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This programme contains some violent scenes and some strong language | 0:00:02 | 0:00:08 | |
-No fraternising with foreigners. -My son will walk with any woman. | 0:00:08 | 0:00:10 | |
Your son can't walk anywhere with a bullet in each knee. | 0:00:10 | 0:00:13 | |
-You said you wanted peace at home. -Now we go on the offensive. | 0:00:13 | 0:00:16 | |
You are a woman of substance and class. | 0:00:17 | 0:00:19 | |
I've painted many women. There'll be no charge. | 0:00:19 | 0:00:22 | |
The name I heard was Section D. | 0:00:22 | 0:00:24 | |
MPs. Army officers. | 0:00:24 | 0:00:27 | |
All we're trying to do is save the country from revolution. | 0:00:27 | 0:00:30 | |
This is for the killing of the spy. | 0:00:30 | 0:00:32 | |
And a down payment on future services. | 0:00:32 | 0:00:34 | |
Does your wife know that the sapphire | 0:00:34 | 0:00:36 | |
she's wearing has been cursed? | 0:00:36 | 0:00:38 | |
Nothing on Earth would make me wear it. | 0:00:38 | 0:00:40 | |
For Angel! | 0:00:40 | 0:00:41 | |
MUSIC: Red Right Hand by PJ Harvey | 0:00:52 | 0:00:55 | |
# Take a little walk to the edge of town | 0:00:55 | 0:00:57 | |
# And go across the tracks | 0:00:57 | 0:01:01 | |
# Where the viaduct looms, like a bird of doom | 0:01:01 | 0:01:05 | |
# As it shifts and cracks | 0:01:05 | 0:01:09 | |
# Where secrets lie in the border fires | 0:01:09 | 0:01:13 | |
# In the humming wires | 0:01:13 | 0:01:15 | |
# Hey, man, you know you're never coming back | 0:01:15 | 0:01:20 | |
# On a gathering storm comes a tall handsome man | 0:01:25 | 0:01:30 | |
# In a dusty black coat with a red right hand... # | 0:01:30 | 0:01:35 | |
He's back. | 0:02:10 | 0:02:11 | |
Was he out there all night? | 0:02:13 | 0:02:15 | |
Every night since the funeral. | 0:02:15 | 0:02:17 | |
He comes back in the morning to see Charles and feed the horses. | 0:02:17 | 0:02:20 | |
And when it gets dark he goes off again. | 0:02:20 | 0:02:24 | |
He used to sleep out when he was a kid. | 0:02:24 | 0:02:27 | |
Curly'd find him in the pasture... | 0:02:27 | 0:02:29 | |
How's the baby? | 0:02:31 | 0:02:32 | |
He asks for his mum at night. | 0:02:34 | 0:02:36 | |
Tommy made a list. He wants to see you two first. | 0:02:39 | 0:02:41 | |
What about John and Arthur? | 0:02:41 | 0:02:43 | |
DOOR SLAMS | 0:02:43 | 0:02:44 | |
How are the books? | 0:03:04 | 0:03:05 | |
Unaffected. | 0:03:09 | 0:03:11 | |
Up slightly. | 0:03:11 | 0:03:12 | |
There's also been a three-fold increase in donations | 0:03:15 | 0:03:17 | |
to the Shelby Foundation charity. | 0:03:17 | 0:03:21 | |
The council have suggested naming the new school | 0:03:21 | 0:03:23 | |
the Grace Shelby Institute. | 0:03:23 | 0:03:25 | |
Tell the council the name Grace Shelby Institute | 0:03:32 | 0:03:34 | |
is acceptable to us. | 0:03:34 | 0:03:35 | |
This is a list of the other things I want doing. | 0:03:41 | 0:03:44 | |
That's all. | 0:03:45 | 0:03:46 | |
-Tommy... -That's all, Pol. | 0:03:53 | 0:03:56 | |
And well done, both of you. | 0:04:06 | 0:04:07 | |
Right, let's go. | 0:04:17 | 0:04:19 | |
Erm, we've already seen him. | 0:04:19 | 0:04:21 | |
He wanted to see people in a particular order. | 0:04:25 | 0:04:28 | |
I can normally read him, but he's difficult to read. | 0:04:31 | 0:04:34 | |
So, be careful... | 0:04:34 | 0:04:35 | |
-I thought it was a fucking family meeting. -Yeah. | 0:04:36 | 0:04:39 | |
All of us together, I thought. | 0:04:39 | 0:04:41 | |
John, he's grieving. | 0:04:41 | 0:04:42 | |
To see everyone together would be too much. | 0:04:42 | 0:04:45 | |
Yeah, well. Come on, John. | 0:04:45 | 0:04:47 | |
Arthur, we need him back. | 0:04:50 | 0:04:53 | |
Sabini and Solomons have already sent condolences and flowers. | 0:04:53 | 0:04:57 | |
So, it won't be long before they come trotting up the A1 like wolves. | 0:04:57 | 0:05:00 | |
Go on. There's a timetable. | 0:05:00 | 0:05:02 | |
Only good news. | 0:05:05 | 0:05:07 | |
There is only good news, Polly. | 0:05:07 | 0:05:10 | |
(Here we fucking go...) | 0:05:10 | 0:05:12 | |
There. There he is. | 0:05:13 | 0:05:15 | |
All right, Tom? | 0:05:18 | 0:05:20 | |
All right, boys? | 0:05:20 | 0:05:21 | |
We, erm... | 0:05:21 | 0:05:22 | |
We didn't get a chance to see you after the funeral. | 0:05:23 | 0:05:27 | |
Well, you disappeared on us, but, erm... | 0:05:27 | 0:05:29 | |
Well, me and John, we just wanted to say... | 0:05:30 | 0:05:32 | |
-Arthur. Shut up. -All right. | 0:05:32 | 0:05:34 | |
All right. Now, talk to me. | 0:05:35 | 0:05:37 | |
We got to Angel at the hospital. | 0:05:37 | 0:05:40 | |
Where he laid, cut his throat. He's dead. | 0:05:40 | 0:05:44 | |
We cleared out the rest of the Italians | 0:05:45 | 0:05:47 | |
out of the south of the city... | 0:05:47 | 0:05:48 | |
They mostly went to the Black Country, | 0:05:48 | 0:05:50 | |
but we told Betty Kitchen to keep 'em moving. | 0:05:50 | 0:05:52 | |
-And Betty sends her condolences... -What about the old man? | 0:05:52 | 0:05:55 | |
We interrogated his boys. | 0:05:55 | 0:05:57 | |
Yeah, he went to Liverpool. | 0:05:57 | 0:05:58 | |
-He's waiting for an immigrant ship to New York. -When? | 0:05:58 | 0:06:01 | |
First ship sails Saturday. | 0:06:01 | 0:06:03 | |
All right. | 0:06:04 | 0:06:06 | |
I have contacts, people in Cunard at Liverpool. | 0:06:06 | 0:06:10 | |
They'll have passenger lists. | 0:06:10 | 0:06:11 | |
They can get you into the point of departure. | 0:06:11 | 0:06:13 | |
You pick him up and bring him to me. | 0:06:13 | 0:06:15 | |
Who's he got travelling with him? | 0:06:15 | 0:06:18 | |
His wife. | 0:06:18 | 0:06:20 | |
What? | 0:06:20 | 0:06:21 | |
His wife. | 0:06:21 | 0:06:22 | |
So, shoot her and bring him to me. | 0:06:22 | 0:06:24 | |
Tommy? Mrs Changretta was a teacher at our school. | 0:06:29 | 0:06:33 | |
She's a good woman, Tom. A good woman. | 0:06:33 | 0:06:36 | |
Well, if she's a good woman, then she'll go to Heaven, eh, Arthur? | 0:06:41 | 0:06:45 | |
Just do what's on the list. Nothing else. Then burn it. | 0:06:47 | 0:06:50 | |
And don't speak on the phones. The fucking secret service is listening. | 0:06:50 | 0:06:54 | |
And I want the old man alive. | 0:06:57 | 0:06:59 | |
I want to do it myself. | 0:06:59 | 0:07:00 | |
Right, that is it. You can go. | 0:07:08 | 0:07:10 | |
Come, John. | 0:07:14 | 0:07:16 | |
Tommy, if you ain't going to be here, | 0:07:16 | 0:07:18 | |
you're going to have to tell us something. | 0:07:18 | 0:07:21 | |
Ask Polly. | 0:07:21 | 0:07:24 | |
Not Michael? | 0:07:24 | 0:07:26 | |
What? | 0:07:26 | 0:07:27 | |
Not Michael, no? | 0:07:27 | 0:07:28 | |
No, not Michael, no. | 0:07:28 | 0:07:30 | |
Cos Michael deals with legitimate business. | 0:07:30 | 0:07:33 | |
You saw him before us. | 0:07:33 | 0:07:34 | |
John, not now. | 0:07:34 | 0:07:37 | |
Wait, what did you say? | 0:07:37 | 0:07:38 | |
You saw Michael before us. | 0:07:39 | 0:07:41 | |
For fuck's sake, John. | 0:07:41 | 0:07:43 | |
Because legitimate business, John, is the priority. | 0:07:45 | 0:07:48 | |
-Legitimate business... -Since when? | 0:07:50 | 0:07:52 | |
Since my fucking wife took a bullet meant for me. | 0:07:52 | 0:07:57 | |
Oh, yeah. OK. It's all secret service. Secret fucking service. | 0:08:02 | 0:08:07 | |
Blah-blah-blah. But you don't tell us shit. | 0:08:07 | 0:08:10 | |
We are a couple of fucking toy soldiers. Do this, John. | 0:08:10 | 0:08:13 | |
Do that, John. Kill your fucking teacher, John. | 0:08:13 | 0:08:17 | |
Is this how it is going to be? | 0:08:26 | 0:08:28 | |
All right, listen to me. | 0:08:30 | 0:08:32 | |
There's going to be a little war, | 0:08:32 | 0:08:34 | |
in a little place that no-one gives a fuck about | 0:08:34 | 0:08:37 | |
and the side that is going to lose needs a little bit of help. | 0:08:37 | 0:08:40 | |
And they're willing to pay. | 0:08:40 | 0:08:42 | |
When that business is done, legitimate business is the priority. | 0:08:42 | 0:08:48 | |
Now, do what's on the list and fuck off. | 0:08:48 | 0:08:50 | |
And when are you coming back? Hmm? | 0:09:05 | 0:09:08 | |
I'm back, Arthur. | 0:09:08 | 0:09:09 | |
The thing is, we all naturally came in here. | 0:09:23 | 0:09:25 | |
Where the servants eat. | 0:09:25 | 0:09:27 | |
It's nothing to do with politics, Ada. | 0:09:27 | 0:09:29 | |
It's fucking freezing in the big room. | 0:09:29 | 0:09:31 | |
John, mind your language in front of Karl. | 0:09:31 | 0:09:33 | |
Ada, we're in the servants' quarters, | 0:09:33 | 0:09:35 | |
because it's where the fucking booze is kept. | 0:09:35 | 0:09:38 | |
Arthur, find better words. | 0:09:38 | 0:09:40 | |
Hey, Pol, does swearing in Gypsy count? | 0:09:40 | 0:09:42 | |
There is no reason for us | 0:09:42 | 0:09:43 | |
to be speaking Rocka or Shelta in any case. | 0:09:43 | 0:09:45 | |
THEY CHEER | 0:09:45 | 0:09:47 | |
Hey, I'm just saying there is no need. | 0:09:47 | 0:09:49 | |
When she's drunk, my wife can't speak fucking English. | 0:09:49 | 0:09:52 | |
-John! -Fucking right. | 0:09:52 | 0:09:53 | |
You dealt with it? | 0:09:57 | 0:09:59 | |
Incentives, no threats. | 0:09:59 | 0:10:01 | |
Implied consequences without specific reference | 0:10:01 | 0:10:04 | |
to physical harm... | 0:10:04 | 0:10:05 | |
That's why young Michael is the boss. | 0:10:05 | 0:10:09 | |
He knows better words, right, Pol? | 0:10:09 | 0:10:11 | |
Since when was I your boss, Arthur? | 0:10:11 | 0:10:13 | |
First the boss' meeting, then the workers' meeting, eh? | 0:10:13 | 0:10:16 | |
When did either of you two do a day's work? | 0:10:16 | 0:10:19 | |
In the old days, Finn, | 0:10:19 | 0:10:21 | |
family meetings used to be all of us... | 0:10:21 | 0:10:24 | |
-..together. -Arthur, shut up. | 0:10:24 | 0:10:26 | |
Now, me and John... | 0:10:31 | 0:10:33 | |
..we're just fucking binmen... | 0:10:35 | 0:10:37 | |
..whose duty it is to obey. | 0:10:38 | 0:10:40 | |
Hm? | 0:10:42 | 0:10:43 | |
Mrs Changretta. | 0:10:48 | 0:10:49 | |
Arthur. | 0:10:52 | 0:10:53 | |
Shut up. | 0:10:55 | 0:10:56 | |
Finn. Go and get his cigars. | 0:10:56 | 0:10:59 | |
So, what are we going to do all night, eh? | 0:10:59 | 0:11:01 | |
Climb fucking trees? | 0:11:01 | 0:11:03 | |
John, stop swearing in front of the kids. | 0:11:03 | 0:11:05 | |
Yeah, and who said you're staying the night? | 0:11:05 | 0:11:07 | |
I know what we can do. | 0:11:07 | 0:11:09 | |
We get the guns out, John. | 0:11:09 | 0:11:11 | |
We go outside and we shoot some fucking pheasants. | 0:11:11 | 0:11:14 | |
That's what the bosses do, innit? | 0:11:16 | 0:11:18 | |
Fuck off, Arthur... | 0:11:18 | 0:11:20 | |
The fuck did you just say to me? | 0:11:22 | 0:11:24 | |
I didn't ask for separate meetings today, all right? | 0:11:25 | 0:11:28 | |
What the fuck did you just say? | 0:11:31 | 0:11:33 | |
Cos I just didn't hear you right. | 0:11:33 | 0:11:35 | |
I didn't ask for separate meetings today. All right? | 0:11:37 | 0:11:42 | |
Fucking pheasant. | 0:11:42 | 0:11:44 | |
-Karl, you can't say things like that. -Now look what you've done. | 0:11:44 | 0:11:49 | |
JOHN SNIGGERS | 0:11:49 | 0:11:52 | |
All right, brothers, it's just the fucking whiskey talking. | 0:11:52 | 0:11:56 | |
I don't ask to be protected, all right? | 0:11:56 | 0:11:58 | |
Right, shut up, the pair of you. | 0:11:58 | 0:12:01 | |
Sit down. | 0:12:01 | 0:12:02 | |
Sit down. | 0:12:03 | 0:12:05 | |
Yeah, yeah, yeah... | 0:12:05 | 0:12:06 | |
Look around you. | 0:12:06 | 0:12:08 | |
Look at this house. | 0:12:08 | 0:12:11 | |
Look where we are. | 0:12:11 | 0:12:13 | |
Look how far we've come. | 0:12:13 | 0:12:15 | |
I think it is time we all started acting | 0:12:15 | 0:12:17 | |
in a way more appropriate to our station. | 0:12:17 | 0:12:20 | |
We're none of us binmen any more, Arthur... | 0:12:22 | 0:12:24 | |
Tommy needs us all together. | 0:12:26 | 0:12:27 | |
I'd like to propose a toast. | 0:12:29 | 0:12:31 | |
SHE WHISPERS | 0:12:34 | 0:12:35 | |
It's a family united that shall never be defeated. | 0:12:39 | 0:12:43 | |
Tommy's gone, I swear to God, he is in a wagon with Johnny Dogs! | 0:12:45 | 0:12:49 | |
Shit! | 0:12:51 | 0:12:53 | |
This is what he does now. | 0:12:53 | 0:12:55 | |
Tommy! Wait! | 0:13:03 | 0:13:04 | |
-Arthur! -Tommy! | 0:13:04 | 0:13:06 | |
Arthur, let him go. | 0:13:06 | 0:13:08 | |
-Tommy! -Tommy! -Tommy! | 0:13:08 | 0:13:12 | |
Walk on. Walk on. | 0:13:17 | 0:13:19 | |
-Tommy? -Walk on. | 0:13:20 | 0:13:23 | |
They're coming out on the drive. | 0:13:23 | 0:13:25 | |
-Are you not going to tell them? -Tell them what? | 0:13:25 | 0:13:28 | |
That we're going to Wales. | 0:13:28 | 0:13:30 | |
I left a note. | 0:13:30 | 0:13:31 | |
-Did you tell them why we're going to Wales? -No. | 0:13:32 | 0:13:35 | |
At some point, are you going to tell me why we're going to Wales? | 0:13:35 | 0:13:38 | |
Yeah, when we get there. | 0:13:38 | 0:13:40 | |
Walk on. | 0:13:40 | 0:13:41 | |
Should've brought at least one woman, Tommy. | 0:13:41 | 0:13:43 | |
Johnny, it's a woman we're going to see. | 0:13:43 | 0:13:46 | |
-There, boy. Walk on. -Right. | 0:13:46 | 0:13:48 | |
Walk on. | 0:13:48 | 0:13:49 | |
He says he'll be back in Birmingham in three days. | 0:13:52 | 0:13:57 | |
Let him go. | 0:13:57 | 0:13:58 | |
The important thing is if he says he'll be back, | 0:13:59 | 0:14:01 | |
he'll be back. | 0:14:01 | 0:14:02 | |
Come on, let's go light a fire in the big room. | 0:14:02 | 0:14:06 | |
Let's go drink whiskey. | 0:14:06 | 0:14:09 | |
With water. | 0:14:09 | 0:14:10 | |
Go see to the horses, Johnny. | 0:14:21 | 0:14:22 | |
Right, Tom. | 0:14:22 | 0:14:23 | |
So, we'll go out through Meriden and into the Black Mountains. | 0:14:39 | 0:14:43 | |
Yeah. | 0:14:45 | 0:14:47 | |
Here, give me some. Good boy. | 0:14:47 | 0:14:50 | |
Here you go. | 0:14:53 | 0:14:54 | |
Now, remember last night when you asked after Mama? | 0:14:58 | 0:15:02 | |
She's gone, Charlie, and there's a few things | 0:15:04 | 0:15:06 | |
we need to get this straight. | 0:15:06 | 0:15:08 | |
There's her photographs, there's her clothes. | 0:15:08 | 0:15:12 | |
We will keep things the way they are in the room. | 0:15:15 | 0:15:18 | |
Just...keep things the way they are. | 0:15:21 | 0:15:24 | |
There you go. | 0:15:30 | 0:15:32 | |
There, here you go. | 0:15:33 | 0:15:35 | |
I'm not much good, Charlie. | 0:15:37 | 0:15:38 | |
And they'll find that out soon enough. | 0:15:41 | 0:15:43 | |
But she's not going to be coming back, so it's just you and me. | 0:15:45 | 0:15:49 | |
But she'll be with us in our hearts. | 0:15:51 | 0:15:54 | |
Cos we love her. | 0:15:54 | 0:15:56 | |
-Tommy? -Yeah? | 0:15:56 | 0:15:57 | |
-This fucking horse of yours won't come to me. -All right. -Huh? Come on. | 0:15:57 | 0:16:00 | |
All right! I'll be there. All right. | 0:16:00 | 0:16:03 | |
That was her favourite horse, Charlie. | 0:16:03 | 0:16:06 | |
And he's been all over the place since she's gone. | 0:16:06 | 0:16:10 | |
-Tom? -Yeah, you watch him. | 0:16:10 | 0:16:12 | |
I will, yeah. Huh? | 0:16:12 | 0:16:15 | |
Right. | 0:16:26 | 0:16:27 | |
Now, cock it with your thumb. | 0:16:27 | 0:16:29 | |
LAUGHTER | 0:16:33 | 0:16:34 | |
There you go. | 0:16:36 | 0:16:38 | |
Now, she's been cocked. | 0:16:38 | 0:16:40 | |
-JOHN HOWLS -She's alive in your hand. | 0:16:40 | 0:16:42 | |
It's like waking up a girl when you cock that trigger. | 0:16:42 | 0:16:45 | |
Oh, yeah. | 0:16:45 | 0:16:46 | |
She rolls over all sleepy-eyed and she goes, "Michael...Michael..." | 0:16:46 | 0:16:52 | |
"What you going to make me do, Michael?" | 0:16:54 | 0:16:57 | |
You boys are fucking crazy men. | 0:16:57 | 0:16:59 | |
Yeah. But you feel it though, right? | 0:17:00 | 0:17:04 | |
You feel it. | 0:17:04 | 0:17:05 | |
Yeah. You can feel the power. | 0:17:05 | 0:17:08 | |
Now... | 0:17:08 | 0:17:10 | |
squeeze it. | 0:17:10 | 0:17:11 | |
Ah, fuck... | 0:17:16 | 0:17:18 | |
Fucking useless. | 0:17:18 | 0:17:20 | |
Piss off, John. | 0:17:20 | 0:17:21 | |
Michael, why does a pen pusher who sits on his arse all day | 0:17:21 | 0:17:26 | |
want to fire a gun? Hm? Eh? | 0:17:26 | 0:17:30 | |
Cock it again. | 0:17:31 | 0:17:32 | |
Cock it again! | 0:17:34 | 0:17:35 | |
Cock it again. Round two. | 0:17:35 | 0:17:37 | |
Oh. | 0:17:39 | 0:17:42 | |
Look at that fucking face, John Boy. | 0:17:42 | 0:17:45 | |
Look at that face. | 0:17:45 | 0:17:48 | |
Now he feels it. | 0:17:48 | 0:17:49 | |
But you won't feel nothing | 0:17:50 | 0:17:53 | |
until you point that thing at a man. | 0:17:53 | 0:17:57 | |
So, do it. | 0:17:59 | 0:18:02 | |
There you go, young boss. | 0:18:09 | 0:18:12 | |
There you go. Now you feel it. | 0:18:13 | 0:18:17 | |
Now you feel what we feel. | 0:18:17 | 0:18:19 | |
This is what it's like. | 0:18:19 | 0:18:22 | |
Michael, that is a Webley. | 0:18:23 | 0:18:27 | |
It jumps on the hammer. | 0:18:27 | 0:18:29 | |
How does it feel, Michael, huh? | 0:18:29 | 0:18:31 | |
Better than having a pen in your hand, innit? | 0:18:33 | 0:18:35 | |
More like having your cock in your hand. Yeah. | 0:18:35 | 0:18:41 | |
Yeah, it is. | 0:18:41 | 0:18:42 | |
Yeah. | 0:18:42 | 0:18:44 | |
One squeeze... | 0:18:44 | 0:18:46 | |
..I'm gone. | 0:18:49 | 0:18:50 | |
I'm fucking meat. | 0:18:51 | 0:18:53 | |
Michael, you fucking watch that Webley don't jump you know that. | 0:18:53 | 0:18:57 | |
When you've pulled that fucking trigger | 0:18:57 | 0:19:01 | |
and the body of the man you've shot wraps itself around your ankles. | 0:19:01 | 0:19:06 | |
They pile up. | 0:19:07 | 0:19:08 | |
It gets to the point where you can't walk in a room | 0:19:11 | 0:19:15 | |
without bringing a load of them with you. | 0:19:15 | 0:19:17 | |
What's going on? | 0:19:23 | 0:19:24 | |
What's going on? | 0:19:32 | 0:19:34 | |
Polly, we're just educating the boss here on our side of the business. | 0:19:34 | 0:19:41 | |
Michael, get in the house... | 0:19:43 | 0:19:47 | |
I'm not a fucking kid any more. | 0:20:04 | 0:20:06 | |
MUSIC: Burn The Witch by Queens Of The Stone Age | 0:20:06 | 0:20:09 | |
# Holding hands | 0:20:24 | 0:20:25 | |
# Skipping like a stone | 0:20:25 | 0:20:28 | |
# On our way to see what we have done | 0:20:28 | 0:20:32 | |
# The first to speak is the first to lie | 0:20:32 | 0:20:35 | |
# The children cross their hearts and hope to die | 0:20:35 | 0:20:40 | |
# Bite your tongue | 0:20:40 | 0:20:44 | |
# Swear to keep your mouth shut | 0:20:44 | 0:20:50 | |
# Burn the witch Burn to ash and bone | 0:21:04 | 0:21:08 | |
# Burn the witch Burn to ash and bone | 0:21:08 | 0:21:12 | |
# Burn the witch Burn to ash and bone... # | 0:21:12 | 0:21:15 | |
-You've come to tell me it's cancelled. -No. Why would it be? | 0:21:34 | 0:21:36 | |
-I read the papers. -This is business. | 0:21:36 | 0:21:39 | |
It won't work. | 0:21:39 | 0:21:41 | |
I told your brother. | 0:21:41 | 0:21:42 | |
This whole fucking plan won't work. | 0:21:42 | 0:21:44 | |
And if Tommy wants to keep this secret, | 0:21:44 | 0:21:46 | |
tell him there was a woman in a fur coat walking through here | 0:21:46 | 0:21:48 | |
in broad daylight like the Queen Of fucking Sheba | 0:21:48 | 0:21:50 | |
asking about armoured cars. | 0:21:50 | 0:21:52 | |
During a period of grieving some things were allowed to slip. | 0:21:52 | 0:21:56 | |
We know the woman. We're dealing with it. | 0:21:56 | 0:22:00 | |
Now, take a look at this list. | 0:22:00 | 0:22:02 | |
These are all the men who work the night shift | 0:22:02 | 0:22:05 | |
who are members of the South Birmingham Communist Party. | 0:22:05 | 0:22:08 | |
You've got six weeks. | 0:22:08 | 0:22:10 | |
Sack them all. | 0:22:10 | 0:22:11 | |
Are you fucking mad? | 0:22:22 | 0:22:24 | |
He is. | 0:22:24 | 0:22:27 | |
Yeah. | 0:22:27 | 0:22:28 | |
Every factory in the city will come out on strike... | 0:22:28 | 0:22:30 | |
So? | 0:22:30 | 0:22:32 | |
You find reasons. | 0:22:32 | 0:22:33 | |
You set them up. | 0:22:35 | 0:22:36 | |
You sack them. | 0:22:37 | 0:22:39 | |
Look at the list again. | 0:22:39 | 0:22:40 | |
Are there any communists on your shift who aren't on the list? | 0:22:40 | 0:22:43 | |
No. | 0:22:46 | 0:22:47 | |
Please, don't fucking lie to us. | 0:22:48 | 0:22:50 | |
Who's missing? | 0:22:50 | 0:22:52 | |
I don't know. | 0:22:52 | 0:22:53 | |
Emmanuel Hunter. | 0:22:57 | 0:22:58 | |
Hm? | 0:23:00 | 0:23:01 | |
Convener. | 0:23:02 | 0:23:03 | |
Deputy treasurer of the Sparkhill Communist Party. | 0:23:05 | 0:23:08 | |
Lathe operator to you. | 0:23:08 | 0:23:10 | |
I didn't know he was a communist. | 0:23:11 | 0:23:13 | |
We left that name off the list on purpose | 0:23:13 | 0:23:17 | |
to see if you could be trusted. | 0:23:17 | 0:23:18 | |
And you can't be trusted. | 0:23:20 | 0:23:23 | |
Look, I'm just a working man. | 0:23:23 | 0:23:24 | |
We're going to be watching you. | 0:23:24 | 0:23:26 | |
-Watching your fucking house. -I've got kids. | 0:23:27 | 0:23:30 | |
Mm. | 0:23:30 | 0:23:31 | |
Edna and John. | 0:23:33 | 0:23:34 | |
Just get them sacked. | 0:23:38 | 0:23:40 | |
As they appear on the list. | 0:23:42 | 0:23:43 | |
Two a week. | 0:23:43 | 0:23:45 | |
The last one before the clocks go forward. | 0:23:45 | 0:23:48 | |
Is that a yes or a no? | 0:23:50 | 0:23:51 | |
-Yes. -Thank you. | 0:23:54 | 0:23:55 | |
Good. Good. | 0:24:12 | 0:24:14 | |
Do you think he'll return? | 0:24:28 | 0:24:30 | |
Tommy? | 0:24:30 | 0:24:31 | |
He will always come back. | 0:24:35 | 0:24:36 | |
-You speak differently when you talk... -Yeah, I prefer to talk | 0:24:38 | 0:24:41 | |
about other things. | 0:24:41 | 0:24:42 | |
Let me see. | 0:24:42 | 0:24:45 | |
What books do you like? | 0:24:45 | 0:24:49 | |
Riding? Flower arranging? Embroidery? | 0:24:49 | 0:24:52 | |
You'd be surprised at the things I know. | 0:24:52 | 0:24:54 | |
But you'd also be surprised at the things I don't know. | 0:24:57 | 0:25:01 | |
What can you possibly not know? | 0:25:01 | 0:25:04 | |
I wasn't educated... | 0:25:04 | 0:25:05 | |
..at all. | 0:25:11 | 0:25:13 | |
What is there to learn after all? | 0:25:13 | 0:25:15 | |
Goodness. | 0:25:23 | 0:25:24 | |
I'm sorry. You must need a rest. | 0:25:26 | 0:25:29 | |
Do you tell your friends you're painting a gangster? | 0:25:40 | 0:25:43 | |
Is that the fun in all of this? | 0:25:46 | 0:25:48 | |
In truth, I don't have any friends. | 0:25:48 | 0:25:50 | |
I knew everyone through my wife. | 0:25:52 | 0:25:54 | |
When she died... | 0:25:56 | 0:25:57 | |
Well... | 0:26:01 | 0:26:03 | |
Look, Polly, my motivation for doing this is twofold. | 0:26:06 | 0:26:12 | |
Firstly, you have a face full of contradictions | 0:26:13 | 0:26:19 | |
and it's a challenge to capture them in one expression. | 0:26:19 | 0:26:22 | |
That's the sales pitch. | 0:26:22 | 0:26:24 | |
The second motivation is that | 0:26:26 | 0:26:28 | |
I am planning to seduce you eventually | 0:26:28 | 0:26:33 | |
and please, God, sleep with you. | 0:26:33 | 0:26:35 | |
How will that please God? | 0:26:35 | 0:26:38 | |
Please me. | 0:26:38 | 0:26:39 | |
And stop. | 0:27:17 | 0:27:18 | |
And he didn't say what he wants? | 0:27:23 | 0:27:25 | |
When he was drunk he said, "Absolution." | 0:27:25 | 0:27:28 | |
Other than that, nothing. | 0:27:28 | 0:27:30 | |
Thank you for your time, Madam Boswell. | 0:27:50 | 0:27:53 | |
I heard someone shot your wife. | 0:27:54 | 0:27:56 | |
If you're looking for soldiers, our men are all up at Appleby. | 0:28:00 | 0:28:03 | |
I have no need of soldiers. That's not why I came here. | 0:28:03 | 0:28:08 | |
What do you think? | 0:28:20 | 0:28:22 | |
You're selling? | 0:28:22 | 0:28:23 | |
Giving. | 0:28:23 | 0:28:24 | |
-Why? -Would you take it? | 0:28:26 | 0:28:28 | |
I'd take it. | 0:28:29 | 0:28:30 | |
-Would you wear it? -Why would I not? | 0:28:31 | 0:28:34 | |
That's my question. | 0:28:34 | 0:28:35 | |
My wife was wearing it the night she was shot. | 0:28:42 | 0:28:45 | |
And... | 0:28:48 | 0:28:50 | |
I lie awake at night. | 0:28:50 | 0:28:51 | |
At four in the fucking morning and I blame myself for her death. | 0:28:52 | 0:28:55 | |
I pushed some people too far. | 0:28:57 | 0:28:59 | |
You want me to tell you this jewel is cursed. | 0:29:01 | 0:29:03 | |
And then her death won't all be your fault. | 0:29:06 | 0:29:08 | |
If I believed in priests, | 0:29:16 | 0:29:19 | |
I would confess and ask for forgiveness. | 0:29:19 | 0:29:22 | |
But all I have is you, Madame Boswell. | 0:29:22 | 0:29:25 | |
I have a son. | 0:29:27 | 0:29:28 | |
I have a business. | 0:29:31 | 0:29:33 | |
I need to get some sleep. | 0:29:33 | 0:29:34 | |
It is cursed. | 0:29:38 | 0:29:39 | |
I feel its curse burning through my hand. | 0:29:42 | 0:29:44 | |
Bless you, Tommy Shelby. | 0:29:52 | 0:29:54 | |
You'll have good fortune from now on. | 0:29:55 | 0:29:57 | |
-The business is done? -It's done. | 0:29:57 | 0:30:00 | |
Are you not going to give me one fucking clue what that was about? | 0:30:00 | 0:30:04 | |
All religion is a foolish answer to a foolish question. | 0:30:04 | 0:30:08 | |
What does that mean? | 0:30:08 | 0:30:09 | |
We will go and get Charlie from the camp. | 0:30:09 | 0:30:11 | |
He'll have learned enough bad habits by now. | 0:30:11 | 0:30:13 | |
Then you can drop us at the train station. | 0:30:13 | 0:30:16 | |
And, Johnny boy, if I were you, tonight I'd come back here tonight. | 0:30:16 | 0:30:22 | |
Because later on... | 0:30:22 | 0:30:24 | |
..there's going to be one hell of a big fucking party. | 0:30:26 | 0:30:29 | |
Check the day and date on your ticket. | 0:30:32 | 0:30:36 | |
If you can't read, find someone who can. | 0:30:36 | 0:30:40 | |
Tickets for sailings other than today's will be destroyed. | 0:30:40 | 0:30:44 | |
He has people all over the docks. | 0:30:44 | 0:30:46 | |
If it's going to happen, it will happen now. | 0:30:46 | 0:30:48 | |
We'll be all right. | 0:30:48 | 0:30:50 | |
Why don't these Irish fill in their papers in advance? | 0:30:50 | 0:30:53 | |
Think about Mott Street. | 0:30:53 | 0:30:55 | |
The cafe. The smell of the coffee. | 0:30:55 | 0:30:57 | |
Police! Help! Police! | 0:31:45 | 0:31:47 | |
Officer, there are some men. They mean us harm. | 0:31:51 | 0:31:54 | |
We are in danger here. Can you escort us to the dock? | 0:31:54 | 0:31:57 | |
Please. | 0:31:59 | 0:32:00 | |
Come with me... | 0:32:00 | 0:32:01 | |
Excuse me, brother, have you got a light? | 0:32:03 | 0:32:06 | |
Thank you, Officer, that will be all. | 0:32:55 | 0:32:58 | |
John Shelby. | 0:32:58 | 0:33:00 | |
Is that the lad I used to teach? | 0:33:00 | 0:33:03 | |
John Shelby, I smacked your arse. | 0:33:03 | 0:33:05 | |
Let him go. | 0:33:06 | 0:33:07 | |
Please... Please, let her go. | 0:33:08 | 0:33:10 | |
Arthur, how many times I looked the other way | 0:33:10 | 0:33:14 | |
because of your sweet smile. | 0:33:14 | 0:33:16 | |
I said let him go, he's coming with us. | 0:33:16 | 0:33:18 | |
Not until I know my wife is safe. | 0:33:20 | 0:33:22 | |
She's safe. | 0:33:23 | 0:33:25 | |
We're not going to harm her. | 0:33:25 | 0:33:27 | |
Just get a move on. | 0:33:27 | 0:33:28 | |
Look, we are disobeying Tommy's orders just by talking to you. | 0:33:28 | 0:33:32 | |
Don't push it. | 0:33:33 | 0:33:35 | |
Please, come with us. Let him go. | 0:33:35 | 0:33:38 | |
Let him go, too. Say it's done. | 0:33:38 | 0:33:42 | |
Say he's in the harbour. | 0:33:42 | 0:33:43 | |
He can do you no harm from New York. | 0:33:43 | 0:33:45 | |
I can't do that, Mrs Changretta. | 0:33:45 | 0:33:48 | |
-I can't do that, sorry. -OK. It's OK. Audrey, listen. | 0:33:48 | 0:33:51 | |
-No! -Listen to me! | 0:33:51 | 0:33:52 | |
Go to the cafe in Mott Street. | 0:33:53 | 0:33:55 | |
Benito will take care of you. | 0:33:55 | 0:33:58 | |
Let him go, too! He's an old man! | 0:33:58 | 0:34:01 | |
I gave you sweets and cakes. | 0:34:01 | 0:34:03 | |
Mrs Changretta. There are rules. | 0:34:03 | 0:34:06 | |
Your husband knows the rules. | 0:34:06 | 0:34:07 | |
-Come on, old man. -No! | 0:34:08 | 0:34:11 | |
Sorry. | 0:34:12 | 0:34:13 | |
We're disobeying orders here! | 0:34:15 | 0:34:18 | |
LET HIM FUCKING GO! | 0:34:18 | 0:34:20 | |
You have ten seconds, or Tommy's orders stand. | 0:34:22 | 0:34:26 | |
They stand. | 0:34:26 | 0:34:27 | |
One, two... | 0:34:27 | 0:34:30 | |
Please! | 0:34:30 | 0:34:31 | |
..three... | 0:34:33 | 0:34:34 | |
I love you...forever! | 0:34:39 | 0:34:40 | |
..four... | 0:34:40 | 0:34:41 | |
No! No! No! | 0:34:51 | 0:34:54 | |
America. A new life. | 0:34:54 | 0:34:58 | |
No. No. No. | 0:34:58 | 0:35:01 | |
A new life. | 0:35:01 | 0:35:02 | |
MUSIC: Tupelo by Nick Cave And The Bad Seeds | 0:35:02 | 0:35:05 | |
# Look yonder | 0:35:05 | 0:35:06 | |
# Look yonder A big, black cloud come | 0:35:08 | 0:35:12 | |
# A big, black cloud come | 0:35:14 | 0:35:15 | |
# Here come to Tupelo. | 0:35:17 | 0:35:20 | |
# Come to Tupelo | 0:35:20 | 0:35:22 | |
# Yonder on the horizon Yonder on the horizon | 0:35:24 | 0:35:28 | |
# Stopped at the mighty river | 0:35:28 | 0:35:30 | |
# And sucked the damn thing dry | 0:35:30 | 0:35:33 | |
# Distant thunder rumble Distant thunder rumble | 0:35:33 | 0:35:37 | |
# Rumble hungry like the Beast | 0:35:37 | 0:35:39 | |
# The Beast, it cometh, cometh down # The Beast, it cometh, cometh down | 0:35:39 | 0:35:43 | |
# The Beast, it cometh, cometh down | 0:35:43 | 0:35:46 | |
-# Oh, Tupelo bound -Tupelo | 0:35:46 | 0:35:52 | |
# Yeah, the black rain come down The black rain come down | 0:35:52 | 0:35:57 | |
# Water, water everywhere | 0:35:57 | 0:35:59 | |
# Where no bird can fly no fish can swim | 0:35:59 | 0:36:01 | |
# No fish can swim | 0:36:01 | 0:36:03 | |
# Until the king is born Until the king is born | 0:36:03 | 0:36:05 | |
# Tupelo! # | 0:36:05 | 0:36:10 | |
VICENTE MUTTERS IN ITALIAN | 0:36:17 | 0:36:20 | |
Do you know what time it is, old man? | 0:36:35 | 0:36:37 | |
I'll tell you. | 0:36:41 | 0:36:42 | |
It's after seven in the evening. | 0:36:47 | 0:36:49 | |
And I am going to keep you alive until it gets light. | 0:36:52 | 0:36:56 | |
I'll not to deliver the final cut | 0:37:02 | 0:37:04 | |
until we can both hear the blackbirds singing outside. | 0:37:05 | 0:37:09 | |
It's a beautiful sound. | 0:37:15 | 0:37:16 | |
Which my wife will never hear again. | 0:37:20 | 0:37:23 | |
VICENTE MUTTERS AGAIN | 0:37:23 | 0:37:25 | |
Now, I am going to have to choose carefully which part of you | 0:37:37 | 0:37:44 | |
I cut away first. | 0:37:44 | 0:37:46 | |
Open your eyes. | 0:37:50 | 0:37:51 | |
Open your eyes, or I will cut away your fucking eyelids. | 0:37:53 | 0:37:57 | |
Now, look at me. | 0:38:01 | 0:38:04 | |
Look at me. | 0:38:04 | 0:38:05 | |
This is the end. | 0:38:07 | 0:38:09 | |
This is the end. | 0:38:11 | 0:38:12 | |
It was your tongue that gave the order. | 0:38:19 | 0:38:22 | |
I'll take your tongue first. | 0:38:25 | 0:38:27 | |
Then I'll take your ears. | 0:38:30 | 0:38:32 | |
Then I'll take your fingers, | 0:38:34 | 0:38:38 | |
and your fucking toes. | 0:38:38 | 0:38:39 | |
See, I take your balls first, you drain too fast. | 0:38:41 | 0:38:44 | |
Like you fuckers do. | 0:38:44 | 0:38:45 | |
I think tongue first. | 0:38:49 | 0:38:50 | |
VICENTE MOANS | 0:38:52 | 0:38:55 | |
Tongue first. | 0:38:56 | 0:38:58 | |
If I take your tongue, you won't be able to explain. | 0:39:04 | 0:39:09 | |
And I want you to explain. | 0:39:09 | 0:39:12 | |
I want you to fucking explain. | 0:39:12 | 0:39:13 | |
VICENTE MUTTERS IN ITALIAN | 0:39:34 | 0:39:39 | |
Come on, Tommy. | 0:39:46 | 0:39:48 | |
I forget who I am. | 0:39:50 | 0:39:52 | |
I forget who I am. | 0:39:53 | 0:39:55 | |
I'm a Blinder. | 0:39:55 | 0:39:57 | |
I'll take your FUCKING EYES FIRST! | 0:39:57 | 0:39:59 | |
GUNSHOT, WET SQUELCHING | 0:39:59 | 0:40:00 | |
I heard the blackbird sing. | 0:40:05 | 0:40:07 | |
And we let his wife board the immigrant ship to New York. | 0:40:21 | 0:40:25 | |
We didn't kill Mrs Changretta. | 0:40:25 | 0:40:27 | |
Tonight. | 0:40:29 | 0:40:31 | |
We're not those kind of men. | 0:40:34 | 0:40:35 | |
MUSIC: Soldier's Things by Tom Waits | 0:40:43 | 0:40:47 | |
# Oh, and this one is for bravery | 0:40:47 | 0:40:52 | |
# When this one is for me | 0:40:54 | 0:40:56 | |
# And everything's a dollar in this box... # | 0:41:00 | 0:41:07 | |
You get rid of the body, John. | 0:41:07 | 0:41:08 | |
And get rid of those. | 0:41:10 | 0:41:12 | |
For good. | 0:41:13 | 0:41:14 | |
# ..Cuff links and hub caps | 0:41:14 | 0:41:16 | |
# And trophies and paperbacks | 0:41:18 | 0:41:22 | |
# It's good transportation but the brakes aren't so hot | 0:41:24 | 0:41:30 | |
# Neckties and boxing gloves | 0:41:34 | 0:41:37 | |
# This jackknife is rusted | 0:41:38 | 0:41:40 | |
# You can pound that dent out on the hood | 0:41:43 | 0:41:47 | |
# A tinker, a tailor | 0:41:52 | 0:41:55 | |
# A soldier's things | 0:41:57 | 0:41:59 | |
# His rifle, his boots full of rocks | 0:42:02 | 0:42:09 | |
# Oh, and this one is for bravery | 0:42:09 | 0:42:15 | |
# Oh, and this one is for me | 0:42:15 | 0:42:19 | |
# And everything's a dollar in this box... # | 0:42:22 | 0:42:28 | |
Did you do what was on your list, Ada? | 0:42:53 | 0:42:55 | |
You and your fucking lists. | 0:42:55 | 0:42:58 | |
Did you? | 0:42:58 | 0:42:59 | |
I spoke to an old friend of Freddie's. | 0:43:02 | 0:43:04 | |
He's a Communist-Party candidate for Balsall Heath. | 0:43:04 | 0:43:07 | |
I asked him about the Birmingham branch | 0:43:07 | 0:43:09 | |
of the National Vigilance Committee. | 0:43:09 | 0:43:12 | |
He said he'd heard the Soviet Embassy | 0:43:12 | 0:43:14 | |
was getting information from the inside. | 0:43:14 | 0:43:17 | |
And...did you get a name? | 0:43:17 | 0:43:19 | |
Yes. | 0:43:21 | 0:43:22 | |
But just promise me no-one will get killed. | 0:43:25 | 0:43:27 | |
Ada, it will be me, or John, or Arthur who gets killed | 0:43:27 | 0:43:31 | |
if you don't give me the fucking name. | 0:43:31 | 0:43:34 | |
There's someone ahead of us and I need to know why. | 0:43:34 | 0:43:37 | |
James Monkland. | 0:43:39 | 0:43:40 | |
He's a Lloyd's underwriter. He's got an office on Curzon Street. | 0:43:41 | 0:43:45 | |
Tommy, for fuck's sake, who is it that's ahead of you? | 0:43:45 | 0:43:48 | |
I knew I could count on you, Ada. | 0:43:48 | 0:43:50 | |
No, you can't. And I just asked you a fucking question. | 0:43:50 | 0:43:53 | |
And I notice you started wearing lipstick again. | 0:43:58 | 0:44:01 | |
So what? | 0:44:03 | 0:44:05 | |
I got bored... | 0:44:08 | 0:44:10 | |
You can change what you do, but you can't change what you want. | 0:44:10 | 0:44:14 | |
And what is it that I want? | 0:44:15 | 0:44:17 | |
There's going to be a vacancy coming up in Shelby Company Limited. | 0:44:24 | 0:44:30 | |
Boston office. | 0:44:33 | 0:44:35 | |
Boston, America? | 0:44:35 | 0:44:37 | |
Lipstick, clothes from Paris, | 0:44:39 | 0:44:41 | |
no revolvers, all legal. | 0:44:43 | 0:44:44 | |
Just turn a few heads. Do the transit deals. | 0:44:46 | 0:44:48 | |
MUSIC: Don't Sit Down Cos I've Moved Your Chair by Arctic Monkeys | 0:44:48 | 0:44:51 | |
# Break a mirror Roll the dice | 0:44:51 | 0:44:57 | |
# Run with scissors Through a chip pan fire fight... # | 0:44:57 | 0:44:59 | |
James Monkland, right? | 0:44:59 | 0:45:00 | |
Goodnight, our Ada. | 0:45:04 | 0:45:05 | |
# ..Go into business with a grizzly bear | 0:45:05 | 0:45:10 | |
# But just don't sit down cos I've moved your chair... # | 0:45:12 | 0:45:17 | |
-James Monkland. -Yours, sir. | 0:45:17 | 0:45:21 | |
Who the hell are you? | 0:45:47 | 0:45:49 | |
What do you want with me? | 0:45:49 | 0:45:51 | |
You have been passing information about a robbery | 0:45:51 | 0:45:53 | |
at the Lanchester Factory in Sparkbrook. | 0:45:53 | 0:45:56 | |
Are you... | 0:45:56 | 0:45:59 | |
Tommy Shelby? | 0:45:59 | 0:46:01 | |
I need to know the name of the person in the organisation | 0:46:01 | 0:46:03 | |
who's giving you information. | 0:46:03 | 0:46:05 | |
What organisation? | 0:46:08 | 0:46:09 | |
The Economic League, the Vigilance Committee, the Odd Fellows. | 0:46:10 | 0:46:14 | |
Section D. | 0:46:14 | 0:46:15 | |
They have many fucking names. | 0:46:15 | 0:46:17 | |
Shit, shit shit... | 0:46:17 | 0:46:18 | |
Give me the name of the informant. | 0:46:19 | 0:46:21 | |
Mr Shelby. | 0:46:28 | 0:46:29 | |
They are very, very, dangerous people. | 0:46:32 | 0:46:34 | |
Oh. Oh... | 0:46:34 | 0:46:36 | |
Well, unfortunately, so are we. | 0:46:39 | 0:46:42 | |
You have to choose who you're more afraid of. | 0:46:44 | 0:46:46 | |
The Peaky Blinders at exactly 11.43, | 0:46:46 | 0:46:49 | |
or Section D at some point in the future. | 0:46:49 | 0:46:54 | |
If you make the wrong choice you won't see 11.44. | 0:46:58 | 0:47:01 | |
Do they always have to do the stocktaking at night, Arthur? | 0:47:02 | 0:47:06 | |
-Only cos you know it slows down production. -Mm. | 0:47:06 | 0:47:10 | |
Thank you. | 0:47:10 | 0:47:11 | |
Thank you. | 0:47:14 | 0:47:15 | |
Night work will have to end. | 0:47:29 | 0:47:31 | |
It will. It will. | 0:47:31 | 0:47:33 | |
You'll have things to do at night. | 0:47:33 | 0:47:35 | |
Yeah. | 0:47:42 | 0:47:43 | |
Yeah, I know. | 0:47:44 | 0:47:46 | |
We've spoken about it. | 0:47:47 | 0:47:49 | |
I was going to wait until you had a strong cup of tea in your hand. | 0:47:49 | 0:47:52 | |
Come on then. | 0:47:52 | 0:47:53 | |
But, erm... I'm going to have a baby, Arthur. | 0:47:53 | 0:47:56 | |
Pregnant? | 0:48:11 | 0:48:13 | |
Yeah. | 0:48:13 | 0:48:14 | |
You said you spent the night taking stock. | 0:48:18 | 0:48:20 | |
Well, so did I. | 0:48:20 | 0:48:21 | |
This working at night will have to stop. | 0:48:22 | 0:48:25 | |
We're going to have a baby? | 0:48:33 | 0:48:35 | |
Yes. | 0:48:35 | 0:48:36 | |
Oh, it's great news. | 0:48:47 | 0:48:50 | |
Right then, let's have a cup of tea. | 0:48:54 | 0:48:59 | |
Come on. | 0:49:00 | 0:49:01 | |
Come on. Let's have that tea. | 0:49:10 | 0:49:11 | |
Arthur, for fuck's sake. What is it? | 0:49:18 | 0:49:20 | |
No. We wait for Tommy. | 0:49:20 | 0:49:23 | |
I've got a stolen statue back there with its dick hanging out | 0:49:25 | 0:49:28 | |
waiting to be melted down. | 0:49:28 | 0:49:30 | |
Tell us. Tell Tommy later... | 0:49:30 | 0:49:31 | |
Yeah. Look he's not here. He's not here, I'm going. | 0:49:31 | 0:49:35 | |
-Hold your horses. -Right, Curly. Come on. | 0:49:35 | 0:49:38 | |
-There he is. -All right, what is it? | 0:49:38 | 0:49:39 | |
He's fucking given us all this shit. | 0:49:39 | 0:49:41 | |
-Come on. Come on. -Right! | 0:49:41 | 0:49:42 | |
Arthur, you've got wire on the fucking cork. Give it here. | 0:49:46 | 0:49:48 | |
Bastard! | 0:49:48 | 0:49:49 | |
Right, gentlemen. | 0:49:49 | 0:49:51 | |
Linda... | 0:49:58 | 0:49:59 | |
..is up the Swannee, I am going to become a fucking dad. | 0:50:00 | 0:50:03 | |
Fuck off! | 0:50:03 | 0:50:04 | |
LAUGHTER | 0:50:04 | 0:50:06 | |
Yes, Guy. | 0:50:06 | 0:50:08 | |
Arthur, I knew you had it in you. | 0:50:09 | 0:50:11 | |
I knew he had it in him. | 0:50:13 | 0:50:15 | |
September, she reckons. Her tits feel different already. | 0:50:15 | 0:50:18 | |
That's not the only thing that's going to be different, Brother. | 0:50:18 | 0:50:21 | |
You're fucked now, man. | 0:50:21 | 0:50:23 | |
Fucked. Absolutely fucked. | 0:50:23 | 0:50:25 | |
No. Nothing's going to change, John. | 0:50:25 | 0:50:27 | |
Goodbye, Arthur. | 0:50:28 | 0:50:29 | |
I've a meeting I have to go to. | 0:50:31 | 0:50:34 | |
Yeah. Yeah. Course you do. | 0:50:34 | 0:50:37 | |
Yeah. You, erm... | 0:50:41 | 0:50:42 | |
You go to your meeting. | 0:50:44 | 0:50:45 | |
Congratulations. | 0:50:47 | 0:50:49 | |
-I'm going to be a dad. -Proud of you. | 0:50:49 | 0:50:51 | |
Your Highness, Mr Thomas Shelby. | 0:51:30 | 0:51:32 | |
Welcome, Mr Shelby, I believe you've met everyone | 0:51:36 | 0:51:41 | |
apart from my wife. | 0:51:41 | 0:51:43 | |
Grand Duchess Izabella Petrovna. | 0:51:44 | 0:51:46 | |
Please, take a seat. | 0:51:47 | 0:51:48 | |
Before we begin, Mr Shelby, we must offer you our sincere | 0:51:54 | 0:51:58 | |
condolences on your recent loss... | 0:51:58 | 0:52:00 | |
..which some of us witnessed. | 0:52:01 | 0:52:03 | |
-Did you drive, Mr Shelby? -Yes. | 0:52:08 | 0:52:09 | |
-They say you are an expert on cars. -Yes, I am. | 0:52:16 | 0:52:19 | |
-I am curious. What was your father's profession? -Well, he, erm... | 0:52:19 | 0:52:23 | |
He told fortunes and stole horses. | 0:52:23 | 0:52:25 | |
Often he would tell a man that his horse would be stolen | 0:52:25 | 0:52:28 | |
and they would marvel at his powers when it was. | 0:52:28 | 0:52:32 | |
Before we eat, should we say grace? | 0:52:37 | 0:52:40 | |
For what we are about to receive | 0:52:45 | 0:52:47 | |
may the Lord make us truly thankful. | 0:52:47 | 0:52:51 | |
-Amen. -I'm not here to eat, I'm here to do business. | 0:52:51 | 0:52:56 | |
What I have to say can be said before the main course. | 0:52:56 | 0:52:59 | |
Then I will leave you all to your evening. | 0:52:59 | 0:53:01 | |
Grand Duchess, I must apologise for the bad manners of my compatriot. | 0:53:01 | 0:53:06 | |
This is a report on the mission's progress so far. | 0:53:06 | 0:53:09 | |
I've made only one copy for security. | 0:53:09 | 0:53:12 | |
Who should I give it to? | 0:53:14 | 0:53:16 | |
My husband is in charge of this operation. | 0:53:16 | 0:53:19 | |
But since there will no doubt be vodka later, | 0:53:19 | 0:53:23 | |
perhaps you should give it to me for safekeeping. | 0:53:23 | 0:53:26 | |
Speak, Mr Shelby, while we eat. | 0:53:29 | 0:53:31 | |
Five factory foremen on our payroll have begun a campaign | 0:53:36 | 0:53:39 | |
of victimisation against communist workers in five factories | 0:53:39 | 0:53:41 | |
across Birmingham. | 0:53:41 | 0:53:44 | |
Anger amongst the workers will grow, but we will control it. | 0:53:44 | 0:53:47 | |
On the night of June 21st, a general strike will be called | 0:53:47 | 0:53:51 | |
across the city. | 0:53:51 | 0:53:52 | |
Protests will develop into riots. | 0:53:52 | 0:53:55 | |
And all police who are not already under our control will be busy. | 0:53:55 | 0:53:59 | |
-The city will be paralysed. -So, how will you move the train? | 0:53:59 | 0:54:03 | |
We have two locomotive drivers who have been allocated to drive | 0:54:03 | 0:54:06 | |
the midnight-goods train to London. | 0:54:06 | 0:54:08 | |
The armoured vehicles will be waiting on flat beds. | 0:54:08 | 0:54:10 | |
-And the ammunition? -The ammunition... | 0:54:10 | 0:54:12 | |
I have to say that this soup is exceptional. | 0:54:12 | 0:54:15 | |
Absolutely delicious. | 0:54:19 | 0:54:21 | |
Ammunition, incendiaries, will already have been packed up | 0:54:21 | 0:54:24 | |
and crated for transport to Istanbul. | 0:54:24 | 0:54:27 | |
And how long to London? | 0:54:27 | 0:54:29 | |
The train won't reach London. | 0:54:29 | 0:54:31 | |
All the goods will be unloaded at a coal yard | 0:54:31 | 0:54:33 | |
in St Albans and put onto Shelby-Company trucks. | 0:54:33 | 0:54:37 | |
From there, they will go directly to the Poplar Docks. | 0:54:37 | 0:54:39 | |
Your Highness, if you're having difficulty understanding | 0:54:39 | 0:54:42 | |
his accent then I can go through the plan with you at a later date. | 0:54:42 | 0:54:46 | |
If there is no ship waiting for my men, | 0:54:46 | 0:54:48 | |
all goods will be dumped into the sea before first light. | 0:54:48 | 0:54:51 | |
And what happens when they discover the armoured cars are missing? | 0:54:51 | 0:54:54 | |
During the rioting the Lanchester Factory will be firebombed. | 0:54:54 | 0:54:58 | |
A scrap-metal dealer of my acquaintance | 0:54:58 | 0:55:00 | |
will declare that all the armoured vehicles are in the wreckage | 0:55:00 | 0:55:03 | |
and should be written off as salvage. | 0:55:03 | 0:55:05 | |
No-one will know that they are in your possession. | 0:55:05 | 0:55:07 | |
We formulated this plan when we met at Birmingham. | 0:55:07 | 0:55:10 | |
I'm certain that nothing has been overlooked. | 0:55:12 | 0:55:15 | |
This, erm... | 0:55:17 | 0:55:19 | |
is the amount of extra expense | 0:55:19 | 0:55:22 | |
I believe I will incur | 0:55:22 | 0:55:24 | |
for trucks and fuels. | 0:55:24 | 0:55:25 | |
I trust you will respond in kind. | 0:55:26 | 0:55:28 | |
But of course, Mr Shelby. | 0:55:30 | 0:55:32 | |
Before I go, I would like it known that | 0:55:35 | 0:55:40 | |
I am unable to swallow food in the same room as this priest. | 0:55:40 | 0:55:44 | |
Enjoy your evening. | 0:55:49 | 0:55:50 | |
Tatiana? See Mr Shelby to his car. | 0:55:59 | 0:56:03 | |
Yes. | 0:56:03 | 0:56:04 | |
Walk with me. | 0:56:32 | 0:56:33 | |
The priest is passing information about the robbery | 0:56:57 | 0:56:59 | |
to a Lloyd's underwriter called Monkland. | 0:56:59 | 0:57:01 | |
He, in turn, is passing information to the Soviet Embassy. | 0:57:01 | 0:57:05 | |
If you want him dead, I will kill him. No charge. | 0:57:05 | 0:57:08 | |
Why would the priest pass information to our enemies? | 0:57:09 | 0:57:12 | |
I'm being paid to act and to observe, like a soldier. | 0:57:18 | 0:57:23 | |
The complexities are your business. | 0:57:23 | 0:57:26 | |
Go and speak to Izabella. I trust her to decide. | 0:57:26 | 0:57:28 | |
You are able to continue your business dealings | 0:57:32 | 0:57:34 | |
even after what happened. | 0:57:34 | 0:57:36 | |
Perhaps you didn't love her. | 0:57:38 | 0:57:40 | |
She's here. | 0:57:47 | 0:57:48 | |
By my side. | 0:57:50 | 0:57:51 | |
And she says, "Don't trust these people." | 0:57:53 | 0:57:55 | |
Now, get me permission to kill the priest. | 0:58:00 | 0:58:04 | |
# On a gathering storm | 0:58:28 | 0:58:30 | |
# Comes a tall handsome man | 0:58:30 | 0:58:32 | |
# In a dusty black coat | 0:58:32 | 0:58:34 | |
# With a red right hand. # | 0:58:34 | 0:58:37 |