:21:12 | |
-May I ask your name, sir? -Shelby. Thomas Shelby. | 0:21:15 | 0:21:19 | |
And in the future I'll be dining here quite a bit. | 0:21:19 | 0:21:22 | |
-Then I shall put you on our special list. -You do that. | 0:21:22 | 0:21:26 | |
Here is a menu. | 0:21:26 | 0:21:28 | |
I recommend the teal and the pork. | 0:21:28 | 0:21:31 | |
Although your guest, I'm sure, will order the caviar. | 0:21:31 | 0:21:34 | |
Myself, my wife and my niece travelled by train, | 0:21:34 | 0:21:37 | |
then coach, then on foot through the Villa Ai-Todor in Crimea. | 0:21:37 | 0:21:41 | |
On that journey I lost a toe. | 0:21:41 | 0:21:44 | |
I don't know. I woke up one morning and it was gone. | 0:21:44 | 0:21:48 | |
All of a sudden I saw a dog and it was eating it. | 0:21:48 | 0:21:51 | |
They said the British had taken pity on us. | 0:21:51 | 0:21:53 | |
And we were taken aboard HMS Marlborough. | 0:21:53 | 0:21:56 | |
I immediately kissed the steel deck. My lips froze to it. | 0:21:56 | 0:21:59 | |
And then of course, I thanked God and your King for saving us. | 0:21:59 | 0:22:03 | |
Though since then he has done nothing but humiliate me... | 0:22:04 | 0:22:08 | |
Who? God or the King? | 0:22:08 | 0:22:11 | |
Sometimes both, Mr Shelby. | 0:22:11 | 0:22:12 | |
Mm. So, you met my niece already. | 0:22:14 | 0:22:17 | |
Tatiana. | 0:22:19 | 0:22:20 | |
Are you in love with her yet? Hm? | 0:22:22 | 0:22:24 | |
You would be wise not to love Russian woman, you know. | 0:22:25 | 0:22:29 | |
Better not speak of Russian women. | 0:22:29 | 0:22:31 | |
That's the worst thing about being here. | 0:22:31 | 0:22:34 | |
Russian women, they know how to hold it | 0:22:34 | 0:22:37 | |
and most important they know exactly when to let it go. | 0:22:37 | 0:22:42 | |
Your cock, I mean. | 0:22:42 | 0:22:43 | |
English women, they do not know so much, you know? | 0:22:45 | 0:22:47 | |
Did he die well, the spy? | 0:22:52 | 0:22:54 | |
He begged for his life. | 0:22:57 | 0:22:58 | |
I heard you had your brother do it. | 0:23:01 | 0:23:03 | |
So, you trust your family. Like me. | 0:23:07 | 0:23:10 | |
Like us, Mr Shelby. | 0:23:11 | 0:23:13 | |
Let's talk about trust, then, shall we? | 0:23:16 | 0:23:18 | |
You are not a direct relation to the Romanovs. | 0:23:20 | 0:23:23 | |
You are Georgian. | 0:23:23 | 0:23:25 | |
And the palace where you live in Hampton Court | 0:23:32 | 0:23:35 | |
is in fact a grace-and-favour house | 0:23:35 | 0:23:36 | |
donated to you rent-free by the British Crown. | 0:23:36 | 0:23:40 | |
The maitre d' here tells me that you are in some debt. | 0:23:40 | 0:23:44 | |
Both here and other places, I imagine. | 0:23:44 | 0:23:48 | |
See, I've been given ten... but I've been promised 40. | 0:23:48 | 0:23:52 | |
Already I've had to have a man killed. | 0:23:54 | 0:23:57 | |
That sort of work does not come cheap. | 0:23:57 | 0:23:59 | |
Do you understand? | 0:24:00 | 0:24:01 | |
Let me tell you something, Mr Shelby. | 0:24:28 | 0:24:30 | |
Before we boarded the ship, | 0:24:32 | 0:24:34 | |
my niece sewed 16 diamonds into her velvet dress. | 0:24:34 | 0:24:37 | |
And also she had two sapphires in her intimate places. | 0:24:37 | 0:24:43 | |
My wife managed two sapphires and five diamonds. | 0:24:43 | 0:24:47 | |
This is already for the killing of the spy. | 0:24:48 | 0:24:51 | |
And down payment on future services. | 0:24:52 | 0:24:54 | |
Now tell me, where do you keep these things? In a...bank? | 0:24:58 | 0:25:03 | |
How could we plead poverty around London society | 0:25:03 | 0:25:05 | |
if we used banks, Mr Shelby? | 0:25:05 | 0:25:07 | |
Well, you should know Hatton Gardens is not safe. | 0:25:10 | 0:25:16 | |
That is why we have our own treasury. | 0:25:16 | 0:25:19 | |
Very well. I shall have my people check its veracity... | 0:25:22 | 0:25:26 | |
Before the revolution began, we were soft and weak. | 0:25:31 | 0:25:36 | |
We made compromise. | 0:25:36 | 0:25:37 | |
But let me tell you. | 0:25:39 | 0:25:40 | |
We will never be soft and weak again. | 0:25:41 | 0:25:45 | |
Do you understand? | 0:25:45 | 0:25:46 | |
Good day, Mr Shelby. | 0:25:50 | 0:25:51 | |
This way, Mr Changretta. | 0:26:12 | 0:26:15 | |
HE SPEAKS OWN LANGUAGE | 0:26:15 | 0:26:17 | |
Just there, sir. There. | 0:26:17 | 0:26:19 | |
I hear you want to kill me. | 0:26:55 | 0:26:57 | |
Get fucking up! Stay away from Lizzie. | 0:26:57 | 0:27:01 | |
HE SCREAMS | 0:27:10 | 0:27:12 | |
By order of the Peaky fucking Blinders. | 0:27:12 | 0:27:16 | |
Going to introduce me, Michael? | 0:27:31 | 0:27:34 | |
This is Charlotte Murray. Her father makes cars. | 0:27:34 | 0:27:37 | |
I really enjoyed your wedding, Mr Shelby. | 0:27:39 | 0:27:42 | |
Polly said you should call her. There's been some trouble. | 0:27:44 | 0:27:47 | |
What trouble? | 0:27:47 | 0:27:48 | |
I'm guessing the stuff she doesn't like to tell me about. | 0:27:50 | 0:27:53 | |
Nice to meet you. | 0:27:55 | 0:27:56 | |
All right, Finn, thanks for coming. Fuck off. | 0:28:12 | 0:28:15 | |
Finn, you can stay. | 0:28:16 | 0:28:18 | |
Sit down, John. Sit down. | 0:28:21 | 0:28:24 | |
John, you cut Angel Changretta. | 0:28:31 | 0:28:33 | |
Even though Arthur told you to apologise. | 0:28:34 | 0:28:37 | |
Mm-hm. | 0:28:37 | 0:28:38 | |
-Polly told you to compromise. -Mm-hm. | 0:28:38 | 0:28:41 | |
You chose not to listen to Mr Apologise or Mrs Compromise. | 0:28:41 | 0:28:44 | |
And now I've got an Italian walking around my back yard | 0:28:46 | 0:28:49 | |
saying he's going to kill my brother. | 0:28:49 | 0:28:51 | |
So, what do we do, John? Do we apologise, or do we compromise? | 0:28:53 | 0:28:55 | |
Oh, it was just something John said as a joke. | 0:29:03 | 0:29:05 | |
Yeah, but he's your brother as well, Arthur. | 0:29:07 | 0:29:09 | |
Yeah. | 0:29:09 | 0:29:11 | |
And I didn't want to start a war over something | 0:29:11 | 0:29:14 | |
John said without meaning it. | 0:29:14 | 0:29:15 | |
So, should he apologise in Italian...or in English? | 0:29:19 | 0:29:23 | |
Or should we ask them which fucking language they'd prefer? | 0:29:26 | 0:29:30 | |
I'm not clear. | 0:29:30 | 0:29:31 | |
You said while this business was going on in London you wanted peace at home. | 0:29:34 | 0:29:37 | |
And the only way to guarantee peace | 0:29:37 | 0:29:39 | |
is by making the prospect of war seem hopeless. | 0:29:39 | 0:29:42 | |
If you apologise once, you do it again and again and again. | 0:29:42 | 0:29:46 | |
Like taking bricks out of the wall of your fucking house. | 0:29:46 | 0:29:49 | |
-Do you want to bring the house down, Arthur? -Ah... | 0:29:49 | 0:29:51 | |
If you're soft on rebellion, it'll grow. | 0:29:51 | 0:29:54 | |
Bloody "soft on rebellion". | 0:29:54 | 0:29:56 | |
You did the right thing, John. | 0:29:56 | 0:29:58 | |
Now we go on the offensive. | 0:29:58 | 0:29:59 | |
We take two of the Changretta pubs. We take 'em tonight. That's it. | 0:29:59 | 0:30:02 | |
Oh, right. For Christ's sake, why? | 0:30:02 | 0:30:04 | |
-Hey?! -Why? -Why? Because we fucking can. | 0:30:04 | 0:30:08 | |
Because we fucking can, and if we can, we do. | 0:30:08 | 0:30:11 | |
And if we lift our heel off their necks now, they'll just come at us. | 0:30:11 | 0:30:16 | |
Remember, these are the bastards that wanted Danny Whizz-Bang dead. | 0:30:17 | 0:30:21 | |
You're getting soft, brother. | 0:30:27 | 0:30:29 | |
Soft and weak. | 0:30:29 | 0:30:30 | |
Save the Bible for Sundays, eh? | 0:30:30 | 0:30:32 | |
Finn, I need to get to Hockley, then home. | 0:30:37 | 0:30:41 | |
It's been a long day. | 0:30:41 | 0:30:42 | |
You take the Wrexham, you take the Five Bells. | 0:30:47 | 0:30:51 | |
You get them signed over to us in the morning. | 0:30:51 | 0:30:53 | |
You make sure the coppers stay away. | 0:30:53 | 0:30:55 | |
Don't use the fucking phones, all right? | 0:30:57 | 0:31:00 | |
There's someone listening. | 0:31:00 | 0:31:02 | |
Well done. | 0:31:10 | 0:31:11 | |
POLLY SLURPS HER TEA | 0:31:17 | 0:31:20 | |
Not hungry, Mrs Shelby? | 0:33:08 | 0:33:09 | |
Hungry? Oh, no. Sorry, Mary. | 0:33:09 | 0:33:14 | |
You'll ruin your eyes. | 0:33:14 | 0:33:15 | |
Tommy. | 0:33:19 | 0:33:20 | |
Hello. | 0:33:29 | 0:33:30 | |
Hello. | 0:33:30 | 0:33:31 | |
Sit down. | 0:33:33 | 0:33:34 | |
-Guess. -Guess what? | 0:33:40 | 0:33:42 | |
-He said yes. -Who? | 0:33:47 | 0:33:49 | |
The leader of Birmingham City Council | 0:33:49 | 0:33:52 | |
is going to attend the dinner. | 0:33:52 | 0:33:54 | |
Everyone has said yes. Everyone. | 0:33:55 | 0:33:59 | |
I keep having to change the catering. | 0:33:59 | 0:34:02 | |
And my writing hand is almost falling off. | 0:34:02 | 0:34:05 | |
What are you writing for? I bought you a typewriter. | 0:34:05 | 0:34:07 | |
You don't write letters of a social occasion on a typewriter. | 0:34:07 | 0:34:10 | |
Oh. Forgive me. | 0:34:10 | 0:34:12 | |
I have the drawings of what they plan to do | 0:34:15 | 0:34:18 | |
with the grounds of the house. | 0:34:18 | 0:34:21 | |
-There'll be an area for the children to play. Look. -Mm-hm. | 0:34:21 | 0:34:25 | |
And the Birmingham Charity Commission have agreed to set aside | 0:34:25 | 0:34:27 | |
the three rotten floorboards upstairs | 0:34:27 | 0:34:29 | |
and grant us a licence within the month. | 0:34:29 | 0:34:32 | |
-You're not listening to me. -Yes, I am. | 0:34:35 | 0:34:37 | |
-I am. -Do you think I am becoming obsessed? | 0:34:38 | 0:34:41 | |
Yes. | 0:34:42 | 0:34:43 | |
Should I ask you how your day was, like a good wife? | 0:34:45 | 0:34:48 | |
No. | 0:34:48 | 0:34:49 | |
I'm guessing that means your day was not as successful as mine. | 0:34:52 | 0:34:56 | |
Well, depends on how you measure success. | 0:34:56 | 0:34:58 | |
See, personally, | 0:35:00 | 0:35:02 | |
I measure it in sapphires. | 0:35:03 | 0:35:05 | |
Oh... | 0:35:05 | 0:35:07 | |
Sapphires? Mmm. | 0:35:07 | 0:35:09 | |
Close your eyes. | 0:35:12 | 0:35:13 | |
(Close your eyes.) | 0:35:17 | 0:35:18 | |
All right, you can open them. | 0:35:34 | 0:35:36 | |
Where the hell did you get that? | 0:35:38 | 0:35:40 | |
It's beautiful. | 0:35:42 | 0:35:43 | |
You can wear it to the foundation dinner. | 0:35:47 | 0:35:49 | |
Don't you think it is a bit much for a charity dinner? | 0:35:51 | 0:35:54 | |
Grace, this is fucking Birmingham. | 0:35:54 | 0:35:57 | |
Good taste is for people who can't afford sapphires. | 0:35:59 | 0:36:02 | |
Oh, Mr Shelby! | 0:36:04 | 0:36:05 | |
Did you wind the clock, Arthur? | 0:36:34 | 0:36:36 | |
We should go to bed. | 0:36:39 | 0:36:40 | |
I need to... | 0:36:47 | 0:36:49 | |
I need to go out. | 0:36:49 | 0:36:50 | |
Some business I need to do. | 0:36:53 | 0:36:54 | |
Business? | 0:37:01 | 0:37:02 | |
But you only just got in. | 0:37:09 | 0:37:11 | |
I won't be long. | 0:37:11 | 0:37:12 | |
It's ten o'clock. | 0:37:12 | 0:37:15 | |
It's pouring with rain. | 0:37:15 | 0:37:16 | |
I'll go. I'll go and I'll come back. | 0:37:18 | 0:37:21 | |
Arthur. | 0:37:23 | 0:37:24 | |
Working in the dark is for the devil. We said. | 0:37:27 | 0:37:32 | |
Start to do your work in the light. | 0:37:33 | 0:37:36 | |
You have your own light. | 0:37:36 | 0:37:39 | |
Inside your head. | 0:37:39 | 0:37:40 | |
It's just paperwork. | 0:37:44 | 0:37:45 | |
I need you to clear your men out of Nechells tonight. | 0:37:56 | 0:37:59 | |
-I thought you boys were a bit grand for this sort of thing these days. -Moss. | 0:38:03 | 0:38:10 | |
Mind you, I think Tom enjoys the sport. | 0:38:10 | 0:38:14 | |
Something like that. | 0:38:17 | 0:38:19 | |
-Goodnight, Arthur. -'Night. | 0:38:20 | 0:38:22 | |
Arthur, what are you doing? | 0:39:02 | 0:39:03 | |
Arthur? | 0:39:08 | 0:39:09 | |
We're going to the Garrison. | 0:39:13 | 0:39:15 | |
No. I'm going home, John. | 0:39:15 | 0:39:17 | |
Go fuck yourself, Arthur. | 0:39:20 | 0:39:22 | |
Yeah. Fuck off! | 0:39:23 | 0:39:25 | |
VIOLENT SCREAMS | 0:39:30 | 0:39:32 | |
-Come here, Charlie. -Charlie. | 0:40:14 | 0:40:16 | |
This big man and his brother are going to make us a lot of money. | 0:40:18 | 0:40:21 | |
Or lose us a lot of money. | 0:40:21 | 0:40:23 | |
Who cares when they're such beautiful beasts, eh? | 0:40:23 | 0:40:26 | |
PASSIONATE MOANS | 0:40:54 | 0:40:56 | |
You've got a house, John. | 0:40:59 | 0:41:01 | |
Oh, fuck... | 0:41:01 | 0:41:02 | |
Full of kids. | 0:41:03 | 0:41:05 | |
Well, you've got a maid to look after the kids. | 0:41:05 | 0:41:07 | |
Yeah, she listens. | 0:41:07 | 0:41:08 | |
Have you even done the odds for tomorrow? | 0:41:11 | 0:41:14 | |
Something urgent came up. | 0:41:14 | 0:41:16 | |
They get worse when they're pregnant, Tom. | 0:41:16 | 0:41:19 | |
John. | 0:41:19 | 0:41:21 | |
Esme, I need you to leave now. Go out the back door. | 0:41:21 | 0:41:24 | |
And lock it after you. | 0:41:24 | 0:41:25 | |
When I left the office... | 0:41:27 | 0:41:29 | |
There's two truckfuls of coppers out there, John. | 0:41:29 | 0:41:33 | |
Where the fuck is Arthur? | 0:41:33 | 0:41:35 | |
He goes home to the Madonna Of Moseley on the stroke of five. | 0:41:35 | 0:41:37 | |
You need to talk to him, Tom. | 0:41:37 | 0:41:39 | |
Esme, please go now. Please. | 0:41:39 | 0:41:42 | |
This is very fucking unusual. | 0:41:42 | 0:41:43 | |
So, call Moss. | 0:41:43 | 0:41:45 | |
They're from out of town. | 0:41:45 | 0:41:46 | |
London, by the looks of their boots. | 0:41:46 | 0:41:48 | |
Since when are we scared of coppers, Tom? | 0:41:48 | 0:41:51 | |
Since things changed. | 0:41:51 | 0:41:52 | |
SCREAM | 0:41:52 | 0:41:53 | |
Scotland Yard! | 0:41:54 | 0:41:56 | |
Flying Squad. | 0:41:56 | 0:41:57 | |
John, it's the Yard. It's the Yard. Put it down. Put it down. | 0:42:00 | 0:42:03 | |
Down on your knees. | 0:42:03 | 0:42:04 | |
Hands on your heads! Down on your knees! | 0:42:04 | 0:42:07 | |
Let her fucking go! She's fucking pregnant. | 0:42:07 | 0:42:11 | |
-Leave her alone! -What the fuck is happening, Tom? | 0:42:11 | 0:42:13 | |
Let's go! | 0:42:13 | 0:42:16 | |
Put me down! | 0:42:16 | 0:42:17 | |
Tell Polly it's Russian business, John. | 0:42:17 | 0:42:20 | |
All right. | 0:42:20 | 0:42:21 | |
Peaky fucking Blinders, my arse. | 0:42:21 | 0:42:23 | |
Is he afraid? | 0:42:26 | 0:42:28 | |
No. | 0:42:28 | 0:42:29 | |
Sit. | 0:42:40 | 0:42:41 | |
I'm talking to you, Mr Shelby. | 0:42:44 | 0:42:46 | |
So, the Oddfellows want you to know that | 0:42:59 | 0:43:01 | |
any deviation from your instructions will have consequences. | 0:43:01 | 0:43:05 | |
What's your dog's name? | 0:43:05 | 0:43:07 | |
You visited your sister. | 0:43:09 | 0:43:10 | |
Eh? What's your name, boy? | 0:43:10 | 0:43:13 | |
Your sister is a potential security breach. | 0:43:16 | 0:43:19 | |
She has connections with Bolsheviks in London | 0:43:19 | 0:43:22 | |
who have connections with the Soviet Embassy. | 0:43:22 | 0:43:24 | |
I think I'll just call your dog, "Boy". | 0:43:24 | 0:43:26 | |
You love your Boy, don't you? | 0:43:28 | 0:43:30 | |
Understand this. | 0:43:33 | 0:43:34 | |
You have the local police in your pocket. | 0:43:36 | 0:43:39 | |
We have Scotland Yard. | 0:43:39 | 0:43:41 | |
They do what we tell them just as surely as this dog. | 0:43:42 | 0:43:46 | |
Let him off the leash. | 0:43:46 | 0:43:47 | |
Are you hearing me, Mr Shelby? | 0:43:50 | 0:43:52 | |
I can charm dogs. | 0:43:52 | 0:43:54 | |
Gypsy witchcraft. | 0:43:56 | 0:43:57 | |
And those I can't charm I can kill with my own hands. | 0:43:58 | 0:44:01 | |
You learn it when you have a dog on a boat. | 0:44:04 | 0:44:06 | |
They go fucking mad in tunnels. | 0:44:06 | 0:44:10 | |
I feel like I'm in a tunnel now. | 0:44:10 | 0:44:11 | |
You know that feeling when you have to kill or be killed. | 0:44:14 | 0:44:17 | |
Let the dog off the leash and give the order you give in Gaelic. | 0:44:22 | 0:44:27 | |
Like I'm told you do when someone displeases you, | 0:44:29 | 0:44:31 | |
when someone reports you. | 0:44:31 | 0:44:33 | |
Visit your sister again and she will die crossing the road. | 0:44:34 | 0:44:38 | |
Maraigh. | 0:44:41 | 0:44:44 | |
Come on, you say it. | 0:44:46 | 0:44:47 | |
If you wanted me dead, I'd be dead, wouldn't I? | 0:44:53 | 0:44:56 | |
It's true. | 0:44:59 | 0:45:00 | |
It's true, we do need you alive. | 0:45:02 | 0:45:03 | |
But when you go home today, Mr Shelby, | 0:45:05 | 0:45:08 | |
be sure to check under your little boy's pillow. | 0:45:08 | 0:45:12 | |
The tooth fairy has been. | 0:45:12 | 0:45:14 | |
We can reach anyone... | 0:45:17 | 0:45:18 | |
..anywhere. | 0:45:19 | 0:45:20 | |
CHILD CRIES | 0:45:55 | 0:45:57 | |
Is everything all right? | 0:46:01 | 0:46:02 | |
Yes. | 0:46:02 | 0:46:04 | |
Everything's fine. Everything's fine. | 0:46:04 | 0:46:06 | |
Yeah. | 0:46:06 | 0:46:08 | |
You promised, Tommy. | 0:46:08 | 0:46:09 | |
I trust you. | 0:46:11 | 0:46:12 | |
-I trust you, Tommy. -Yes. | 0:46:16 | 0:46:20 | |
He's fine. He's fine. | 0:46:21 | 0:46:23 | |
CHILD CRIES | 0:46:23 | 0:46:25 | |
Grace... Grace. | 0:46:34 | 0:46:35 | |
Come on. Yeah. | 0:46:37 | 0:46:39 | |
You're not one of those impressionists, are you? | 0:46:52 | 0:46:54 | |
They are all terribly political, aren't they? | 0:46:54 | 0:46:57 | |
-And you're not? -Goodness, no. | 0:46:57 | 0:46:59 | |
The people I work for just want me to paint what's there. | 0:46:59 | 0:47:02 | |
To me, politics is deliberately making things better for some people | 0:47:02 | 0:47:06 | |
by deliberately making them worse for others. | 0:47:06 | 0:47:08 | |
Well, I thought I might wear this. | 0:47:16 | 0:47:18 | |
Oh, God. It's too much. I'll try something more simple. | 0:47:21 | 0:47:23 | |
No. Don't. | 0:47:23 | 0:47:24 | |
Suddenly I feel incompetent. | 0:47:27 | 0:47:30 | |
I want the portrait to hang in the office, | 0:47:30 | 0:47:32 | |
so I want it to look formal. | 0:47:32 | 0:47:33 | |
It's not formal. It's beautiful. | 0:47:33 | 0:47:36 | |
It's made in Paris. | 0:47:39 | 0:47:41 | |
It was stolen in Birmingham. | 0:47:41 | 0:47:43 | |
My mother stole it from a house she was cleaning, 1901... | 0:47:43 | 0:47:47 | |
No, no. It's yours. It belongs on you. | 0:47:47 | 0:47:50 | |
A woman of substance and class. | 0:47:51 | 0:47:53 | |
Believe me, I've painted many women | 0:47:53 | 0:47:55 | |
who don't belong in their expensive dresses. | 0:47:55 | 0:47:57 | |
There'll be no charge. | 0:47:59 | 0:48:01 | |
Your normal rate. I insist. | 0:48:01 | 0:48:05 | |
Mm. There's a first. | 0:48:05 | 0:48:06 | |
So, when shall we start? | 0:48:08 | 0:48:10 | |
I've already started. | 0:48:10 | 0:48:12 | |
Come to my studio this evening. | 0:48:12 | 0:48:14 | |
I'm busy this evening. | 0:48:14 | 0:48:16 | |
Polly, invite him. | 0:48:16 | 0:48:17 | |
Invite me to what? | 0:48:17 | 0:48:19 | |
Ada, this is a professional transaction. | 0:48:19 | 0:48:20 | |
Invite me to what? | 0:48:20 | 0:48:22 | |
Shelby Foundation dinner. Polly is going alone. | 0:48:22 | 0:48:24 | |
-You're invited. -Ada! | 0:48:24 | 0:48:25 | |
I'll come to your studio on Sunday. | 0:48:29 | 0:48:31 | |
And then we shall begin. | 0:48:32 | 0:48:34 | |
MUSIC: This Is Love by PJ Harvey | 0:48:43 | 0:48:46 | |
A woman of substance...and class. | 0:49:36 | 0:49:40 | |
Tommy? | 0:50:19 | 0:50:20 | |
This is the leader of Birmingham City Council. | 0:50:22 | 0:50:24 | |
-Hello, Tommy. -All right, Danny? -How's business? | 0:50:24 | 0:50:27 | |
All right. Holding up, holding up. How are you? | 0:50:27 | 0:50:30 | |
You know each other? | 0:50:30 | 0:50:31 | |
I have interests in steelworks in Cradley Heath. | 0:50:31 | 0:50:35 | |
Tommy helps me get my products to the carmakers. | 0:50:35 | 0:50:38 | |
Congratulations, Mrs Shelby, on your wedding. | 0:50:38 | 0:50:41 | |
Thank you. I'm surprised you weren't invited. | 0:50:41 | 0:50:44 | |
Now, how would that look, eh? | 0:50:44 | 0:50:45 | |
Ah, now the party has really started. | 0:50:47 | 0:50:50 | |
Who are they? | 0:50:50 | 0:50:51 | |
Father John Hughes from St Mary's Boys Reformatory. | 0:50:51 | 0:50:55 | |
And with him is Patrick Jarvis MP. | 0:50:55 | 0:50:59 | |
They are part of an organisation called the Economic League. | 0:50:59 | 0:51:04 | |
Did you invite them, Grace? | 0:51:04 | 0:51:05 | |
The names sound familiar. | 0:51:05 | 0:51:07 | |
They were recommended by the Lord Mayor. | 0:51:08 | 0:51:10 | |
Oh. On your "best people of the city" list, eh? | 0:51:10 | 0:51:13 | |
-Do you know them? -I'll introduce you, Tommy. | 0:51:13 | 0:51:16 | |
No, it's all right, Danny. I'll introduce myself. | 0:51:16 | 0:51:19 | |
We appear to have taken you by surprise. | 0:51:33 | 0:51:36 | |
I have adjusted. | 0:51:36 | 0:51:37 | |
Since the socialists got into Downing Street, | 0:51:39 | 0:51:42 | |
we are all being followed. | 0:51:42 | 0:51:43 | |
We have to meet in places where we'd meet anyway. | 0:51:43 | 0:51:45 | |
You should have stopped by Small Heath. | 0:51:45 | 0:51:47 | |
I could have given you a more traditional welcome. | 0:51:47 | 0:51:49 | |
-They want to know about ammunition. -And chains for the wheels. | 0:51:49 | 0:51:52 | |
When the White Guard make their run for Tbilisi, | 0:51:52 | 0:51:55 | |
it'll be over rough terrain. | 0:51:55 | 0:51:57 | |
The chains are suitable for snow or wet ground. | 0:51:57 | 0:52:00 | |
They're already stored on the vehicles. | 0:52:00 | 0:52:02 | |
There's a batch of weapons set aside at the BSA | 0:52:02 | 0:52:04 | |
which is bound for the Turkish Army. | 0:52:04 | 0:52:06 | |
And how will you get it all aboard the London train? | 0:52:06 | 0:52:09 | |
There will be a strike that night across the city. | 0:52:09 | 0:52:12 | |
You will have to stop the train twice. How? | 0:52:12 | 0:52:15 | |
Two drivers will join the strike at different points. | 0:52:15 | 0:52:18 | |
Rather fun getting the communist unions | 0:52:20 | 0:52:23 | |
to help get weapons to the Whites. | 0:52:23 | 0:52:25 | |
Yes, rather fun, eh? | 0:52:25 | 0:52:26 | |
I'm thinking ahead, thinking of every possibility, | 0:52:28 | 0:52:30 | |
remembering everything that is happening. | 0:52:30 | 0:52:32 | |
The Russians want to inspect the vehicles. | 0:52:35 | 0:52:37 | |
I'll take photographs. | 0:52:39 | 0:52:40 | |
Mm-mm. | 0:52:40 | 0:52:41 | |
The Duke has sent his niece. She's here. | 0:52:41 | 0:52:45 | |
Tomorrow, you will take her to the factory and show her. | 0:52:45 | 0:52:48 | |
-No. -Mm. | 0:52:48 | 0:52:49 | |
The union convenors are watching the factories. | 0:52:49 | 0:52:52 | |
Not possible. | 0:52:53 | 0:52:54 | |
Anything is possible, Mr Shelby. | 0:52:56 | 0:52:59 | |
You will take her. | 0:52:59 | 0:53:00 | |
You will pick her up from this hotel at ten. | 0:53:02 | 0:53:04 | |
Now, look. | 0:53:05 | 0:53:07 | |
A priest with an empty glass. | 0:53:07 | 0:53:08 | |
Let's get back to the party. | 0:53:10 | 0:53:11 | |
You know, gentlemen, there is hell... | 0:53:14 | 0:53:16 | |
and there is another place below hell. | 0:53:16 | 0:53:19 | |
I will remember everything... and forget nothing. | 0:53:21 | 0:53:25 | |
Tommy... | 0:53:35 | 0:53:36 | |
This is Duchess Tatiana Petrovna. | 0:53:36 | 0:53:38 | |
Come on, Tommy, aren't you impressed to meet a real duchess? | 0:53:40 | 0:53:42 | |
Well, I understand they charge a fee. | 0:53:42 | 0:53:44 | |
Mr Shelby, you are very direct. | 0:53:44 | 0:53:47 | |
Too direct. | 0:53:47 | 0:53:49 | |
But it's true. I attend these things for the champagne. | 0:53:49 | 0:53:53 | |
And for the chance to be treated like a duchess again. | 0:53:53 | 0:53:56 | |
You should have kissed my hand, Mr Shelby. | 0:53:56 | 0:53:58 | |
Forgive me. | 0:54:01 | 0:54:02 | |
She was asking about my sapphire. | 0:54:05 | 0:54:06 | |
I thought I'd recognised it. | 0:54:06 | 0:54:08 | |
She says it was Russian. | 0:54:08 | 0:54:09 | |
My husband has business in Russia. Perhaps you know about it, Tatiana. | 0:54:09 | 0:54:12 | |
Well, tonight's not a night for business, eh? | 0:54:12 | 0:54:14 | |
Is that why you were in the concert hall for ten minutes? | 0:54:14 | 0:54:17 | |
I think people are ready for dinner now, Grace. | 0:54:17 | 0:54:19 | |
No, no, I am not done pumping people for money. | 0:54:19 | 0:54:21 | |
-What is "pump for money"? -It's what I do every day. | 0:54:21 | 0:54:23 | |
You, er...? You know each other, do you? | 0:54:24 | 0:54:27 | |
You see, I am in charge of compiling the list of guests, | 0:54:27 | 0:54:29 | |
but it's my husband who seems to know all of them. | 0:54:29 | 0:54:31 | |
I hear he's very well connected. | 0:54:31 | 0:54:33 | |
And where does a duchess hear that? | 0:54:33 | 0:54:35 | |
In certain circles. | 0:54:35 | 0:54:36 | |
All right, enough, Ada. | 0:54:36 | 0:54:38 | |
Grace, there's a lady dowager wants to speak to you | 0:54:38 | 0:54:40 | |
about coffee mornings. | 0:54:40 | 0:54:41 | |
She mentioned a £2,000 cash donation. | 0:54:41 | 0:54:44 | |
Tatiana, you and I will speak later. | 0:54:44 | 0:54:46 | |
I would like that. | 0:54:46 | 0:54:47 | |
Going to the factory tomorrow is a mistake. | 0:54:50 | 0:54:52 | |
Nevertheless, we will go. | 0:54:53 | 0:54:54 | |
Also, my uncle ordered me to seduce you, to give us an advantage. | 0:54:56 | 0:54:59 | |
But with a beautiful wife like that, it will be difficult, no? | 0:54:59 | 0:55:02 | |
Tomorrow is a mistake. | 0:55:02 | 0:55:04 | |
Have you not heard? We have no morals, we Russians. | 0:55:04 | 0:55:06 | |
And no fucking sense. | 0:55:06 | 0:55:08 | |
And no options. | 0:55:08 | 0:55:10 | |
I would fuck you for the cause. | 0:55:10 | 0:55:12 | |
What do you think of that? | 0:55:12 | 0:55:14 | |
I think you should not drink vodka with champagne. | 0:55:14 | 0:55:16 | |
Does your wife know that the sapphire she's wearing | 0:55:17 | 0:55:20 | |
has been cursed by a gypsy? | 0:55:20 | 0:55:22 | |
What did you say? | 0:55:26 | 0:55:27 | |
Nothing on earth would make me wear it. | 0:55:27 | 0:55:31 | |
Grace... Grace, come here. Look, I can explain... | 0:55:46 | 0:55:48 | |
GONG STRIKES | 0:55:48 | 0:55:49 | |
Ladies and gentlemen, the loyalty toast... | 0:55:49 | 0:55:52 | |
-For once, you shouldn't have to explain. -..to His Majesty the King. | 0:55:52 | 0:55:55 | |
-ALL: -The King. | 0:55:55 | 0:55:57 | |
Dinner is served. | 0:55:57 | 0:55:59 | |
You look beautiful. You look beautiful. | 0:55:59 | 0:56:00 | |
-You need to take this off. -Why? | 0:56:00 | 0:56:02 | |
Because you think it would look better on her? | 0:56:02 | 0:56:04 | |
Grace, look at me. Fuck these people. Fuck 'em. | 0:56:04 | 0:56:06 | |
I need you to be all right. | 0:56:06 | 0:56:09 | |
I need you, Grace. | 0:56:09 | 0:56:10 | |
I need you. | 0:56:11 | 0:56:12 | |
Damn you, Tommy Shelby. | 0:56:20 | 0:56:21 | |
-Shall we go inside? -Yeah. | 0:56:35 | 0:56:36 | |
For Angel! | 0:56:40 | 0:56:41 | |
SCREAMING | 0:56:44 | 0:56:46 | |
Get a fucking ambulance now! | 0:56:54 | 0:56:58 | |
# On a gathering storm comes a tall handsome man | 0:57:56 | 0:58:00 | |
# In a dusty black coat with a red right hand. # | 0:58:00 | 0:58:05 |