Browse content similar to Episode 4. Check below for episodes and series from the same categories and more!
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This programme contains some violent scenes and strong language from the start. | 0:00:02 | 0:00:07 | |
'Do they always have to do the stock-taking at night, Arthur?' | 0:00:07 | 0:00:10 | |
-I'm going to have a baby! -SHE LAUGHS | 0:00:10 | 0:00:12 | |
What business do you have with the Russians, Tommy? | 0:00:12 | 0:00:15 | |
I've been to the factories | 0:00:15 | 0:00:17 | |
and the armoured vehicles are in good condition... | 0:00:17 | 0:00:19 | |
"A factory break-in," that's what you said. | 0:00:19 | 0:00:21 | |
When you go home, be sure to check under your little boy's pillow. | 0:00:21 | 0:00:25 | |
'We can reach anyone. | 0:00:26 | 0:00:27 | |
'Anywhere.' | 0:00:29 | 0:00:30 | |
'The priest is passing information about the robbery | 0:00:30 | 0:00:32 | |
'to a Lloyd's underwriter called Monkland.' | 0:00:32 | 0:00:35 | |
'Why would the priest pass information to our enemies?' | 0:00:35 | 0:00:37 | |
'The complexities are your business.' | 0:00:37 | 0:00:39 | |
Now get me permission... | 0:00:39 | 0:00:41 | |
..to kill the priest. | 0:00:42 | 0:00:44 | |
STAG SNORTS | 0:00:49 | 0:00:53 | |
GUNSHOT | 0:00:58 | 0:01:00 | |
# Take a little walk to the edge of town | 0:01:09 | 0:01:12 | |
# And go across the tracks | 0:01:12 | 0:01:14 | |
# Where the viaduct looms like a bird of doom | 0:01:16 | 0:01:21 | |
# As it shifts...and cracks | 0:01:21 | 0:01:24 | |
# Where secrets lie in the border fires | 0:01:24 | 0:01:29 | |
# In the humming wires | 0:01:29 | 0:01:31 | |
# Hey, man, you know you're never coming back | 0:01:31 | 0:01:34 | |
# Past the square, past the bridge Past the mills, past the stacks | 0:01:34 | 0:01:39 | |
# On a gathering storm | 0:01:41 | 0:01:43 | |
# Comes a tall handsome man | 0:01:43 | 0:01:45 | |
# In a dusty black coat | 0:01:45 | 0:01:48 | |
# With a red right hand... # | 0:01:48 | 0:01:50 | |
Watch out, John Boy! He's got a strong left... | 0:01:54 | 0:01:57 | |
Arthur, John, Finn! | 0:01:57 | 0:01:59 | |
Come here! | 0:01:59 | 0:02:00 | |
All right, what is it? | 0:02:07 | 0:02:08 | |
This letter... | 0:02:14 | 0:02:16 | |
says that Dad's dead. | 0:02:16 | 0:02:18 | |
He was in Boston in a bar called the Mickey Free. | 0:02:25 | 0:02:29 | |
Two men waiting in an alley. | 0:02:29 | 0:02:31 | |
He was shot twice. | 0:02:31 | 0:02:32 | |
Who's Rosie Rice? | 0:02:34 | 0:02:36 | |
Some fucking whore. | 0:02:38 | 0:02:39 | |
She was a woman who took the trouble to write to us. | 0:02:39 | 0:02:42 | |
She wanted us to know that during the night... | 0:02:42 | 0:02:45 | |
..while he was dying, he asked for our forgiveness. | 0:02:46 | 0:02:49 | |
The only thing he ever taught us was how to kill and cut a stag. | 0:02:52 | 0:02:56 | |
-Finn, John, you won't remember. -I remember. | 0:02:56 | 0:02:59 | |
Cannock Chase, he... | 0:02:59 | 0:03:01 | |
..parked up at a pub called the Griffin. | 0:03:02 | 0:03:05 | |
He got drunk and sang Silver Dagger about 100 times. | 0:03:05 | 0:03:07 | |
Yeah, one weekend. | 0:03:07 | 0:03:09 | |
One weekend he was like that. | 0:03:10 | 0:03:12 | |
The stag is to remember him. | 0:03:14 | 0:03:16 | |
We eat. | 0:03:17 | 0:03:19 | |
And then we forget him. | 0:03:19 | 0:03:20 | |
No need to forgive him. Agreed? | 0:03:21 | 0:03:23 | |
John, I have to say this, | 0:03:28 | 0:03:30 | |
you can name your new baby after him if you like. | 0:03:30 | 0:03:32 | |
No. | 0:03:32 | 0:03:34 | |
Arthur, I won't even ask. | 0:03:35 | 0:03:37 | |
So, his name dies. | 0:03:40 | 0:03:42 | |
It's been in the family for a long time, but now it's gone. | 0:03:42 | 0:03:45 | |
Right. That's done. Fuck him! | 0:03:47 | 0:03:49 | |
Before we cook and eat, there's some business. | 0:03:52 | 0:03:54 | |
Boys! | 0:03:54 | 0:03:56 | |
I wanted to say this out here, | 0:04:06 | 0:04:08 | |
cos I don't trust the maids in the house. | 0:04:08 | 0:04:11 | |
There's going to be a robbery. | 0:04:13 | 0:04:15 | |
I wish to confess...! | 0:04:25 | 0:04:26 | |
There's no confessional today. | 0:04:26 | 0:04:28 | |
The name's Shelby. | 0:04:28 | 0:04:30 | |
Bless me, Father, for I have sinned. | 0:04:44 | 0:04:46 | |
Today's a Holy Day... | 0:04:46 | 0:04:48 | |
Look, I came. | 0:04:48 | 0:04:50 | |
I made myself. | 0:04:50 | 0:04:51 | |
Have you been drinking? | 0:04:52 | 0:04:54 | |
I couldn't sleep. | 0:04:55 | 0:04:56 | |
I tried to get enough down me to get myself to sleep, but... | 0:04:58 | 0:05:01 | |
I just do these night vigils by myself, thinking... | 0:05:03 | 0:05:07 | |
How long since your last confession? | 0:05:07 | 0:05:09 | |
I don't remember. | 0:05:12 | 0:05:14 | |
Mrs Shelby, | 0:05:14 | 0:05:16 | |
do you have something to confess? | 0:05:16 | 0:05:18 | |
Do you know, it's actually Gray. | 0:05:18 | 0:05:20 | |
My name is Elizabeth Gray. | 0:05:20 | 0:05:23 | |
Do you think God calls me "Pol" or "Polly"? | 0:05:24 | 0:05:27 | |
This voice calls me Pol. | 0:05:29 | 0:05:31 | |
You hear a voice? | 0:05:33 | 0:05:35 | |
Yeah. Like Bernadette heard a voice. | 0:05:37 | 0:05:39 | |
And what does the voice say? | 0:05:39 | 0:05:41 | |
"Murderer." | 0:05:43 | 0:05:44 | |
It says this to you? | 0:05:49 | 0:05:51 | |
It's in my head. Who else would it be talking to? | 0:05:52 | 0:05:55 | |
And are you...a murderer? | 0:05:56 | 0:06:00 | |
If you're talking about the law, then... | 0:06:00 | 0:06:02 | |
FOOTSTEPS APPROACH | 0:06:03 | 0:06:05 | |
-..yes. -KNOCKING | 0:06:05 | 0:06:07 | |
-I'll be out in a moment, Peter. -Yes, Father. | 0:06:07 | 0:06:09 | |
FOOTSTEPS RETREAT | 0:06:09 | 0:06:12 | |
Are you saying | 0:06:14 | 0:06:16 | |
you want to confess to a murder? | 0:06:16 | 0:06:19 | |
No. | 0:06:20 | 0:06:21 | |
My confession is that I feel no regret. | 0:06:23 | 0:06:26 | |
He was a policeman. | 0:06:26 | 0:06:28 | |
He was a bad man, | 0:06:29 | 0:06:30 | |
he hurt me. | 0:06:30 | 0:06:32 | |
I do the things I do, so that my son doesn't have to do them. | 0:06:35 | 0:06:39 | |
It's just the wiping away of the shit from under your feet. | 0:06:41 | 0:06:44 | |
The taking of any human life is a mortal sin. | 0:06:44 | 0:06:47 | |
No. | 0:06:47 | 0:06:48 | |
The UNJUST taking of a human life is a mortal sin. | 0:06:48 | 0:06:52 | |
Look it up. Look who did it. | 0:06:52 | 0:06:54 | |
Moses. Samson. | 0:06:54 | 0:06:55 | |
Lord Kitchener. | 0:06:55 | 0:06:57 | |
Are you saying you took the life of a policeman? | 0:06:57 | 0:07:00 | |
SHE SOBS | 0:07:00 | 0:07:02 | |
Oh, Father... | 0:07:09 | 0:07:10 | |
..now there is another life to be taken. | 0:07:13 | 0:07:15 | |
If there is a voice telling you to take a life, | 0:07:15 | 0:07:19 | |
you must ignore it. | 0:07:19 | 0:07:21 | |
The voice doesn't tell me. The voice asks me... | 0:07:21 | 0:07:24 | |
It says, "Pol... | 0:07:24 | 0:07:27 | |
"does this way of excusing a murder still work | 0:07:27 | 0:07:30 | |
"if the life that is going to be taken... | 0:07:30 | 0:07:33 | |
"..is a consecrated man?" | 0:07:34 | 0:07:36 | |
He's a man of the cloth. | 0:07:38 | 0:07:40 | |
He's a holy man. | 0:07:40 | 0:07:42 | |
What kind of holy man? | 0:07:43 | 0:07:45 | |
SHE GASPS | 0:07:45 | 0:07:47 | |
SHE SNIFFLES | 0:07:50 | 0:07:53 | |
DOOR CLOSES | 0:07:55 | 0:07:57 | |
FOOTSTEPS RETREAT | 0:07:57 | 0:07:59 | |
HEAVY DOOR SLAMS | 0:08:03 | 0:08:05 | |
It's not fair. | 0:08:06 | 0:08:08 | |
They're off drinking and shooting rifles as we sit here | 0:08:08 | 0:08:11 | |
and listen to the mugs swearing, | 0:08:11 | 0:08:14 | |
spitting on the bloody floor for us to fucking wipe up! | 0:08:14 | 0:08:17 | |
Without men here, they'll be like dogs pissing up the wall. | 0:08:18 | 0:08:22 | |
I was just saying it's not fair. | 0:08:22 | 0:08:24 | |
The men are down there like lords... | 0:08:26 | 0:08:27 | |
Esme, just... | 0:08:28 | 0:08:30 | |
..get on with it. | 0:08:32 | 0:08:33 | |
I'm bloody five months gone! | 0:08:33 | 0:08:36 | |
SHE SNORTS | 0:08:36 | 0:08:38 | |
-SHE SIGHS -Forgot the combination. | 0:08:40 | 0:08:43 | |
24-8-22. | 0:08:43 | 0:08:45 | |
How do you know the paper cash combination? | 0:08:45 | 0:08:47 | |
Tommy talks in his sleep. | 0:08:47 | 0:08:49 | |
Shut up, Esme. | 0:08:49 | 0:08:50 | |
SAFE CLUNKS | 0:08:50 | 0:08:53 | |
SHE GROANS | 0:08:53 | 0:08:55 | |
He's changed the combination. | 0:08:55 | 0:08:57 | |
You've put it in wrong. | 0:09:00 | 0:09:02 | |
No, I haven't. | 0:09:02 | 0:09:03 | |
Your hands are shaking. | 0:09:05 | 0:09:07 | |
LOCK CLICKS | 0:09:08 | 0:09:10 | |
DOOR CLANKS | 0:09:10 | 0:09:12 | |
And, actually, I am sleeping with Tommy, OK? Now and then. | 0:09:23 | 0:09:27 | |
Because he wants to. Now and then. When the mood takes him. | 0:09:27 | 0:09:29 | |
Except we don't sleep. It's hard to sleep bent over a desk, isn't it? | 0:09:29 | 0:09:32 | |
Happy? | 0:09:35 | 0:09:36 | |
None of it's fucking fair! | 0:09:40 | 0:09:42 | |
It's two hours' work. Bit of grease on your cuffs, that's it. | 0:09:47 | 0:09:50 | |
Tommy, should I really be here for this? | 0:09:50 | 0:09:52 | |
I've cleared it with Polly, Michael. There's no way around it. | 0:09:52 | 0:09:55 | |
We need you to know... | 0:09:55 | 0:09:56 | |
Who the fuck wants to buy 27 stolen armoured cars? | 0:09:56 | 0:10:00 | |
-A foolish man. -And how much is this "foolish man" paying? | 0:10:00 | 0:10:03 | |
150,000 - | 0:10:03 | 0:10:05 | |
cash, diamonds and sapphires. | 0:10:05 | 0:10:08 | |
So, that's 20 for you, Charlie. | 0:10:08 | 0:10:11 | |
Isiah, there's five to you. | 0:10:12 | 0:10:14 | |
The rest we take to America to invest in legally acquired property. | 0:10:14 | 0:10:17 | |
Assets bought with untraceable income resold | 0:10:17 | 0:10:20 | |
and the profits reinvested to make sure it's clean. | 0:10:20 | 0:10:23 | |
And after that, I suppose, the old business | 0:10:23 | 0:10:26 | |
will be like that stag hanging up over there, right, Tom? | 0:10:26 | 0:10:30 | |
Well, with profits on this scale we'll be in a position | 0:10:30 | 0:10:32 | |
to stop the off-track business for good. | 0:10:32 | 0:10:35 | |
Keep the pubs, stop the protection. | 0:10:35 | 0:10:37 | |
Horses for the sport, race days for the lark. | 0:10:37 | 0:10:41 | |
I made a promise to Charles's mother. | 0:10:42 | 0:10:45 | |
I also made a promise... | 0:10:45 | 0:10:47 | |
to Linda. | 0:10:47 | 0:10:49 | |
I know. | 0:10:50 | 0:10:51 | |
I can see it in your eyes, man. | 0:10:51 | 0:10:54 | |
Part of the reason for doing this last job | 0:10:54 | 0:10:56 | |
is so you'll be set up when you do decide to walk away. | 0:10:56 | 0:10:59 | |
Look at you, Arthur. | 0:11:00 | 0:11:02 | |
A man who wants to live a clean life, | 0:11:03 | 0:11:06 | |
here you are signing up for the biggest robbery of all. | 0:11:06 | 0:11:09 | |
I have to hand it to you, Tom, you're a smart man... | 0:11:10 | 0:11:13 | |
Are you in or out, Charlie? | 0:11:13 | 0:11:15 | |
Curly? | 0:11:20 | 0:11:22 | |
-Shouldn't have killed the stag, Tommy. -Oh, shut up. | 0:11:22 | 0:11:25 | |
-Bad luck... -Shut up. | 0:11:25 | 0:11:27 | |
How do we know this foolish man will hand over the diamonds | 0:11:27 | 0:11:29 | |
-when we're done? -We don't. | 0:11:29 | 0:11:31 | |
But that's another business. | 0:11:31 | 0:11:34 | |
Right... | 0:11:35 | 0:11:36 | |
let's cook some meat. | 0:11:36 | 0:11:38 | |
THUMPING ON DOOR | 0:11:42 | 0:11:44 | |
Can't wait to part with their money, stupid bastards. | 0:11:44 | 0:11:47 | |
It's all right, it's me! | 0:11:47 | 0:11:49 | |
Arthur said you'd be short-staffed today | 0:11:54 | 0:11:56 | |
-because they're on a works outing. -Piss-up actually. | 0:11:56 | 0:12:00 | |
I brought sandwiches and lemonade I made myself. | 0:12:00 | 0:12:04 | |
I'll make tea and empty ashtrays, but I won't handle money or slips. | 0:12:04 | 0:12:08 | |
Arthur says what you do here is illegal but not immoral. | 0:12:09 | 0:12:13 | |
Depends what time you get here, Linda. | 0:12:13 | 0:12:16 | |
And, anyway, I thought I would offer you | 0:12:16 | 0:12:18 | |
my physical and spiritual support for your time of need. | 0:12:18 | 0:12:21 | |
Oh, Linda, if you want to be a help, run up to the shops | 0:12:21 | 0:12:24 | |
and get me 20 Senior Service... | 0:12:24 | 0:12:26 | |
-Lizzie'll give you the change. -No, I won't! | 0:12:26 | 0:12:28 | |
Actually, I'll use my own money, Polly. | 0:12:29 | 0:12:32 | |
And before you ladies decide to find me so amusing, | 0:12:32 | 0:12:35 | |
-I have a message for you. -Oh, God, no, Linda. | 0:12:35 | 0:12:37 | |
I've been to church already. Have you? | 0:12:37 | 0:12:39 | |
It's not a message from God, Polly. | 0:12:39 | 0:12:41 | |
It's from Jessie Eden. | 0:12:41 | 0:12:43 | |
Who's Jessie Eden? | 0:12:43 | 0:12:45 | |
She's the lady shop steward at the Lucas Factory in Sparkhill. | 0:12:45 | 0:12:47 | |
"Lady shop steward"? | 0:12:47 | 0:12:49 | |
She's bringing all the female workers in the spot-welding | 0:12:49 | 0:12:52 | |
and wire-cutting shops out on strike for the day. | 0:12:52 | 0:12:54 | |
At protest at being made to work on a Holy Day, | 0:12:54 | 0:12:56 | |
poor conditions, lack of holidays, | 0:12:56 | 0:12:59 | |
unsanitary lavatory provisions and lower pay for female workers. | 0:12:59 | 0:13:02 | |
Apparently, all the female factory workers in the city | 0:13:02 | 0:13:06 | |
are joining the protest in sympathy | 0:13:06 | 0:13:08 | |
and will walk out of their places of work at 9am | 0:13:08 | 0:13:10 | |
-to march on the Bull Ring. -POUNDING AT DOOR | 0:13:10 | 0:13:13 | |
All oppressed female workers welcome. | 0:13:13 | 0:13:16 | |
Them bastards down there shooting deer, | 0:13:16 | 0:13:18 | |
me five-months-gone sat here like a pudding. | 0:13:18 | 0:13:20 | |
-Only one outside lavatory between the lot of us. -Not consulted. | 0:13:20 | 0:13:23 | |
-Bent over a fucking desk... -POUNDING ON DOOR CONTINUES | 0:13:23 | 0:13:25 | |
Ladies, I honestly believe those who march on Good Friday | 0:13:25 | 0:13:28 | |
will have God on their side. | 0:13:28 | 0:13:30 | |
It's nine o'clock, ladies! Open the fucking door! > | 0:13:30 | 0:13:33 | |
(Fuck it.) | 0:13:36 | 0:13:37 | |
I'm not in the mood today. | 0:13:37 | 0:13:39 | |
-Let's go to the Bull Ring. -Hallelujah! | 0:13:43 | 0:13:47 | |
# Yeah, it's coming | 0:13:54 | 0:13:56 | |
# Out of this world | 0:13:58 | 0:14:00 | |
# Yeah, I'm lucky | 0:14:03 | 0:14:06 | |
# The lucky girl | 0:14:07 | 0:14:10 | |
# Hell...ain't...half...full... # | 0:14:12 | 0:14:16 | |
The foolish man? | 0:14:24 | 0:14:25 | |
Not quite. | 0:14:27 | 0:14:29 | |
# ..What a monster | 0:14:29 | 0:14:31 | |
# What a night | 0:14:34 | 0:14:36 | |
# What a lover | 0:14:39 | 0:14:41 | |
# What a fight... # | 0:14:43 | 0:14:46 | |
DOOR SLAMS | 0:14:46 | 0:14:47 | |
I'm sorry I came unannounced. | 0:14:47 | 0:14:49 | |
What do you want? | 0:14:49 | 0:14:51 | |
We need proof. | 0:14:51 | 0:14:53 | |
Proof of what? | 0:14:53 | 0:14:55 | |
HE CLEARS THROAT | 0:14:55 | 0:14:56 | |
You said the priest is a traitor. | 0:14:56 | 0:14:58 | |
-We need to know how you know... -LIGHTER CLICKS | 0:14:58 | 0:15:00 | |
The proof is my word. | 0:15:00 | 0:15:02 | |
If he's involved, I'm out. He needs to die. | 0:15:04 | 0:15:07 | |
Are you always so violent? | 0:15:07 | 0:15:09 | |
I killed a stag today | 0:15:12 | 0:15:14 | |
and it hurt me to do it. | 0:15:14 | 0:15:15 | |
But I treated it with respect | 0:15:17 | 0:15:19 | |
and the spare meat will go to poor people. | 0:15:19 | 0:15:22 | |
It will grieve me far less to put a bullet in the priest's face. | 0:15:23 | 0:15:27 | |
Will you not sit when a duchess sits? | 0:15:30 | 0:15:33 | |
I'm told you're part of the deal. Is that true? | 0:15:34 | 0:15:36 | |
-The royal court in Tbilisi actually worked very efficiently. -Oh, I see. | 0:15:37 | 0:15:42 | |
And it worked like this, eh? | 0:15:42 | 0:15:44 | |
There were lots of corridors and small rooms. | 0:15:44 | 0:15:48 | |
Attics. There were no rules there. | 0:15:48 | 0:15:50 | |
Deals were done. Brothers gave sisters, aunts gave uncles, | 0:15:50 | 0:15:53 | |
fathers gave daughters and servants. | 0:15:53 | 0:15:56 | |
It was my aunt's idea that I came alone. | 0:15:58 | 0:16:00 | |
She's in charge of this. | 0:16:03 | 0:16:05 | |
When there are no rules, women take charge. | 0:16:12 | 0:16:15 | |
They understand that the power they have | 0:16:16 | 0:16:18 | |
come through silent agreements. | 0:16:18 | 0:16:20 | |
I've promised I will do everything I can to make this plan work. | 0:16:20 | 0:16:24 | |
My aunt assumed you would want me as part of the deal. | 0:16:24 | 0:16:27 | |
I will tell her she's wrong. | 0:16:29 | 0:16:30 | |
FOOTSTEPS, DOOR OPENS | 0:16:30 | 0:16:33 | |
Tommy, you ain't gonna believe this, man. | 0:16:34 | 0:16:36 | |
I've just phoned the Garrison, right. I just spoke to Billy, | 0:16:36 | 0:16:39 | |
he says Polly, Esme and Lizzie... | 0:16:39 | 0:16:41 | |
have gone on fucking strike(!) | 0:16:41 | 0:16:43 | |
HE LAUGHS | 0:16:43 | 0:16:44 | |
They what? | 0:16:44 | 0:16:46 | |
They've gone on fucking strike! | 0:16:46 | 0:16:48 | |
Half of Birmingham's out. | 0:16:48 | 0:16:49 | |
The female half, they're all out, every single one of them. | 0:16:49 | 0:16:52 | |
Quakers put 'em up to it. | 0:16:52 | 0:16:54 | |
Who's watching the shop? | 0:16:55 | 0:16:56 | |
Polly's locked it up. | 0:16:56 | 0:16:58 | |
See, Good Friday is one of our best days for takings. | 0:16:58 | 0:17:02 | |
All the men get drunk. | 0:17:02 | 0:17:05 | |
The races are all fixed. | 0:17:05 | 0:17:07 | |
It's like picking apples off the lowest branches, eh, John? | 0:17:07 | 0:17:10 | |
Hmm, yes. | 0:17:11 | 0:17:13 | |
Then your business is very easy. | 0:17:13 | 0:17:15 | |
Was Linda with them? | 0:17:17 | 0:17:18 | |
You know... Billy said that Polly jumped in the fucking Bull Ring, | 0:17:18 | 0:17:22 | |
she's pissed out of her mind, started going on about revolution, | 0:17:22 | 0:17:25 | |
screaming to the rooftops. | 0:17:25 | 0:17:27 | |
Was Linda with them? | 0:17:27 | 0:17:28 | |
Yeah. | 0:17:29 | 0:17:31 | |
Then it was Linda's idea. | 0:17:32 | 0:17:34 | |
Linda's a smart woman. | 0:17:34 | 0:17:36 | |
John... | 0:17:43 | 0:17:44 | |
..there's a Bentley on the drive outside. | 0:17:45 | 0:17:48 | |
I want you to go out and put a nail in its tyre. | 0:17:48 | 0:17:50 | |
It's Good Friday so there'll be no garages open. | 0:17:50 | 0:17:53 | |
The lady will have to spend the night. | 0:17:53 | 0:17:54 | |
Then I want you and the boys to all go home. | 0:17:54 | 0:17:57 | |
You take Charlie and put him with Arthur and Linda for the night. | 0:17:57 | 0:18:00 | |
They can use the practice. | 0:18:00 | 0:18:02 | |
-You want me to put a nail...? -Yeah. | 0:18:05 | 0:18:07 | |
-You heard me. -I hear you. | 0:18:07 | 0:18:09 | |
All right. | 0:18:09 | 0:18:10 | |
Nice to meet you. | 0:18:10 | 0:18:12 | |
Why do you need to put a nail in the tyre? | 0:18:16 | 0:18:18 | |
I want it so neither of us can change our minds. | 0:18:18 | 0:18:22 | |
LOCK CLICKS | 0:18:28 | 0:18:31 | |
DOOR CLANKS | 0:18:32 | 0:18:35 | |
We came back early. | 0:18:46 | 0:18:47 | |
Polly didn't finish the count yesterday. | 0:18:52 | 0:18:55 | |
Hmm, so you thought you could take a tenner. | 0:18:55 | 0:18:59 | |
I thought I'd finish the count. | 0:18:59 | 0:19:02 | |
SCUFFLING, THEY GRUNT | 0:19:06 | 0:19:08 | |
Esme, I've told you, stay off the snow till the baby's born. | 0:19:10 | 0:19:13 | |
It does no harm, passes the time... | 0:19:13 | 0:19:16 | |
Knocks down the walls! | 0:19:16 | 0:19:18 | |
HE GROANS | 0:19:18 | 0:19:20 | |
Listen... | 0:19:20 | 0:19:21 | |
HE PANTS | 0:19:21 | 0:19:23 | |
I know you miss the travelling. | 0:19:23 | 0:19:24 | |
But it's going to be all right. | 0:19:26 | 0:19:28 | |
It's like being a hen in a coop! | 0:19:28 | 0:19:30 | |
Remember that house in Lichfield? | 0:19:34 | 0:19:36 | |
Eh? The one the bailiff used to throw you out of? | 0:19:38 | 0:19:40 | |
Throw you in the ditch. | 0:19:40 | 0:19:42 | |
I'm going to buy that fucking house. | 0:19:43 | 0:19:45 | |
Big as Tommy's with more land. | 0:19:47 | 0:19:48 | |
If you feel cooped up... | 0:19:50 | 0:19:51 | |
..we'll take a wagon... | 0:19:52 | 0:19:54 | |
..and camp out by the ditch. | 0:19:55 | 0:19:57 | |
How? | 0:19:58 | 0:19:59 | |
It's all going to change, Esme. | 0:20:04 | 0:20:05 | |
GRAMOPHONE PLAYS | 0:20:10 | 0:20:12 | |
This is not your bedroom. | 0:20:12 | 0:20:13 | |
This is not where you slept with your wife... | 0:20:13 | 0:20:17 | |
Do you ride horses? | 0:20:17 | 0:20:19 | |
No. | 0:20:19 | 0:20:20 | |
I would need to open my legs in a public place | 0:20:20 | 0:20:23 | |
and that is not allowed. | 0:20:23 | 0:20:24 | |
Do you drink whiskey? | 0:20:24 | 0:20:26 | |
No. | 0:20:26 | 0:20:27 | |
It tastes like men. | 0:20:28 | 0:20:30 | |
I prefer wine. | 0:20:30 | 0:20:32 | |
Cars? | 0:20:33 | 0:20:34 | |
No. | 0:20:34 | 0:20:36 | |
So, diamonds are your only love, eh? | 0:20:37 | 0:20:39 | |
Sapphires. | 0:20:39 | 0:20:40 | |
They're just a currency. | 0:20:42 | 0:20:44 | |
Well, you know, if it was me who had all them jewels... | 0:20:45 | 0:20:49 | |
..I think I'd just sit with them... | 0:20:51 | 0:20:54 | |
..look at them... | 0:20:55 | 0:20:56 | |
..touch 'em. | 0:20:57 | 0:20:58 | |
Izabella does that sometimes. | 0:20:58 | 0:21:00 | |
Late at night. | 0:21:00 | 0:21:02 | |
I swear she puts one of the biggest sapphires into her body for pleasure | 0:21:04 | 0:21:07 | |
and walks up the stairs to breakfast with it still in place. | 0:21:07 | 0:21:10 | |
SHE GIGGLES | 0:21:10 | 0:21:13 | |
-And it stays in there all day? -Mm. | 0:21:13 | 0:21:15 | |
Wow. | 0:21:15 | 0:21:17 | |
What is your weakness? | 0:21:17 | 0:21:19 | |
Talking about duchesses with sapphires inside of 'em... | 0:21:21 | 0:21:24 | |
I think already know your weakness. | 0:21:26 | 0:21:28 | |
I can get a fuck whenever I want, love. | 0:21:33 | 0:21:35 | |
Yes. | 0:21:35 | 0:21:36 | |
But I am a duchess. | 0:21:38 | 0:21:39 | |
And I'm under you like a horse. | 0:21:41 | 0:21:43 | |
-I'm like a telegram. -HE LAUGHS | 0:21:43 | 0:21:45 | |
"A telegram"? I don't think your English is so good. | 0:21:47 | 0:21:50 | |
Or maybe you should listen more carefully to what I have to say. | 0:21:51 | 0:21:54 | |
I have a message for you, Mr Shelby. | 0:21:58 | 0:22:00 | |
As a duchess, | 0:22:01 | 0:22:03 | |
I can show you what is possible for a man like you. | 0:22:03 | 0:22:06 | |
A man in a house like this. | 0:22:08 | 0:22:11 | |
Right now, you hide inside it | 0:22:11 | 0:22:13 | |
like a boy who's broken in through the window. | 0:22:13 | 0:22:15 | |
Why do we come to a bedroom for this? | 0:22:17 | 0:22:19 | |
In your own house? | 0:22:21 | 0:22:23 | |
DOOR OPENS | 0:22:28 | 0:22:29 | |
SHE CACKLES It's a loaded fucking weapon. | 0:22:31 | 0:22:33 | |
We could fuck by the fire | 0:22:33 | 0:22:35 | |
with the maids standing to attention and watching. | 0:22:35 | 0:22:37 | |
-What can they do? -Give it here. | 0:22:37 | 0:22:39 | |
Nothing. There are no rules for you. | 0:22:39 | 0:22:42 | |
Give me the fucking gun. | 0:22:42 | 0:22:44 | |
You have maids here. You can bring a maid into the room. | 0:22:44 | 0:22:46 | |
What can I do about that? Nothing. | 0:22:46 | 0:22:48 | |
-Give me the fucking gun, now. -You have power. | 0:22:48 | 0:22:52 | |
Everyone does what you tell them to do. | 0:22:52 | 0:22:54 | |
Your brothers, your soldiers. | 0:22:54 | 0:22:57 | |
-No-one can stop you... -Don't point a fucking weapon at me. | 0:22:57 | 0:23:00 | |
I can be an actress. | 0:23:00 | 0:23:02 | |
Who do you want me to be? | 0:23:02 | 0:23:03 | |
-Your dead wife? -That's enough! Give me the fucking gun! | 0:23:04 | 0:23:07 | |
If you don't like something, you say stop and it stops. | 0:23:07 | 0:23:10 | |
Hm? | 0:23:10 | 0:23:11 | |
But you are afraid of it. | 0:23:11 | 0:23:13 | |
You break the law, but you obey the rules. Why? | 0:23:13 | 0:23:16 | |
Did you know that madness sets you free? | 0:23:17 | 0:23:20 | |
Otherwise, we're just peasants obeying the law. | 0:23:20 | 0:23:23 | |
There is madness inside your head, too. I can see that. | 0:23:24 | 0:23:27 | |
Let a duchess show you something. | 0:23:29 | 0:23:31 | |
RUNNING FOOTSTEPS | 0:23:32 | 0:23:34 | |
DOOR OPENS | 0:23:34 | 0:23:36 | |
CLICKING, BULLETS DROP | 0:23:39 | 0:23:42 | |
BARREL WHIRS | 0:23:42 | 0:23:44 | |
CHAMBER CLACKS | 0:23:44 | 0:23:46 | |
I emptied the chamber except for one bullet. | 0:23:46 | 0:23:48 | |
No! | 0:23:48 | 0:23:49 | |
-This is the game we used to play. -No! | 0:23:49 | 0:23:52 | |
Watch. | 0:23:52 | 0:23:54 | |
Do not fucking do this... | 0:23:54 | 0:23:55 | |
No... | 0:23:55 | 0:23:56 | |
Look at me. | 0:23:56 | 0:23:57 | |
Don't do this. TRIGGER CLICKS | 0:23:57 | 0:23:59 | |
NO! | 0:23:59 | 0:24:00 | |
Give me that fucking thing! | 0:24:00 | 0:24:02 | |
SHE PANTS | 0:24:02 | 0:24:04 | |
It brings you alive! You won't try it? | 0:24:04 | 0:24:06 | |
No, I do not want to try! | 0:24:06 | 0:24:08 | |
And I do not want your mad fucking Russian brains | 0:24:08 | 0:24:11 | |
all over me fucking walls! | 0:24:11 | 0:24:13 | |
I survive each time by the will of God! | 0:24:13 | 0:24:15 | |
Get to fucking bed - NOW! | 0:24:15 | 0:24:16 | |
I already called a maid. | 0:24:16 | 0:24:18 | |
(Fucking...!) | 0:24:18 | 0:24:19 | |
You see? | 0:24:32 | 0:24:34 | |
You are afraid. | 0:24:34 | 0:24:35 | |
Like a boy who's broken in through the window. | 0:24:38 | 0:24:40 | |
I need to educate you in how to run a house like this. | 0:24:42 | 0:24:44 | |
FOOTSTEPS APPROACH | 0:24:44 | 0:24:46 | |
Yes! Come down. | 0:24:46 | 0:24:48 | |
Pour us a drink. | 0:24:48 | 0:24:49 | |
Mary, go back to bed, please. | 0:24:49 | 0:24:51 | |
You go back to bed, please. This woman is drunk. | 0:24:51 | 0:24:54 | |
-That's all right, sir. Should I pour whiskey? -Yes. -No. | 0:24:54 | 0:24:57 | |
-He will have whiskey... -SCUFFLING | 0:24:57 | 0:24:59 | |
He will have whiskey, and I will have wine! | 0:24:59 | 0:25:01 | |
-Mary, go back to bed. -There. In an old house like this, | 0:25:02 | 0:25:04 | |
-the servants expect it. -Stop fucking talking. | 0:25:04 | 0:25:06 | |
Mary, go back to bed. Do as I say. | 0:25:06 | 0:25:08 | |
If there is a call after midnight, | 0:25:08 | 0:25:09 | |
the maid who comes in is the one in love with the master... | 0:25:09 | 0:25:12 | |
This is NOT FUCKING RUSSIA! | 0:25:12 | 0:25:14 | |
WHISPERING: Please, Mary... Go back to bed. Eh? | 0:25:15 | 0:25:18 | |
I know your weakness, Tommy. | 0:25:32 | 0:25:33 | |
It's freedom. | 0:25:36 | 0:25:38 | |
Madness. | 0:25:40 | 0:25:41 | |
Killing. | 0:25:43 | 0:25:44 | |
I am the first one... | 0:25:49 | 0:25:51 | |
..who understands you. | 0:25:52 | 0:25:54 | |
I found her perfume. | 0:26:40 | 0:26:42 | |
Put it on. | 0:26:44 | 0:26:45 | |
What proof do you have that the priest is a spy? | 0:26:50 | 0:26:53 | |
I told you, I give you my word. | 0:26:53 | 0:26:56 | |
Then kill him. | 0:27:14 | 0:27:16 | |
From now on, you must do everything that you want to do. | 0:27:18 | 0:27:22 | |
There'll be two of us for breakfast this morning, Mary. | 0:27:51 | 0:27:54 | |
She's gone for a walk by the river. | 0:27:54 | 0:27:56 | |
The lady left, sir. | 0:27:56 | 0:27:58 | |
Left? How? | 0:27:59 | 0:28:01 | |
She took your car. | 0:28:01 | 0:28:02 | |
She what?! | 0:28:03 | 0:28:05 | |
She was in a terrible hurry. | 0:28:05 | 0:28:07 | |
She said she had your permission. | 0:28:07 | 0:28:08 | |
She told David to go to the garage to get a new tyre for the Bentley. | 0:28:08 | 0:28:12 | |
She said you could use that. | 0:28:12 | 0:28:14 | |
And why the hell would you listen to her, eh? | 0:28:15 | 0:28:17 | |
The way she said it, sir. | 0:28:17 | 0:28:19 | |
How was she, Tom? | 0:28:54 | 0:28:56 | |
Talkative, yeah. | 0:28:56 | 0:28:57 | |
-I was fucking working, all right? -Yeah. | 0:28:58 | 0:29:01 | |
From what she said when she was out of her fucking mind, | 0:29:03 | 0:29:06 | |
I'm pretty certain the treasury is underneath the house. | 0:29:06 | 0:29:08 | |
What have you got? | 0:29:08 | 0:29:09 | |
Our Ada got this from the British Library using her scholar's pass. | 0:29:09 | 0:29:13 | |
She talked about her aunt coming up the stairs | 0:29:15 | 0:29:17 | |
to have her breakfast in the morning which means | 0:29:17 | 0:29:20 | |
it has to be in the building somewhere. | 0:29:20 | 0:29:22 | |
Wine cellar. Septic. | 0:29:22 | 0:29:24 | |
Kitchen cellar. | 0:29:24 | 0:29:26 | |
-And a tunnel under the river. -They don't trust a soul in this country. | 0:29:26 | 0:29:29 | |
So, my guess is they've turned one of the cellars into a strong room. | 0:29:29 | 0:29:32 | |
-Did you find someone, Arthur? -Moss got me this. | 0:29:32 | 0:29:35 | |
Stephan Radischevski. | 0:29:35 | 0:29:38 | |
He's a kid from Greet, lives in Cheltenham. Dad's a Russian, | 0:29:38 | 0:29:41 | |
he has dreams of owning a pub but he's got a record. | 0:29:41 | 0:29:44 | |
-Breaking and entering. And he speaks Russian? -Yeah. | 0:29:44 | 0:29:47 | |
Their butler drinks in a pub called the Mason's Arms. | 0:29:47 | 0:29:51 | |
Get to him, tell him who we are, offer him some money | 0:29:51 | 0:29:53 | |
if he gives the kid a job in the house... | 0:29:53 | 0:29:55 | |
KNOCK AT DOOR Wait! | 0:29:55 | 0:29:57 | |
Talk to the kid, offer him one of the pubs we took off the Italians | 0:29:57 | 0:30:01 | |
if he works in the house for four weeks, keeps his ears open. | 0:30:01 | 0:30:04 | |
All right? ..Come! | 0:30:04 | 0:30:06 | |
The Executive Committee of the Union of Bookies and Allied Trades | 0:30:08 | 0:30:12 | |
will see you now, sir. | 0:30:12 | 0:30:13 | |
I heard you were giving speeches off the back of a wagon, Pol. | 0:30:26 | 0:30:29 | |
SHE GROANS | 0:30:29 | 0:30:31 | |
I can't remember a fucking thing... | 0:30:31 | 0:30:33 | |
Well, Moss tells me you were threatening | 0:30:33 | 0:30:35 | |
to burn down the Town Hall. | 0:30:35 | 0:30:37 | |
Oh, Tommy, we were having a laugh. | 0:30:37 | 0:30:39 | |
Actually, the crowd around me | 0:30:40 | 0:30:42 | |
was bigger than the crowd around Jessie Eden. | 0:30:42 | 0:30:45 | |
Who's Jessie Eden? | 0:30:45 | 0:30:46 | |
She's too soft. | 0:30:46 | 0:30:47 | |
You're not going to break the capitalist system | 0:30:47 | 0:30:50 | |
talking about separate lavatories for women. | 0:30:50 | 0:30:52 | |
Who's Jessie Eden? | 0:30:52 | 0:30:54 | |
She's our new best friend. | 0:30:54 | 0:30:55 | |
Shop steward at the Lucas Factory. | 0:30:55 | 0:30:57 | |
A woman shop steward, I've heard of her. | 0:30:57 | 0:31:00 | |
There's a leaflet here if you want to take a look, Tommy. | 0:31:00 | 0:31:02 | |
So, a separate lavatory - is that it? Is that what you want? | 0:31:06 | 0:31:10 | |
I don't know what you want. | 0:31:10 | 0:31:11 | |
You have to tell me what it is that you want and then I'll know. | 0:31:11 | 0:31:14 | |
Actually, we want to know about the robbery you're planning. | 0:31:14 | 0:31:18 | |
Not the factory robbery. | 0:31:18 | 0:31:20 | |
The other one. | 0:31:20 | 0:31:21 | |
The one you're not telling the women about. | 0:31:21 | 0:31:24 | |
John has a big mouth. | 0:31:24 | 0:31:26 | |
No... Arthur's got a big mouth. | 0:31:26 | 0:31:29 | |
Arthur told Linda, | 0:31:29 | 0:31:30 | |
Linda told me. | 0:31:30 | 0:31:32 | |
-Polly? -Read the leaflet, Tommy. | 0:31:33 | 0:31:35 | |
Ladies, why don't I talk to Tommy privately, | 0:31:35 | 0:31:38 | |
then I'll report back to you faithfully. | 0:31:38 | 0:31:40 | |
You're not just going to take payment | 0:31:40 | 0:31:42 | |
from the Russians, are you, Tommy? | 0:31:42 | 0:31:44 | |
-You're going to clean them out, is that right? -Esme! | 0:31:44 | 0:31:46 | |
So, what happens after? | 0:31:46 | 0:31:48 | |
When they come for us? | 0:31:48 | 0:31:50 | |
When I'm about to give birth? | 0:31:50 | 0:31:51 | |
Get out, | 0:31:51 | 0:31:53 | |
-get back to work. -Esme, come on. | 0:31:53 | 0:31:55 | |
-Keep us posted, won't you, sister. -I will. | 0:31:57 | 0:32:01 | |
DOOR CLOSES | 0:32:01 | 0:32:03 | |
(Fucking hell!) | 0:32:05 | 0:32:07 | |
So, Arthur tells Linda everything, eh? | 0:32:10 | 0:32:13 | |
She's stolen his soul and taken it to a better place - the suburbs - | 0:32:13 | 0:32:17 | |
where men are honest with their wives. | 0:32:17 | 0:32:20 | |
We can trust Lizzie... | 0:32:21 | 0:32:22 | |
Yeah, but I can't trust Esme. | 0:32:24 | 0:32:26 | |
I can't trust the fucking Russians to pay me or the army | 0:32:26 | 0:32:28 | |
and I can't trust my own brother to keep his fucking mouth shut. | 0:32:28 | 0:32:31 | |
Did you make progress last night? | 0:32:31 | 0:32:34 | |
Yes. | 0:32:37 | 0:32:39 | |
John said the girl looks like Edna Purviance from the pictures. | 0:32:40 | 0:32:44 | |
Be careful. | 0:32:45 | 0:32:47 | |
She's an excellent source of information regarding the location | 0:32:49 | 0:32:52 | |
-of the merchandise. -Here we go... | 0:32:52 | 0:32:54 | |
You know, there's a general lack of discipline in this fucking company! | 0:32:54 | 0:32:57 | |
She stayed the night. | 0:32:59 | 0:33:01 | |
I'm working, Pol. | 0:33:02 | 0:33:04 | |
I am working...for the good of the company. | 0:33:04 | 0:33:06 | |
You're grieving. | 0:33:08 | 0:33:10 | |
And when you grieve, you make bad choices. | 0:33:11 | 0:33:13 | |
I know. | 0:33:13 | 0:33:15 | |
I did it myself. | 0:33:15 | 0:33:17 | |
Look, no more marches. | 0:33:17 | 0:33:19 | |
No more fucking politics. They can kill us. | 0:33:19 | 0:33:21 | |
All right? Joke or no joke. | 0:33:21 | 0:33:24 | |
-Did you tell Arthur about the priest? -I only told you. | 0:33:24 | 0:33:27 | |
Thanks for the burden. | 0:33:29 | 0:33:30 | |
BELLS TOLL | 0:33:32 | 0:33:35 | |
You were correct not to talk over the phone. | 0:33:41 | 0:33:44 | |
What did she say? | 0:33:44 | 0:33:46 | |
She said there was going to be a killing. A holy man. | 0:33:48 | 0:33:51 | |
And she was with the Shelbys, was she? | 0:33:53 | 0:33:55 | |
HE SCOFFS | 0:33:55 | 0:33:57 | |
CAR APPROACHES | 0:34:14 | 0:34:15 | |
I suppose you have something to say about yesterday. | 0:34:25 | 0:34:28 | |
No. | 0:34:28 | 0:34:30 | |
It's something else, actually. | 0:34:30 | 0:34:32 | |
I believe Arthur has told you about some business we're planning, Linda. | 0:34:35 | 0:34:39 | |
Oh, there's always business, Thomas. | 0:34:40 | 0:34:42 | |
And Arthur believes, when this business is done, | 0:34:42 | 0:34:45 | |
it'll all be over. | 0:34:45 | 0:34:46 | |
Arthur believes you, but I don't. | 0:34:47 | 0:34:49 | |
Linda, the people who have hired us to rob the factory | 0:34:52 | 0:34:55 | |
are very bad people... | 0:34:55 | 0:34:57 | |
They'll not pay us as they have promised. | 0:34:57 | 0:35:00 | |
So, on the night of the robbery, we will take what's ours | 0:35:00 | 0:35:03 | |
-from their treasury. -And a bit more on top for luck? | 0:35:03 | 0:35:06 | |
If you're saying you're going to stop Arthur, I need to know. | 0:35:06 | 0:35:10 | |
That'll be Arthur's decision. | 0:35:10 | 0:35:12 | |
And your plan is still to reform him, eh? | 0:35:12 | 0:35:15 | |
-To the absolute degree of redemption! -Mm-hm. | 0:35:15 | 0:35:18 | |
Well, Arthur will walk away from this with £30,000. | 0:35:20 | 0:35:23 | |
We made a deal. And afterwards... | 0:35:23 | 0:35:26 | |
you and Arthur can begin your new life. | 0:35:26 | 0:35:29 | |
Did you say 30,000? | 0:35:34 | 0:35:36 | |
Arthur said the estimated total proceeds would be 150,000. | 0:35:37 | 0:35:40 | |
-Estimated, yes. -A third of a 150 is 50. | 0:35:40 | 0:35:43 | |
-Why a third? -For three brothers. Finn is not yet a man. | 0:35:43 | 0:35:45 | |
-There are expenses. -25,000, you said. | 0:35:45 | 0:35:47 | |
As of last night, the expenses increased. We need to dig a hole. | 0:35:47 | 0:35:51 | |
Arthur agreed to a plan with a figure of 25. | 0:35:51 | 0:35:54 | |
25 from 150 is 125. | 0:35:54 | 0:35:57 | |
A third of that is... | 0:35:57 | 0:35:58 | |
£41,000 | 0:35:58 | 0:36:00 | |
HE LAUGHS | 0:36:01 | 0:36:03 | |
Sugar? | 0:36:03 | 0:36:05 | |
Yes. | 0:36:05 | 0:36:07 | |
Thank you. | 0:36:12 | 0:36:13 | |
HE CLEARS HIS THROAT | 0:36:16 | 0:36:18 | |
So, you've worked this all out, I see? | 0:36:22 | 0:36:25 | |
Only in my head. | 0:36:25 | 0:36:26 | |
I haven't written it down. | 0:36:26 | 0:36:28 | |
Linda, are you saying... | 0:36:29 | 0:36:32 | |
..if it WERE £41,000... | 0:36:34 | 0:36:36 | |
I've already told you, that'll be Arthur's decision. | 0:36:36 | 0:36:40 | |
But I don't imagine he'll accept less than 41. | 0:36:41 | 0:36:44 | |
-May I smoke? -No. | 0:36:47 | 0:36:49 | |
So, I imagine you have some plans for your 41,000? | 0:36:56 | 0:37:01 | |
Yes. | 0:37:01 | 0:37:03 | |
California. | 0:37:03 | 0:37:04 | |
For the child's health. | 0:37:04 | 0:37:06 | |
Away from the smoke. | 0:37:06 | 0:37:07 | |
We want to run a general store on an Indian mission. | 0:37:07 | 0:37:11 | |
The Americans invites Quakers to do good work with the Indians. | 0:37:11 | 0:37:14 | |
We've already sent our papers and have been accepted. | 0:37:15 | 0:37:18 | |
HE SCOFFS Arthur Shelby as a missionary... | 0:37:20 | 0:37:23 | |
No, Arthur will run the store. | 0:37:23 | 0:37:25 | |
-Mm! -I will teach in the school next to it. | 0:37:25 | 0:37:28 | |
Arthur will swim in the ocean. | 0:37:30 | 0:37:32 | |
I will be on the beach with a towel. | 0:37:32 | 0:37:33 | |
The open air and the sun will get rid of | 0:37:33 | 0:37:35 | |
all the nonsense in his head from France. | 0:37:35 | 0:37:37 | |
That's some plan. | 0:37:41 | 0:37:43 | |
As you know yourself... | 0:37:43 | 0:37:45 | |
..the arrival of a new life concentrates the mind | 0:37:46 | 0:37:48 | |
on practical things. | 0:37:48 | 0:37:50 | |
Amen to that. | 0:37:50 | 0:37:51 | |
When is the child due? | 0:37:54 | 0:37:56 | |
September. | 0:37:56 | 0:37:58 | |
When is the robbery? | 0:37:58 | 0:38:00 | |
June. | 0:38:01 | 0:38:02 | |
Then the timing's perfect. | 0:38:03 | 0:38:05 | |
We'll book our passage through the Panama Canal | 0:38:06 | 0:38:09 | |
the day after the 41,000's paid to Arthur. | 0:38:09 | 0:38:12 | |
HE COUGHS | 0:38:12 | 0:38:13 | |
Did we agree 41,000, Linda? | 0:38:15 | 0:38:17 | |
I heard nothing to the contrary. | 0:38:18 | 0:38:20 | |
Word association. Right now. | 0:38:22 | 0:38:24 | |
-Oh, God! I hate this game. -It's Freud. It's terribly fashionable. | 0:38:24 | 0:38:27 | |
I'd rather you put on that music that I hate. | 0:38:27 | 0:38:30 | |
-Are we going mad in here, do you think? -Yes. | 0:38:30 | 0:38:34 | |
We shouldn't have drunk red wine with the cake. | 0:38:34 | 0:38:37 | |
And I believe your vow never sleep with another man | 0:38:37 | 0:38:39 | |
is a good one. | 0:38:39 | 0:38:41 | |
Good for the painting. | 0:38:41 | 0:38:43 | |
It's not a vow, it's just... | 0:38:44 | 0:38:45 | |
I think when men want sex, they become hilarious. | 0:38:47 | 0:38:50 | |
Like a dog when you pick up a lead | 0:38:51 | 0:38:54 | |
and he knows he's going for a walk. | 0:38:54 | 0:38:56 | |
May I respectfully point out | 0:39:01 | 0:39:04 | |
that, so far, you haven't even picked up the bloody lead. | 0:39:04 | 0:39:08 | |
There. | 0:39:13 | 0:39:15 | |
That's the look. | 0:39:17 | 0:39:18 | |
Imperious. | 0:39:19 | 0:39:21 | |
No man is good enough. | 0:39:22 | 0:39:25 | |
# Bad habits | 0:39:43 | 0:39:45 | |
# Sick puppy... # | 0:39:48 | 0:39:50 | |
HE ROARS, CHILDREN SQUEAL | 0:39:50 | 0:39:52 | |
# ..Thigh high | 0:39:53 | 0:39:55 | |
# Knee deep | 0:39:58 | 0:40:00 | |
# Bad habits, yeah | 0:40:04 | 0:40:07 | |
# Bad habits, ooh | 0:40:07 | 0:40:10 | |
# Bad habits, yeah | 0:40:10 | 0:40:13 | |
# Bad habits, yeah! | 0:40:13 | 0:40:14 | |
# Deep trouble | 0:40:21 | 0:40:23 | |
# Pale faces | 0:40:26 | 0:40:28 | |
# All right | 0:40:29 | 0:40:31 | |
# Ow! # | 0:40:31 | 0:40:32 | |
WATER DRIPS | 0:40:33 | 0:40:36 | |
SCUFFLING, GRUNTING | 0:41:00 | 0:41:04 | |
TOMMY GROANS | 0:41:10 | 0:41:12 | |
HE PANTS | 0:41:12 | 0:41:15 | |
CRUNCHING BLOW | 0:41:15 | 0:41:17 | |
HE MOANS | 0:41:17 | 0:41:19 | |
CLANG! | 0:41:21 | 0:41:22 | |
HE GROANS | 0:41:22 | 0:41:23 | |
MAN YELLS | 0:41:31 | 0:41:33 | |
HE YELLS | 0:41:33 | 0:41:35 | |
HE SCREAMS IN PAIN | 0:41:35 | 0:41:38 | |
LOUD CRUNCHING CRACK | 0:41:39 | 0:41:42 | |
THUD | 0:41:42 | 0:41:43 | |
ENGINE IDLES NEARBY | 0:41:45 | 0:41:48 | |
HE GROANS | 0:42:04 | 0:42:07 | |
You idiot, you nearly killed him! | 0:42:29 | 0:42:31 | |
I told you we needed him fully conscious. | 0:42:31 | 0:42:34 | |
We need to stop using soldiers who've been in India, | 0:42:34 | 0:42:37 | |
-they hit too hard. -Not fucking hard enough! | 0:42:37 | 0:42:40 | |
Hey, Mr Shelby! Hey! | 0:42:40 | 0:42:42 | |
I heard about your plan to kill a holy man | 0:42:42 | 0:42:45 | |
from a voice in a confession. | 0:42:45 | 0:42:47 | |
Can you hear us? | 0:42:47 | 0:42:48 | |
..Grace...? | 0:42:50 | 0:42:51 | |
Shelby. | 0:42:51 | 0:42:52 | |
Why were you attempting to kill Father Hughes? | 0:42:54 | 0:42:57 | |
Maybe we should wait until he's fully conscious. | 0:42:58 | 0:43:01 | |
I have a dinner appointment. | 0:43:01 | 0:43:03 | |
Hey, Shelby... | 0:43:03 | 0:43:05 | |
wake up. | 0:43:05 | 0:43:06 | |
-Eyes front. -HE GROANS | 0:43:06 | 0:43:09 | |
Mr Shelby, were you trying to kill me, were you? | 0:43:09 | 0:43:11 | |
For passing information... | 0:43:14 | 0:43:15 | |
Fuck. He knows. | 0:43:15 | 0:43:17 | |
Where am I? | 0:43:22 | 0:43:24 | |
You are among the Odd Fellows. | 0:43:24 | 0:43:26 | |
Please count from ten to one. | 0:43:26 | 0:43:29 | |
Ah, fuck you. | 0:43:29 | 0:43:30 | |
THUD! | 0:43:31 | 0:43:34 | |
DISTORTED CLICKING | 0:43:48 | 0:43:51 | |
Whatever else you might have forgotten | 0:43:53 | 0:43:57 | |
about last night, remember this... | 0:43:57 | 0:44:00 | |
I am passing on information to the Soviet Embassy | 0:44:01 | 0:44:04 | |
on the instruction of Section D. | 0:44:04 | 0:44:07 | |
It's part of a bigger picture. | 0:44:07 | 0:44:10 | |
You explain to the Russians | 0:44:10 | 0:44:12 | |
that you were mistaken about me | 0:44:12 | 0:44:15 | |
and you apologise to me in front of them. | 0:44:15 | 0:44:17 | |
A threat to your sister was evidently not enough. | 0:44:20 | 0:44:24 | |
You do as we say or we will take your son. | 0:44:24 | 0:44:27 | |
Hear this. | 0:44:28 | 0:44:30 | |
We will take your son. | 0:44:30 | 0:44:32 | |
We can do it at any moment. | 0:44:32 | 0:44:34 | |
We have people in your life. | 0:44:35 | 0:44:37 | |
You will make your apology to me tomorrow night... | 0:44:42 | 0:44:45 | |
..and you will repair the damage you've done. | 0:44:46 | 0:44:49 | |
-DISTORTED: -Or you will never see your son again. | 0:44:50 | 0:44:52 | |
Sir, I don't understand... | 0:45:19 | 0:45:21 | |
I don't understand why, as a former soldier yourself, | 0:45:23 | 0:45:26 | |
you have sacked all the former soldiers on the staff. | 0:45:26 | 0:45:29 | |
It means there's only one man left in the household. | 0:45:29 | 0:45:32 | |
Mary, I want it so that Charles is never left on his own. | 0:45:32 | 0:45:34 | |
Understood? | 0:45:34 | 0:45:36 | |
Sir, I should call a doctor. | 0:45:37 | 0:45:38 | |
There will be some men coming down from Birmingham. | 0:45:38 | 0:45:41 | |
And you put them up here in the house, you put them in the front | 0:45:41 | 0:45:44 | |
-and back of the house and you feed them... -Why are they needed, sir? | 0:45:44 | 0:45:48 | |
I bought a cursed sapphire into this house, Mary. | 0:45:48 | 0:45:51 | |
And now I'm paying for it. | 0:45:51 | 0:45:53 | |
And I don't know what to expect. | 0:45:56 | 0:45:58 | |
But neither do my enemies. | 0:45:59 | 0:46:01 | |
Tell David to bring the car round. I want to go to London. | 0:46:02 | 0:46:04 | |
-Sir... -And...get me some tea, Mary. | 0:46:04 | 0:46:07 | |
Yes, sir. | 0:46:10 | 0:46:11 | |
-'Hello?' -Yes, Arthur... | 0:46:35 | 0:46:37 | |
'Tommy?' | 0:46:37 | 0:46:38 | |
They want the robbery to be sabotaged. | 0:46:40 | 0:46:43 | |
They don't give a fuck who gets hurt. | 0:46:43 | 0:46:45 | |
-'Are you OK, Tommy?' -It's a bigger picture now. | 0:46:45 | 0:46:48 | |
-'What?' -Did John make a list? -'Speak clearer, Tom.' | 0:46:48 | 0:46:52 | |
-I said, "Did John make a list?" -'John Boy! John!' | 0:46:52 | 0:46:55 | |
Right... | 0:46:55 | 0:46:57 | |
'Gypsies and kin only. Yeah.' | 0:46:57 | 0:47:00 | |
Good. | 0:47:00 | 0:47:02 | |
'Tommy, can I ask you why? | 0:47:02 | 0:47:04 | |
'Tommy?' | 0:47:04 | 0:47:06 | |
TELEPHONE RINGS | 0:47:08 | 0:47:10 | |
No, Karl. I told you. Go and play in there. | 0:47:10 | 0:47:13 | |
Hello? | 0:47:16 | 0:47:17 | |
Ada? | 0:47:20 | 0:47:21 | |
It's me, it's Tommy. | 0:47:21 | 0:47:23 | |
Ada, I need you to.... | 0:47:24 | 0:47:26 | |
I need you to speak to one of your comrades | 0:47:26 | 0:47:28 | |
and get me a meeting with someone from the Soviet Embassy...Embassy... | 0:47:28 | 0:47:32 | |
Tonight. Your place. | 0:47:33 | 0:47:36 | |
10...10pm. | 0:47:36 | 0:47:37 | |
HE GROANS | 0:47:37 | 0:47:39 | |
HE RETCHES | 0:47:44 | 0:47:46 | |
It seems that Mr Shelby was given bad information | 0:47:46 | 0:47:50 | |
by an informant who was also in contact with the underwriter | 0:47:50 | 0:47:55 | |
who, as we know, is in the pocket of the Soviets. | 0:47:55 | 0:47:59 | |
-Wine, Tatiana? -A little. | 0:48:00 | 0:48:03 | |
Bad girl. | 0:48:05 | 0:48:07 | |
WINE POURS | 0:48:07 | 0:48:09 | |
HE INHALES AND SNIFFS | 0:48:11 | 0:48:12 | |
DOOR SLAMS | 0:48:12 | 0:48:14 | |
HE THUDS ON DESK | 0:48:20 | 0:48:22 | |
DOOR OPENS | 0:48:28 | 0:48:30 | |
DOOR CLOSES | 0:48:33 | 0:48:35 | |
Sorry I'm late, I, um... | 0:48:39 | 0:48:42 | |
There was a body on the line. | 0:48:44 | 0:48:46 | |
Drink, Mr Shelby? | 0:48:47 | 0:48:49 | |
No, thank you. | 0:48:49 | 0:48:51 | |
It was drink that caused half this trouble. | 0:48:51 | 0:48:53 | |
I have come here to apologise. | 0:48:53 | 0:48:56 | |
I have already explained that you now realise | 0:48:58 | 0:49:01 | |
that your absurd allegation against me was false. | 0:49:01 | 0:49:05 | |
Indeed. | 0:49:05 | 0:49:07 | |
And that your base nature made you rash. | 0:49:07 | 0:49:10 | |
HE SNIFFS | 0:49:10 | 0:49:13 | |
And that now, once again, our plan is back on track. | 0:49:13 | 0:49:16 | |
When a child in my care commits a sin... | 0:49:18 | 0:49:21 | |
..first of all, he confesses, as you just did. | 0:49:22 | 0:49:25 | |
And then, I instruct him to perform penance | 0:49:25 | 0:49:29 | |
in a manner of my choosing. | 0:49:29 | 0:49:30 | |
As a child, you went to church? | 0:49:31 | 0:49:34 | |
Yes. | 0:49:34 | 0:49:35 | |
You remember the Act of Contrition? | 0:49:35 | 0:49:37 | |
Good. Do you remember the words of the Act of Contrition? | 0:49:39 | 0:49:42 | |
Yes. | 0:49:44 | 0:49:45 | |
HE BREATHES RAGGEDLY | 0:49:45 | 0:49:48 | |
As your penance, I would like you to recite it now... | 0:49:48 | 0:49:51 | |
..in the presence of our associates. | 0:49:52 | 0:49:54 | |
DOOR OPENS | 0:49:56 | 0:49:58 | |
Go away. | 0:49:59 | 0:50:01 | |
HE GULPS | 0:50:01 | 0:50:02 | |
TOMMY CLEARS HIS THROAT | 0:50:02 | 0:50:04 | |
DOOR CLOSES | 0:50:04 | 0:50:06 | |
Ah... | 0:50:06 | 0:50:08 | |
Oh, my God, I am heartily sorry for having... | 0:50:12 | 0:50:16 | |
Instead of "God", say my name. | 0:50:16 | 0:50:18 | |
Since it was me you offended with your false allegation. | 0:50:19 | 0:50:22 | |
Father Hughes, I am heartily sorry for having offended you... | 0:50:26 | 0:50:29 | |
..because of your just punishment, | 0:50:32 | 0:50:34 | |
but most of all because they offend you. | 0:50:34 | 0:50:36 | |
Father Hughes, who is all good and deserving of my love... | 0:50:39 | 0:50:43 | |
..I firmly resolve to... | 0:50:45 | 0:50:47 | |
..with the help of your grace, to sin no more | 0:50:49 | 0:50:52 | |
and to avoid all near occasions of sin. | 0:50:52 | 0:50:55 | |
Very good. | 0:51:00 | 0:51:01 | |
Thank you. | 0:51:01 | 0:51:02 | |
-HE GROANS -Amen. | 0:51:02 | 0:51:05 | |
HE TAKES DEEP BREATH | 0:51:07 | 0:51:09 | |
And now that we are a united band once more, | 0:51:11 | 0:51:15 | |
perhaps we could order some food? | 0:51:15 | 0:51:18 | |
I'm sorry, I'm not feeling well. I have to go. Goodnight. | 0:51:18 | 0:51:22 | |
Mr Shelby... | 0:51:23 | 0:51:25 | |
HE SNIFFS AND GASPS | 0:51:31 | 0:51:33 | |
My God, Tommy... | 0:51:33 | 0:51:35 | |
-Are they here? -Yeah. | 0:51:35 | 0:51:36 | |
-Do you have cocaine? -No. | 0:51:36 | 0:51:38 | |
Tommy? | 0:51:38 | 0:51:39 | |
Tommy, this is the Special Advisor to the Soviet Consul. | 0:51:43 | 0:51:46 | |
Members of the British establishment.. | 0:51:53 | 0:51:56 | |
..and exiled White Russians are planning to rob armoured cars | 0:51:57 | 0:52:00 | |
from a factory in Birmingham. | 0:52:00 | 0:52:02 | |
We know about the robbery. We have an informant... | 0:52:02 | 0:52:05 | |
Your informant is working for them. | 0:52:05 | 0:52:07 | |
They want you to know about the robbery. | 0:52:07 | 0:52:09 | |
HE TRANSLATES INTO RUSSIAN | 0:52:10 | 0:52:13 | |
Your informant is working to their instruction. | 0:52:16 | 0:52:19 | |
HE TRANSLATES INTO RUSSIAN | 0:52:20 | 0:52:23 | |
-Why would they want us to know? -They want you to... | 0:52:25 | 0:52:28 | |
They want you to stop the robbery. | 0:52:30 | 0:52:32 | |
They want you to commit a violent act on British soil. | 0:52:32 | 0:52:35 | |
-HE TRANSLATES INTO RUSSIAN -Tommy, do you want water? | 0:52:35 | 0:52:37 | |
A violent act on British... | 0:52:37 | 0:52:39 | |
HE TRANSLATES INTO RUSSIAN | 0:52:40 | 0:52:42 | |
..to force the British Government to break off diplomatic relations. | 0:52:45 | 0:52:49 | |
HE TRANSLATES INTO RUSSIAN | 0:52:49 | 0:52:52 | |
That's the game. | 0:52:53 | 0:52:54 | |
The robbery in Birmingham was just the bait. | 0:52:56 | 0:52:58 | |
HE TRANSLATES INTO RUSSIAN | 0:52:58 | 0:53:01 | |
Why are you telling us this? | 0:53:02 | 0:53:05 | |
Because my family are the ones who will be sacrificed... | 0:53:05 | 0:53:08 | |
..if you decide to blow up the train. | 0:53:09 | 0:53:11 | |
HE TRANSLATES INTO RUSSIAN | 0:53:11 | 0:53:13 | |
The Consul wants to know who you are. | 0:53:17 | 0:53:20 | |
He's Tommy Shelby. | 0:53:21 | 0:53:23 | |
You can take his word. | 0:53:23 | 0:53:24 | |
-Ada... -Tommy... | 0:53:24 | 0:53:26 | |
HE GROANS | 0:53:26 | 0:53:29 | |
SHE STRAINS | 0:53:29 | 0:53:33 | |
Stop... Stop... | 0:53:34 | 0:53:36 | |
Ada, stop... | 0:53:36 | 0:53:38 | |
-SHE GRUNTS -OK. OK... | 0:53:38 | 0:53:40 | |
Drive me to a hospital, Ada. | 0:53:43 | 0:53:45 | |
If I'm not conscious when I get there, | 0:53:46 | 0:53:48 | |
tell them I have a fractured skull, | 0:53:48 | 0:53:50 | |
concussion and internal bleeding. | 0:53:50 | 0:53:52 | |
-I think I may have haemorrhaged. -Tommy! -Ada, go on. | 0:53:52 | 0:53:54 | |
Be quick, cos I can't see. I can't fucking see... | 0:53:54 | 0:53:58 | |
-VOICE BREAKING: -OK... OK... | 0:53:59 | 0:54:01 | |
HE PANTS | 0:54:01 | 0:54:05 | |
Except for you, Dad... | 0:54:09 | 0:54:11 | |
I can see you. | 0:54:15 | 0:54:17 | |
# On a gathering storm | 0:54:51 | 0:54:53 | |
# Comes a tall handsome man | 0:54:53 | 0:54:55 | |
# In a dusty black coat | 0:54:55 | 0:54:57 | |
# With a red right hand. # | 0:54:57 | 0:55:00 |