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-Where do you keep these things? Bank? -We have our own treasury. | 0:00:02 | 0:00:04 | |
-Wine cellar. -And a tunnel under the river. | 0:00:04 | 0:00:06 | |
My guess is they've turned one of the cellars into a strong room. | 0:00:06 | 0:00:09 | |
Did you find someone, Arthur? | 0:00:09 | 0:00:10 | |
Stefan Radischevky. | 0:00:10 | 0:00:12 | |
-And he speaks Russian? -Yeah. | 0:00:12 | 0:00:14 | |
He works in the house for four weeks, keeps his ears open. | 0:00:14 | 0:00:17 | |
All right? | 0:00:17 | 0:00:18 | |
I have a bright future too... | 0:00:18 | 0:00:21 | |
mapped out. | 0:00:21 | 0:00:22 | |
But you want to try things first? | 0:00:22 | 0:00:24 | |
Michael... | 0:00:24 | 0:00:26 | |
why does a pen pusher who sits on his arse all day | 0:00:26 | 0:00:30 | |
want to fire a gun? | 0:00:30 | 0:00:32 | |
There's going to be a vacancy at Shelby Company Limited. | 0:00:32 | 0:00:36 | |
No revolvers, all legal. | 0:00:36 | 0:00:37 | |
Get me a meeting with someone from the Soviet embassy... | 0:00:37 | 0:00:40 | |
This programme contains strong language | 0:00:40 | 0:00:44 | |
This programme contains some scenes which some viewers may find upsetting | 0:00:44 | 0:00:48 | |
This programme contains scenes of a sexual nature | 0:00:48 | 0:00:52 | |
# Look up here, I'm in heaven | 0:00:52 | 0:00:57 | |
# I've got scars that can't be seen | 0:00:57 | 0:01:01 | |
# I've got drama, can't be stolen | 0:01:05 | 0:01:09 | |
# Everybody knows me now. # | 0:01:12 | 0:01:16 | |
He was in the war. | 0:01:25 | 0:01:28 | |
He was in a tunnel collapse. | 0:01:28 | 0:01:32 | |
He won medals. | 0:01:32 | 0:01:37 | |
Take care of him. | 0:01:37 | 0:01:39 | |
# Look up here, man, I'm in danger | 0:01:49 | 0:01:53 | |
# I've got nothing left to lose | 0:01:57 | 0:02:00 | |
# I'm so high it makes my brain whirl | 0:02:03 | 0:02:07 | |
# Dropped my cellphone down below | 0:02:11 | 0:02:15 | |
Here he is, Mr Shelby. | 0:02:31 | 0:02:32 | |
Thank you, nurse. | 0:02:35 | 0:02:36 | |
Tommy... | 0:02:39 | 0:02:41 | |
I need to speak to you about the priest. | 0:02:47 | 0:02:49 | |
I know things about him. | 0:02:54 | 0:02:55 | |
Hmmm. | 0:02:55 | 0:02:57 | |
From when I was a...from when I was a boy. | 0:02:59 | 0:03:02 | |
I will shoot him myself, Tommy. | 0:03:11 | 0:03:13 | |
Just teach me how to shoot. | 0:03:15 | 0:03:17 | |
HE SCOFFS | 0:03:19 | 0:03:21 | |
It's easy, Michael. | 0:03:21 | 0:03:23 | |
Just point...pull the trigger. | 0:03:24 | 0:03:28 | |
He asked for me today, Mary... | 0:04:57 | 0:05:00 | |
..not his mother... | 0:05:02 | 0:05:03 | |
..for the first time. | 0:05:05 | 0:05:06 | |
He missed you. | 0:05:08 | 0:05:09 | |
Where is he? Is he in the kitchen? | 0:05:10 | 0:05:12 | |
Yes, he's with the girls and Johnny. | 0:05:12 | 0:05:14 | |
Did you remember your medicine, sir? | 0:05:20 | 0:05:22 | |
Do you ever read the Bible, Mary? | 0:05:24 | 0:05:26 | |
Sometimes. | 0:05:28 | 0:05:29 | |
Do you ever read it out loud while standing naked, next to my bed? | 0:05:29 | 0:05:33 | |
Cos...when I take the morphine the doctor gave me, that's what you do. | 0:05:35 | 0:05:40 | |
I'm wide awake but you are standing there naked, plain as day, | 0:05:40 | 0:05:45 | |
reading from the Book Of Leviticus. | 0:05:45 | 0:05:49 | |
Do you want to know what happens next? | 0:05:51 | 0:05:54 | |
No...neither do I. | 0:05:56 | 0:05:58 | |
That's why I pour the medicine away. | 0:06:01 | 0:06:05 | |
Go and get Johnny, Mary. | 0:06:05 | 0:06:06 | |
Without the firing pins, the guns won't work. | 0:06:41 | 0:06:44 | |
And there are no replacements? | 0:06:44 | 0:06:45 | |
They don't make these anymore, these are the end of the line. | 0:06:45 | 0:06:49 | |
We had the foreman take out all the spares. | 0:06:49 | 0:06:52 | |
Take the pins, they'll never fire a shot. | 0:06:52 | 0:06:55 | |
Nobody will know until they unload the bloody things in Tbilisi. | 0:06:55 | 0:06:59 | |
Or until they are facing our guns at Kutaisi. | 0:06:59 | 0:07:02 | |
Take them all out and give them to me. | 0:07:02 | 0:07:04 | |
Come on, boys, no fucking about. | 0:07:04 | 0:07:05 | |
I will tell the Soviet Ambassador that there is no longer | 0:07:05 | 0:07:08 | |
a need to blow up the train. | 0:07:08 | 0:07:09 | |
I will tell Tommy, you accept his plan. | 0:07:09 | 0:07:11 | |
You know, some mornings I wake up, I think I've died | 0:07:17 | 0:07:19 | |
and this is heaven, Tom. | 0:07:19 | 0:07:22 | |
I mean, the wives and the kids camped out by the valley, | 0:07:22 | 0:07:26 | |
not being moved on. | 0:07:26 | 0:07:27 | |
Sure, me, meself, I'm surrounded by maids and food and booze. | 0:07:27 | 0:07:33 | |
See that line, there? | 0:07:35 | 0:07:37 | |
No. | 0:07:40 | 0:07:42 | |
That's the edge of heaven. | 0:07:42 | 0:07:44 | |
The border between Birmingham and paradise. | 0:07:44 | 0:07:48 | |
And today, my friend, you're going to step over that line, | 0:07:50 | 0:07:54 | |
back into the world. | 0:07:55 | 0:07:57 | |
You mean you have something for me to do, Tom? | 0:07:58 | 0:08:00 | |
Have you ever heard of Hampton Court Palace, Johnny? | 0:08:02 | 0:08:05 | |
No. I can't say I have. | 0:08:06 | 0:08:08 | |
You and three families of the Lees are going to set up camp | 0:08:08 | 0:08:11 | |
100 yards from the gates of the palace. | 0:08:11 | 0:08:14 | |
You won't be moved on because I have just bought the land. | 0:08:14 | 0:08:17 | |
You'll be joined by some old friends of mine | 0:08:17 | 0:08:19 | |
who are going to open a hole underneath your tents and caravans. | 0:08:19 | 0:08:24 | |
You see this blow to the head you took, Tom... | 0:08:24 | 0:08:26 | |
And for allowing the hole to be dug, you will get £5,000. | 0:08:26 | 0:08:30 | |
Which you will split between the three Lee families. | 0:08:30 | 0:08:33 | |
I take a lot of this money is to do with not asking questions, Tommy? | 0:08:35 | 0:08:39 | |
Dead right, Johnny. | 0:08:41 | 0:08:42 | |
And when the hole is filled in again, you can go back to paradise. | 0:08:42 | 0:08:46 | |
Mr Shelby, your brothers are here. | 0:08:51 | 0:08:53 | |
And there's someone who described himself as, "the wandering Jew". | 0:08:55 | 0:09:00 | |
Will you take the Jewish gentleman to the drawing room | 0:09:02 | 0:09:08 | |
and take my brothers to the kitchen and give them tea and rum? | 0:09:08 | 0:09:12 | |
Yes, sir. | 0:09:12 | 0:09:13 | |
Good morning, Mr Solomons. | 0:09:24 | 0:09:25 | |
Yeah, it is. | 0:09:26 | 0:09:27 | |
Nice little place you've got here, Thomas. | 0:09:30 | 0:09:34 | |
What is it? | 0:09:34 | 0:09:35 | |
A foreclosure of a gambling debt from some poor young lord who | 0:09:35 | 0:09:39 | |
you pumped full of opium in one of your casinos? | 0:09:39 | 0:09:42 | |
Or is that just tittle-tattle? | 0:09:42 | 0:09:43 | |
No. Drink? | 0:09:43 | 0:09:46 | |
Nah, I don't touch it, mate. | 0:09:46 | 0:09:47 | |
Your housekeeper said you're not allowed to drink. Eh? | 0:09:47 | 0:09:52 | |
She said, you are suffering from so many ancient injuries | 0:09:53 | 0:09:58 | |
from your sporting life that your head is like some | 0:09:58 | 0:10:01 | |
sort of smashed vase what's been stuck back together by an horse. | 0:10:01 | 0:10:05 | |
Now...word in London is that you can be found | 0:10:08 | 0:10:13 | |
wandering the streets of Birmingham, stark naked, throwing away money. | 0:10:13 | 0:10:17 | |
You talk to dead people. | 0:10:17 | 0:10:19 | |
Also, that you believe that you are powerful enough to summon up | 0:10:19 | 0:10:26 | |
Jews of a very particular standing up to the gentile wilderness | 0:10:27 | 0:10:34 | |
wherein you live in order for them to do your fucking bidding, mate. | 0:10:34 | 0:10:39 | |
And still, you came. | 0:10:39 | 0:10:40 | |
Yeah, well, you know... I was passing, weren't I? | 0:10:40 | 0:10:43 | |
Do you know something, Alfie? | 0:10:47 | 0:10:49 | |
This morning, I tried to read the paper and I realised that the | 0:10:49 | 0:10:55 | |
only consequence of my terrible accident is that I now need glasses. | 0:10:55 | 0:11:00 | |
Right... | 0:11:04 | 0:11:05 | |
Right, well, I know a man... | 0:11:08 | 0:11:12 | |
..who can make you a pair of these, | 0:11:14 | 0:11:16 | |
he is a magician, mate. | 0:11:16 | 0:11:19 | |
He is a magician. | 0:11:19 | 0:11:20 | |
So, not only will you be able to read your newspaper, | 0:11:22 | 0:11:26 | |
but you will also be able to see into the future. | 0:11:26 | 0:11:31 | |
Now, I know this, right, because he made this pair, here, for me. | 0:11:34 | 0:11:38 | |
So, you don't have to worry about telling me | 0:11:40 | 0:11:42 | |
what this is all about, do you? Because I have already seen it. | 0:11:42 | 0:11:46 | |
You're fucking about with Russians, in't you? You silly boy. | 0:11:56 | 0:12:00 | |
Right, you've got two choices, Michael. | 0:12:00 | 0:12:02 | |
You fuck off to America with Arthur, join the Apaches, | 0:12:02 | 0:12:05 | |
or you marry the girl. | 0:12:05 | 0:12:07 | |
This isn't a joke. | 0:12:07 | 0:12:08 | |
Arthur, are you really going to live with the Apaches? | 0:12:08 | 0:12:11 | |
-Told her father yet? -No. | 0:12:11 | 0:12:14 | |
He'll fucking shoot you, man. | 0:12:14 | 0:12:15 | |
Are you sure the kid's yours? | 0:12:15 | 0:12:17 | |
I wish I hadn't told you. | 0:12:17 | 0:12:19 | |
Then think of marriage as a beautiful road... | 0:12:19 | 0:12:22 | |
flowers all the way down it. | 0:12:22 | 0:12:24 | |
Is he joking? | 0:12:24 | 0:12:25 | |
It's hard to tell these days. | 0:12:25 | 0:12:27 | |
Do you, er... | 0:12:30 | 0:12:32 | |
Do you love the woman? | 0:12:32 | 0:12:34 | |
Fucking what? | 0:12:36 | 0:12:38 | |
Go and marry her, like the rest of us. | 0:12:38 | 0:12:39 | |
She doesn't want her family to know. | 0:12:39 | 0:12:42 | |
She doesn't want to have the baby. | 0:12:42 | 0:12:43 | |
-We know a woman... -Shut up, John. | 0:12:43 | 0:12:45 | |
Same woman who helped you out twice. | 0:12:45 | 0:12:47 | |
They weren't my women. | 0:12:47 | 0:12:49 | |
That's why you had them fixed, Arthur. | 0:12:49 | 0:12:51 | |
Charlotte will want the best. | 0:12:51 | 0:12:53 | |
-She is the best. -The best. | 0:12:53 | 0:12:54 | |
Used to be a nurse. | 0:12:54 | 0:12:56 | |
20 minutes, done. | 0:12:56 | 0:12:57 | |
Don't have to go in, or wait outside. | 0:12:57 | 0:13:00 | |
You go to the Garrison, drink whisky, have a laugh. | 0:13:00 | 0:13:04 | |
Remember, John? | 0:13:04 | 0:13:06 | |
Then this kid walks in, no shoes on, and says, "It's done". | 0:13:06 | 0:13:10 | |
Second time we was in there... | 0:13:10 | 0:13:12 | |
same kid, this time he's wearing shiny new shoes. | 0:13:12 | 0:13:16 | |
And he shouts, "It's done, Arthur." | 0:13:18 | 0:13:21 | |
And what? | 0:13:21 | 0:13:22 | |
She bought new shoes... | 0:13:25 | 0:13:27 | |
..with the money I gave her. | 0:13:29 | 0:13:30 | |
It was for a good cause. | 0:13:32 | 0:13:34 | |
Arthur... If you're going to get on like this with the Apaches, | 0:13:34 | 0:13:38 | |
they'd fucking scalp you, boy. | 0:13:38 | 0:13:40 | |
BELL RINGS | 0:13:40 | 0:13:42 | |
Tommy said when that bell rings we've to all go to the big room. | 0:13:42 | 0:13:45 | |
Come on. Tommy has a plan. | 0:13:51 | 0:13:53 | |
Arthur. | 0:14:11 | 0:14:12 | |
Arthur. | 0:14:12 | 0:14:13 | |
Arthur, come here. | 0:14:13 | 0:14:14 | |
Shalom! | 0:14:16 | 0:14:19 | |
Arthur, shalom! | 0:14:19 | 0:14:20 | |
Alfie. | 0:14:22 | 0:14:23 | |
Shalom. Come here. Come on, listen... | 0:14:23 | 0:14:26 | |
I owe you a little something, don't I? | 0:14:26 | 0:14:28 | |
I do. Come on. Sit down. | 0:14:28 | 0:14:31 | |
Come on, sit down here. | 0:14:31 | 0:14:33 | |
There you go. | 0:14:33 | 0:14:35 | |
Right... | 0:14:35 | 0:14:38 | |
Listen... | 0:14:38 | 0:14:39 | |
Arthur... | 0:14:39 | 0:14:40 | |
I want you to know, right? | 0:14:42 | 0:14:43 | |
That whatever happened between us, yeah? | 0:14:43 | 0:14:46 | |
Back then...that was business. | 0:14:46 | 0:14:49 | |
It was just business. All right? | 0:14:49 | 0:14:51 | |
And I also want you to know that I have made my apologies | 0:14:52 | 0:14:57 | |
via my own God for abusing a very holy day to get you clinked up | 0:14:57 | 0:15:04 | |
and battered, which I did. | 0:15:04 | 0:15:07 | |
And now, I would also like to extend my personal apologies unto you. | 0:15:07 | 0:15:12 | |
All right? | 0:15:22 | 0:15:23 | |
I hear that you have allowed Jesus to come into your life. | 0:15:25 | 0:15:30 | |
You heard, then? | 0:15:31 | 0:15:32 | |
Yeah, that's beautiful. That's wonderful. | 0:15:32 | 0:15:34 | |
Now, that's lovely, isn't it? That's...that's lovely. | 0:15:34 | 0:15:38 | |
But I was wondering, how does that work for you on a | 0:15:38 | 0:15:41 | |
day-to-day, considering your line of work, mate? | 0:15:41 | 0:15:44 | |
Your apology's accepted. | 0:15:48 | 0:15:50 | |
Cos I hear you're a right fucking nuisance with it. | 0:15:53 | 0:15:56 | |
Hello... | 0:15:58 | 0:16:00 | |
You see, all I'm saying is that every man, he craves certainty. | 0:16:01 | 0:16:05 | |
Don't he? He craves the certainty, | 0:16:05 | 0:16:07 | |
even if that certainty of yours, right...? | 0:16:07 | 0:16:11 | |
Well, I mean...it's fucking fanciful, mate, in't it? | 0:16:11 | 0:16:16 | |
Eh? | 0:16:18 | 0:16:19 | |
I'm Old Testament. | 0:16:31 | 0:16:35 | |
Fucking hell. Look at that. Now, that... | 0:16:37 | 0:16:39 | |
..that scares me more. Yeah. | 0:16:41 | 0:16:44 | |
Congratulations, Tommy. | 0:16:46 | 0:16:47 | |
You now have the finished article right there, don't you? | 0:16:47 | 0:16:51 | |
See, that man, right, he will murder and maim for you | 0:16:51 | 0:16:54 | |
with God on his side. | 0:16:54 | 0:16:56 | |
Yeah. | 0:16:58 | 0:16:59 | |
You don't want to let him go. | 0:17:02 | 0:17:04 | |
If we're going to do business with this fucker, I demand to know why. | 0:17:06 | 0:17:10 | |
Right... | 0:17:15 | 0:17:17 | |
While I was in the hospital, I formulated a plan | 0:17:17 | 0:17:21 | |
and this is how it's going to work... | 0:17:24 | 0:17:27 | |
So, the Russians cannot be trusted to pay us. | 0:17:27 | 0:17:31 | |
we are going to take what is ours. | 0:17:31 | 0:17:33 | |
We need to see what's in their treasury. | 0:17:34 | 0:17:36 | |
And that's why we need Mr Solomons. | 0:17:37 | 0:17:41 | |
Right boys, just remember they are fucking insane... | 0:18:02 | 0:18:08 | |
and dangerous. | 0:18:08 | 0:18:10 | |
And drunk on stuff we've never heard of. | 0:18:10 | 0:18:13 | |
And they're worse than us for spirits and ghosts. | 0:18:13 | 0:18:16 | |
And today, they're going to test us. | 0:18:19 | 0:18:21 | |
Fuck them. | 0:18:24 | 0:18:25 | |
The Russians all turned and ran. | 0:18:32 | 0:18:36 | |
The Cossacks didn't run, Arthur. | 0:18:36 | 0:18:38 | |
Mr Shelby, welcome. | 0:18:51 | 0:18:53 | |
How is my car? | 0:18:53 | 0:18:55 | |
I think I'm in love with it. | 0:18:55 | 0:18:57 | |
And I, yours. So, we should keep what we love, yes? | 0:18:57 | 0:19:01 | |
Excuse the reception. Whenever we open the treasury, | 0:19:01 | 0:19:03 | |
the Cossacks are on guard. | 0:19:03 | 0:19:05 | |
'In Russia, | 0:19:13 | 0:19:14 | |
'men on the other side of the law decorate their body in tattoos.' | 0:19:14 | 0:19:19 | |
-Right. -Right. | 0:19:19 | 0:19:20 | |
Now, some of these tattoos are proof of allegiance to underground | 0:19:20 | 0:19:25 | |
organisations, which are the sworn enemies of the Royal household. | 0:19:25 | 0:19:31 | |
So, it's customary in Russian Royal households to check for such | 0:19:31 | 0:19:37 | |
tattoos before engaging a man in business. | 0:19:37 | 0:19:39 | |
And as we approach the allotted day, these ladies here | 0:19:39 | 0:19:42 | |
would like to make sure that you're not assassins or infiltrators... | 0:19:42 | 0:19:46 | |
No, we're all good. | 0:19:46 | 0:19:47 | |
So, they'd like to check your skin. | 0:19:47 | 0:19:51 | |
They want to check our skin? | 0:19:51 | 0:19:53 | |
Yeah. Now my body's already been checked. | 0:19:54 | 0:19:57 | |
Although, at the time, I wasn't sure that was the reason. | 0:19:57 | 0:20:00 | |
And now it's your turn. | 0:20:00 | 0:20:03 | |
Come on, boys. | 0:20:03 | 0:20:05 | |
Take your clothes off. | 0:20:05 | 0:20:06 | |
Fuck off. | 0:20:08 | 0:20:09 | |
No, no, no, no, no, no. | 0:20:09 | 0:20:11 | |
Obey. | 0:20:11 | 0:20:13 | |
That's it... | 0:20:13 | 0:20:14 | |
Obey, Arthur. | 0:20:14 | 0:20:17 | |
No, I won't be obeying nobody. Get out of my way, I'm leaving. | 0:20:17 | 0:20:20 | |
Arthur, come here... | 0:20:20 | 0:20:22 | |
Come on, Arthur. | 0:20:40 | 0:20:42 | |
Shut up, John. | 0:20:42 | 0:20:44 | |
I will have a maid gather the buttons and sew them back on. | 0:20:45 | 0:20:52 | |
Right. Fuck it. | 0:21:05 | 0:21:08 | |
There you go, ladies. | 0:21:08 | 0:21:10 | |
Made in fucking Birmingham. | 0:21:10 | 0:21:13 | |
All right, I think we've seen enough, eh? | 0:21:14 | 0:21:17 | |
Tatiana... | 0:21:18 | 0:21:20 | |
HE LAUGHS | 0:21:23 | 0:21:25 | |
Your face, Arthur, is a fucking picture. | 0:21:25 | 0:21:28 | |
Sometimes assassins hide their allegiances behind their balls. | 0:21:28 | 0:21:32 | |
You pass the test, soldier, with flying colours. | 0:21:37 | 0:21:43 | |
You see... | 0:21:55 | 0:21:59 | |
He wants to be a good man. | 0:21:59 | 0:22:01 | |
But there now. | 0:22:09 | 0:22:12 | |
There. | 0:22:12 | 0:22:13 | |
Inside every man, there is a devil. | 0:22:16 | 0:22:19 | |
APPLAUSE | 0:22:33 | 0:22:37 | |
The real diamonds, eh? | 0:22:38 | 0:22:40 | |
It is traditional to seal the successful examination with | 0:22:40 | 0:22:46 | |
vodka and music. | 0:22:46 | 0:22:47 | |
Holy fuck, Tommo, what was that? | 0:22:53 | 0:22:56 | |
Well done, boys. Eh? | 0:22:56 | 0:22:58 | |
Well done, Arthur. | 0:22:59 | 0:23:00 | |
Now you know what you have to do next. All right? | 0:23:03 | 0:23:06 | |
One last job. | 0:23:07 | 0:23:09 | |
Make contact and play nice. | 0:23:09 | 0:23:12 | |
Five minutes. | 0:23:23 | 0:23:24 | |
I brought Michael because as chief accountant, he has to be witness. | 0:23:27 | 0:23:31 | |
Ada, can I...can I use your phone? | 0:23:31 | 0:23:33 | |
Michael, business first. | 0:23:33 | 0:23:37 | |
Michael, stop looking at your watch. | 0:23:54 | 0:23:57 | |
Ada, whilst you're reading this, can I go and use your phone? | 0:24:00 | 0:24:05 | |
Who's the lucky girl, Michael? | 0:24:05 | 0:24:06 | |
Her name is Charlotte and Michael cannot breathe | 0:24:06 | 0:24:09 | |
if he does not talk to her every two hours! | 0:24:09 | 0:24:12 | |
Ada, please... | 0:24:12 | 0:24:14 | |
Phone's in the hall. Dial nought for the line. | 0:24:14 | 0:24:16 | |
Thank you. | 0:24:16 | 0:24:17 | |
And keep it quick, I pay the bill. | 0:24:17 | 0:24:19 | |
I will. | 0:24:19 | 0:24:20 | |
Not for long! | 0:24:20 | 0:24:21 | |
Think about it, Pol, together we can take control. | 0:24:40 | 0:24:43 | |
With two of us in the company, we can straighten things out. | 0:24:43 | 0:24:46 | |
What about the politics? | 0:24:46 | 0:24:47 | |
You and me fighting together and winning, that is politics. | 0:24:47 | 0:24:51 | |
That's a new kind of politics. | 0:24:51 | 0:24:53 | |
It's just this way, I get paid and Karl gets a nice Christmas. | 0:24:54 | 0:24:58 | |
Good. Welcome to the Bourgeoisie. | 0:24:59 | 0:25:01 | |
My name is Smith. | 0:25:05 | 0:25:07 | |
My girlfriend is...is pregnant. | 0:25:09 | 0:25:11 | |
And, er...we'd like you to help us. | 0:25:12 | 0:25:16 | |
We need to fix a date. | 0:25:20 | 0:25:21 | |
Welcome to Shelby Company Limited. | 0:25:28 | 0:25:30 | |
Shelby Company Limited. | 0:25:31 | 0:25:33 | |
Limited and unarmed. | 0:25:33 | 0:25:37 | |
Michael, would you like to welcome Ada, our new Head of Property | 0:25:37 | 0:25:41 | |
and Acquisitions. | 0:25:41 | 0:25:42 | |
Congratulations. Where do I sign? | 0:25:42 | 0:25:45 | |
Ada, have you got...um...whisky? | 0:25:51 | 0:25:55 | |
Yeah, Tommy. | 0:25:55 | 0:25:57 | |
I've already told him. | 0:26:01 | 0:26:03 | |
He's becoming too like his cousin. | 0:26:03 | 0:26:05 | |
I thought that was the idea. | 0:26:05 | 0:26:06 | |
Yeah, Tommy but with a bit more fucking charm and class. | 0:26:06 | 0:26:10 | |
-Yeah. -Oh, that'll help(!) | 0:26:10 | 0:26:12 | |
Yep. Where am I sleeping, Ada? | 0:26:12 | 0:26:14 | |
-Michael... -In the room next to Karl's. | 0:26:14 | 0:26:16 | |
-Michael... -Good night! | 0:26:16 | 0:26:19 | |
Oh. Heartbroken, poor love. | 0:26:19 | 0:26:22 | |
So how shall we celebrate? | 0:26:23 | 0:26:25 | |
Well, with Michael in bed, I thought I might... | 0:26:25 | 0:26:28 | |
..go for a little drive. | 0:26:30 | 0:26:32 | |
A drive? Where are you going to drive? | 0:26:32 | 0:26:35 | |
Polly? | 0:26:35 | 0:26:36 | |
Things have begun to develop with the man who's painting my portrait. | 0:26:36 | 0:26:39 | |
Polly? | 0:26:39 | 0:26:40 | |
It's when you stand there in the dress... | 0:26:42 | 0:26:45 | |
..you just find yourself talking about every little thing. | 0:26:47 | 0:26:50 | |
-And have you...? -No. | 0:26:50 | 0:26:53 | |
Not yet. | 0:26:53 | 0:26:55 | |
But he called me two nights ago to say the portrait was finished and | 0:26:55 | 0:26:58 | |
I said I'd go there in the morning | 0:26:58 | 0:27:01 | |
but he said, no, he wanted me there tonight. | 0:27:01 | 0:27:03 | |
Ada, you don't breathe a fucking word of this to the boys. | 0:27:10 | 0:27:14 | |
-OK, but is he nice to you? -No. No. I mean it, Ada. | 0:27:14 | 0:27:16 | |
Is he rich? | 0:27:16 | 0:27:18 | |
His friends write the papers, Ada. | 0:27:18 | 0:27:21 | |
Tommy would try and close him down. | 0:27:21 | 0:27:23 | |
So go. | 0:27:23 | 0:27:25 | |
He's like a tiny bird pecking at you... | 0:27:25 | 0:27:28 | |
..and I think he's given up on me. | 0:27:31 | 0:27:33 | |
So bloody go. | 0:27:35 | 0:27:37 | |
Why should the boys have all the fun? | 0:27:43 | 0:27:46 | |
MUSIC: Baby Did A Bad, Bad Thing by Queen Kwong | 0:27:48 | 0:27:50 | |
# Baby did a bad, bad thing | 0:27:53 | 0:27:54 | |
# Baby did a bad, bad thing | 0:27:56 | 0:27:58 | |
# I feel like crying | 0:28:08 | 0:28:11 | |
# I feel like dying... # | 0:28:12 | 0:28:15 | |
More vodka. | 0:28:16 | 0:28:17 | |
# Baby did a bad, bad thing. # | 0:28:17 | 0:28:19 | |
WOMAN MOANS | 0:28:23 | 0:28:26 | |
MEN SHOUT WOMAN MOANS | 0:28:31 | 0:28:34 | |
FIDDLE PLAYS | 0:28:34 | 0:28:35 | |
Don't move. | 0:28:37 | 0:28:39 | |
Wait there. | 0:28:44 | 0:28:45 | |
You're doing good, Stefan. | 0:28:50 | 0:28:52 | |
-It's a fucking mad house. -Yeah, I know. | 0:28:55 | 0:28:58 | |
The Prince wants me to suck his cock. | 0:28:58 | 0:29:00 | |
And how much would you need to say yes? | 0:29:02 | 0:29:04 | |
That's on top of the day rate for the arse slaps. | 0:29:04 | 0:29:07 | |
When am I out of here? | 0:29:11 | 0:29:12 | |
Soon. | 0:29:12 | 0:29:14 | |
What you got? | 0:29:14 | 0:29:15 | |
The strong room's not guarded at night, but | 0:29:19 | 0:29:21 | |
they said they would kill the three brothers in the "uglya dvor" - | 0:29:21 | 0:29:24 | |
coal yard. | 0:29:24 | 0:29:26 | |
The Duke was talking about using a sword but the woman, | 0:29:26 | 0:29:29 | |
she was talking about using machine guns. | 0:29:29 | 0:29:32 | |
STEFAN WHIMPERS | 0:29:38 | 0:29:39 | |
It's a fucking mad house, John. | 0:29:43 | 0:29:44 | |
We're doing up your pub in Nechells. | 0:29:46 | 0:29:50 | |
It looks a treat. | 0:29:50 | 0:29:51 | |
Keep your fucking head up, Peaky boy, eh? | 0:29:54 | 0:29:56 | |
Fucking mad house, man. | 0:30:03 | 0:30:05 | |
We are almost there. This way. | 0:30:08 | 0:30:10 | |
This treasury was built 200 years ago to protect | 0:30:16 | 0:30:19 | |
the King's jewels in case of French invasion. | 0:30:19 | 0:30:22 | |
LOCK OPENS | 0:30:26 | 0:30:27 | |
We are now underneath the River Thames... | 0:30:27 | 0:30:30 | |
GATE CREAKS | 0:30:30 | 0:30:31 | |
DOG BARKS | 0:30:31 | 0:30:32 | |
BARKING CONTINUES | 0:30:34 | 0:30:36 | |
DOG GROWLS AND BARKS | 0:30:37 | 0:30:39 | |
LOCK OPENS | 0:30:42 | 0:30:43 | |
Your jeweller. | 0:30:56 | 0:30:58 | |
I don't think they trust me, Tommy. | 0:30:58 | 0:31:01 | |
Mr Solomons is the only jeweller I trust in London. | 0:31:01 | 0:31:04 | |
Yes, trust. Yes. Might have to add that on the old invoice. | 0:31:04 | 0:31:08 | |
Thank you. Thank you. | 0:31:09 | 0:31:11 | |
As we agreed, your jeweller will now select items | 0:31:11 | 0:31:13 | |
to a total value of £70,000. | 0:31:13 | 0:31:16 | |
When you have selected your chosen items, | 0:31:16 | 0:31:18 | |
they will be put into a box and stored. | 0:31:18 | 0:31:20 | |
When you have fulfilled your part of the deal, | 0:31:20 | 0:31:22 | |
the box will be delivered to you. | 0:31:22 | 0:31:24 | |
May I just start, right, by saying that I may choose to stay here | 0:31:28 | 0:31:33 | |
and just starve to death and choke on sapphires | 0:31:33 | 0:31:36 | |
rather than ever go back to the fucking world again? | 0:31:36 | 0:31:39 | |
Yeah, well, there is a good reason for that, you know, little man. | 0:31:41 | 0:31:44 | |
Because my shop, right, is just above a rum house, so all the... | 0:31:44 | 0:31:47 | |
-You speak Russian? -I do, yeah. I do. | 0:31:47 | 0:31:49 | |
Cos of me mum. Yeah, my mother. | 0:31:49 | 0:31:53 | |
You people, all right, | 0:31:53 | 0:31:55 | |
you hunted my mum... | 0:31:55 | 0:31:59 | |
with dogs... | 0:31:59 | 0:32:01 | |
through the snow. | 0:32:01 | 0:32:02 | |
Yeah. | 0:32:04 | 0:32:06 | |
But today, right, is for forgiveness, ain't it? | 0:32:07 | 0:32:12 | |
For selection. | 0:32:12 | 0:32:14 | |
So, now... | 0:32:15 | 0:32:17 | |
Hello... | 0:32:18 | 0:32:20 | |
Right. I think it's fair to say, yeah, 1,500. | 0:32:20 | 0:32:24 | |
1,500? | 0:32:24 | 0:32:25 | |
All right, I'll give you 1,800. | 0:32:25 | 0:32:28 | |
I know the current market value. 18 it is. | 0:32:28 | 0:32:31 | |
That's very gracious of you. | 0:32:31 | 0:32:33 | |
Right, then. How about say we look at this. | 0:32:33 | 0:32:38 | |
This is a nice little bit going on there, isn't it? | 0:32:38 | 0:32:40 | |
Oh, but that was a gift from Tsar Nicholas. | 0:32:40 | 0:32:43 | |
I ain't asking you, though, am I? I ain't asking you. | 0:32:43 | 0:32:46 | |
All right. I come here to do business, | 0:32:46 | 0:32:50 | |
offer my professional services. If you keep interrupting me, | 0:32:50 | 0:32:53 | |
I won't be able to focus and do my job, you understand? | 0:32:53 | 0:32:55 | |
Mr Romanov, let me remind you, we were told to come here | 0:32:55 | 0:32:58 | |
and choose what we like... | 0:32:58 | 0:33:01 | |
and now we have chosen. | 0:33:01 | 0:33:02 | |
Tsar Nicholas give you that? I'll give you four. | 0:33:02 | 0:33:05 | |
Five...with the royal provenance. | 0:33:05 | 0:33:08 | |
Done. | 0:33:11 | 0:33:12 | |
Right, Rumplestiltskin, let's go over here | 0:33:12 | 0:33:15 | |
and have a look what's in these boxes. | 0:33:15 | 0:33:18 | |
Two. That's much nicer. Ten. | 0:33:18 | 0:33:22 | |
That there is definitely a five. | 0:33:22 | 0:33:25 | |
Are you keeping score? | 0:33:25 | 0:33:26 | |
-Yes, I am. -Another five. | 0:33:26 | 0:33:29 | |
-Seven. -Six. -Let's call it six, eh? | 0:33:29 | 0:33:32 | |
-Beauty. Look at that. -Beautiful, isn't it? | 0:33:32 | 0:33:34 | |
-That is splendid. -Splendid, yes. -Beautiful, is it not? -It is. | 0:33:34 | 0:33:38 | |
-It's a work of art. You recognise this work, do you? -Immediately. | 0:33:38 | 0:33:42 | |
I'm guessing, right, that all the bad ideas around here, they're you. | 0:33:42 | 0:33:45 | |
They are you, aren't they? Hmm? | 0:33:45 | 0:33:49 | |
What do you mean? | 0:33:49 | 0:33:50 | |
Yeah. Tommy, see this, right? It's got paste in it. That's paste. | 0:33:50 | 0:33:54 | |
Let me tell you something, son. | 0:33:54 | 0:33:56 | |
Somebody comes into my shop with some paste like this, | 0:33:56 | 0:33:59 | |
usually what I make them do, right, | 0:33:59 | 0:34:03 | |
is fucking swallow it. | 0:34:03 | 0:34:05 | |
Eh? What game are you playing? | 0:34:05 | 0:34:07 | |
-Eh? -Mr Solomons... | 0:34:12 | 0:34:14 | |
-..shall we, er... shall we clean it up? -Be careful. | 0:34:18 | 0:34:22 | |
Eh? | 0:34:22 | 0:34:23 | |
Mm? | 0:34:25 | 0:34:26 | |
Yeah. Yeah. | 0:34:26 | 0:34:29 | |
Right, what we got? | 0:34:29 | 0:34:31 | |
37,600. | 0:34:32 | 0:34:34 | |
Well... | 0:34:37 | 0:34:38 | |
Do you have any eggs? | 0:34:44 | 0:34:46 | |
I am simply asking... | 0:34:47 | 0:34:49 | |
Faberge is not part of the deal. | 0:34:49 | 0:34:51 | |
We would not offer you Faberge eggs. | 0:34:51 | 0:34:53 | |
Mr Romanov, my jeweller here, | 0:34:53 | 0:34:56 | |
he advises me to insist... | 0:34:56 | 0:34:59 | |
on Faberge. | 0:34:59 | 0:35:00 | |
It's a deal-breaker, Tommy. | 0:35:00 | 0:35:02 | |
Oh... | 0:35:20 | 0:35:21 | |
I brought that from Crimea myself. | 0:35:23 | 0:35:26 | |
Fucking hell. | 0:35:26 | 0:35:27 | |
With the provenance of that being laid by such a delicate beauty... | 0:35:32 | 0:35:36 | |
..that does indeed bring the entire selection to £70,000. | 0:35:38 | 0:35:42 | |
TOMMY SPITS | 0:35:43 | 0:35:44 | |
MR ROMANOV SPITS | 0:35:51 | 0:35:52 | |
-Good man. -And now, Mr Shelby, you will join your brothers and | 0:35:54 | 0:35:58 | |
Mr Solomons will take his leave. | 0:35:58 | 0:35:59 | |
I demand absolute honesty. | 0:36:01 | 0:36:04 | |
-Oh, sorry. Can I...? -I insist. | 0:36:23 | 0:36:25 | |
There. | 0:36:35 | 0:36:36 | |
A woman of style and substance. | 0:36:37 | 0:36:40 | |
I'm a student of silence. Is this good silence or bad silence? | 0:36:46 | 0:36:50 | |
It's good. | 0:36:51 | 0:36:52 | |
It's good. | 0:36:56 | 0:36:57 | |
-It's very good. -No. It's still wet. | 0:37:03 | 0:37:05 | |
I know it isn't saying much in the grand scheme of things but | 0:37:09 | 0:37:14 | |
this is the best work I've ever done. | 0:37:14 | 0:37:16 | |
I'll miss Sundays. | 0:37:24 | 0:37:25 | |
There will be more Sundays. | 0:37:29 | 0:37:31 | |
Sorry. | 0:38:02 | 0:38:04 | |
Sorry, can you not do that, please? | 0:38:04 | 0:38:06 | |
Can you just not do that, please? | 0:38:08 | 0:38:09 | |
I'm sorry. I'm sorry. Sorry. | 0:38:09 | 0:38:12 | |
-It's all right. -I'm sorry. -It's all right. No, honestly, it's all right. | 0:38:12 | 0:38:16 | |
POLKA MUSIC PLAYS | 0:38:33 | 0:38:35 | |
Vodka! | 0:38:56 | 0:38:57 | |
I sewed your buttons back on. | 0:38:59 | 0:39:00 | |
I wanted to see if I did a good job. | 0:39:02 | 0:39:04 | |
Yeah, you did. | 0:39:07 | 0:39:09 | |
You did a good job. | 0:39:10 | 0:39:11 | |
Sir? | 0:39:14 | 0:39:15 | |
No. | 0:39:17 | 0:39:19 | |
I didn't. | 0:39:19 | 0:39:20 | |
My aunt only employs the best whores. | 0:39:37 | 0:39:39 | |
-How did you feel when -I -held him? | 0:39:44 | 0:39:46 | |
You were jealous. | 0:39:46 | 0:39:47 | |
You wanted to kill me. | 0:39:49 | 0:39:51 | |
Or him. | 0:39:51 | 0:39:52 | |
No? | 0:39:52 | 0:39:53 | |
Why do you play games with people... | 0:39:58 | 0:40:00 | |
..when there is no benefit to you? | 0:40:01 | 0:40:04 | |
In Russia, because we were bored. | 0:40:07 | 0:40:08 | |
In England, because... | 0:40:10 | 0:40:11 | |
..we don't know how to stop. | 0:40:13 | 0:40:15 | |
At least there are silly games and orgasms. | 0:40:16 | 0:40:18 | |
So let's fuck. | 0:40:24 | 0:40:26 | |
Here? | 0:40:26 | 0:40:27 | |
No. | 0:40:27 | 0:40:29 | |
No, in a darker place. | 0:40:29 | 0:40:31 | |
MR ROMANOV SHOUTS | 0:40:52 | 0:40:55 | |
You still love her, don't you? | 0:41:55 | 0:41:57 | |
You want her? | 0:42:03 | 0:42:04 | |
Why would you fucking say that? | 0:42:04 | 0:42:07 | |
Why would you fucking say it? | 0:42:07 | 0:42:08 | |
-Just tell me. You love her. -What are you fucking saying? | 0:42:08 | 0:42:11 | |
You want her? You want her. | 0:42:11 | 0:42:13 | |
Who the fuck are you? Eh? | 0:42:16 | 0:42:19 | |
Hm? | 0:42:21 | 0:42:22 | |
What are you fucking saying? | 0:42:27 | 0:42:29 | |
HE MUTTERS | 0:42:32 | 0:42:34 | |
HE PANTS | 0:42:41 | 0:42:43 | |
You want her... | 0:43:04 | 0:43:05 | |
..tonight? | 0:43:08 | 0:43:09 | |
Watch... | 0:43:13 | 0:43:14 | |
In the palace in Tbilisi, there was a priest... | 0:43:24 | 0:43:27 | |
and he would put his hands here. | 0:43:27 | 0:43:30 | |
And with that strangulation there was also ecstasy. | 0:43:32 | 0:43:34 | |
It's called Khlysty, a Siberian prayer. | 0:43:34 | 0:43:36 | |
You are almost hung over. | 0:43:38 | 0:43:40 | |
You are almost dead, but in that moment... | 0:43:40 | 0:43:44 | |
SHE MOANS | 0:43:44 | 0:43:46 | |
Women who had lost men in the war would lay down | 0:43:49 | 0:43:52 | |
and they would fuck... | 0:43:52 | 0:43:54 | |
the ghost. | 0:43:54 | 0:43:56 | |
You want her. | 0:43:56 | 0:43:59 | |
You want her, don't you? | 0:43:59 | 0:44:01 | |
You want her. | 0:44:01 | 0:44:03 | |
HE GROANS | 0:44:03 | 0:44:04 | |
MUSIC: You Want It Darker by Leonard Cohen | 0:44:20 | 0:44:23 | |
# If you are the dealer let me out of the game | 0:44:51 | 0:44:55 | |
# If you are the healer I'm broken and lame | 0:44:55 | 0:44:59 | |
# If thine is the glory mine must be the shame | 0:44:59 | 0:45:03 | |
# You want it darker | 0:45:04 | 0:45:06 | |
# Kill the flame. # | 0:45:08 | 0:45:09 | |
HE GASPS | 0:45:11 | 0:45:12 | |
Now you should drink this. | 0:45:12 | 0:45:14 | |
It's holy water. | 0:45:14 | 0:45:16 | |
Keep that fucking away from me. | 0:45:16 | 0:45:19 | |
There. | 0:45:19 | 0:45:20 | |
I opened up another treasury for you. | 0:45:20 | 0:45:22 | |
You should call this painting... | 0:45:35 | 0:45:37 | |
..Fuck Them All. | 0:45:40 | 0:45:41 | |
HE CHUCKLES | 0:45:41 | 0:45:43 | |
I will. | 0:45:45 | 0:45:46 | |
The parish... | 0:45:49 | 0:45:50 | |
..the King... | 0:45:52 | 0:45:54 | |
..the copper. | 0:45:56 | 0:45:57 | |
Yeah, the copper in particular. | 0:46:17 | 0:46:19 | |
Do you want to hear the wildest story of them all? | 0:46:30 | 0:46:32 | |
Yes. | 0:46:34 | 0:46:35 | |
I killed a policeman... | 0:46:37 | 0:46:39 | |
in cold blood... | 0:46:39 | 0:46:40 | |
-..with a gun. -Really? | 0:46:44 | 0:46:46 | |
She did it. | 0:46:48 | 0:46:50 | |
MUSIC: Monkey 23 by The Kills | 0:46:51 | 0:46:53 | |
# There's a monkey on my back | 0:46:53 | 0:46:55 | |
# Makes me talk like that | 0:46:56 | 0:46:58 | |
# There's a monkey on my back | 0:47:00 | 0:47:02 | |
# Makes me talk like that | 0:47:04 | 0:47:06 | |
# There's a monkey on my back | 0:47:07 | 0:47:09 | |
# Makes me act like that | 0:47:11 | 0:47:13 | |
# There's a monkey on my back | 0:47:14 | 0:47:16 | |
# Makes me talk like that. # | 0:47:18 | 0:47:20 | |
I tell you what... | 0:47:47 | 0:47:48 | |
I tell you what, I swear at one point... | 0:47:49 | 0:47:52 | |
at one point I looked down, | 0:47:52 | 0:47:54 | |
I got the top of her head, | 0:47:54 | 0:47:57 | |
and I thought she was going to pull me cock off in her hand | 0:47:57 | 0:47:59 | |
and fucking throw it out of the window. | 0:47:59 | 0:48:01 | |
Oh... | 0:48:01 | 0:48:02 | |
She sucked me dry, I swear to God. | 0:48:02 | 0:48:05 | |
Like fucking spud water at the end. | 0:48:05 | 0:48:08 | |
We've had worse nights. | 0:48:09 | 0:48:11 | |
You're quiet, Arthur, eh? | 0:48:13 | 0:48:15 | |
Yeah, yeah, yeah. Fuck off. | 0:48:15 | 0:48:16 | |
How was your night, brother? | 0:48:16 | 0:48:17 | |
-You got all your buttons back, eh? -Yeah, all right. Fuck off. | 0:48:17 | 0:48:20 | |
Yeah, what's God going to say about it, Arthur, eh? | 0:48:20 | 0:48:22 | |
Fuck off, both of ya. | 0:48:22 | 0:48:23 | |
He tells Linda everything. | 0:48:27 | 0:48:29 | |
Every single thing. | 0:48:31 | 0:48:32 | |
Yeah, well, we'll see. | 0:48:32 | 0:48:35 | |
We're going to miss you when you're gone now, Arthur. | 0:48:41 | 0:48:44 | |
Just drive the fucking car. | 0:48:46 | 0:48:48 | |
Private Letso reporting for duty, Sergeant Major. | 0:49:18 | 0:49:22 | |
At ease, Private. | 0:49:22 | 0:49:24 | |
Good to see you. | 0:49:27 | 0:49:28 | |
Seven left... | 0:49:32 | 0:49:34 | |
out of 50. | 0:49:34 | 0:49:36 | |
Should I get them tea? | 0:49:36 | 0:49:38 | |
Get 'em beer, Curly. | 0:49:38 | 0:49:39 | |
They used to run on it like cars on petrol. | 0:49:39 | 0:49:42 | |
Give them the Black Country stuff. | 0:49:42 | 0:49:44 | |
It's in a barrel with the tack. | 0:49:44 | 0:49:46 | |
They're going to fucking clean me out. | 0:49:46 | 0:49:49 | |
Whatever they take, they'll put back. They're good men. | 0:49:49 | 0:49:52 | |
John, Arthur. | 0:49:52 | 0:49:54 | |
You remember these boys? | 0:49:54 | 0:49:56 | |
Well, if it ain't the Tipton fucking Clay-Kickers, eh? | 0:49:57 | 0:50:02 | |
-Clay-Kickers. -Come here, you. | 0:50:02 | 0:50:03 | |
THEY GREET EACH OTHER | 0:50:05 | 0:50:07 | |
This is William Letso, from the South African Native Labour Corps. | 0:50:11 | 0:50:15 | |
Sent to Flanders from the Bloemfontein diamond mines. | 0:50:15 | 0:50:18 | |
The best tunneller I ever met. | 0:50:18 | 0:50:21 | |
So there's three cellars underneath the house. | 0:50:21 | 0:50:23 | |
Wine, kitchen, septic. | 0:50:23 | 0:50:25 | |
There's a tunnel here that runs from the house underneath | 0:50:25 | 0:50:28 | |
the river to an underground strong room. | 0:50:28 | 0:50:31 | |
Now this used to be the Palace treasury. | 0:50:31 | 0:50:33 | |
The tunnel runs directly west and it's separated from the house | 0:50:33 | 0:50:37 | |
by three iron doors | 0:50:37 | 0:50:39 | |
with locks we can't open. | 0:50:39 | 0:50:41 | |
We need our tunnel to run from here and hit the strong room direct. | 0:50:41 | 0:50:45 | |
Primrose Hill, 23. Ada Thorne. | 0:51:26 | 0:51:28 | |
Ada? | 0:51:31 | 0:51:32 | |
Is Michael still there? | 0:51:32 | 0:51:34 | |
Right, would you tell him that I've taken the car? | 0:51:38 | 0:51:41 | |
He can take the train. | 0:51:41 | 0:51:43 | |
Try and find out why he's been so bloody sour lately. | 0:51:43 | 0:51:46 | |
DISTANT DOOR OPENING | 0:52:14 | 0:52:16 | |
DRAWER CLOSES | 0:52:16 | 0:52:17 | |
FOOTSTEPS | 0:52:19 | 0:52:20 | |
FOOTSTEPS RETREAT | 0:52:43 | 0:52:44 | |
Shouldn't go looking through other people's private things. | 0:53:27 | 0:53:31 | |
He's my son. | 0:53:31 | 0:53:32 | |
The bullet was mine. I never got a chance to fire it. | 0:53:34 | 0:53:37 | |
And the gypsy rules say it must be passed on. | 0:53:37 | 0:53:40 | |
It's not about rules, Pol. | 0:53:40 | 0:53:42 | |
It's about he asked me. | 0:53:42 | 0:53:44 | |
It's about he told me | 0:53:46 | 0:53:47 | |
why he wanted to do it. | 0:53:47 | 0:53:49 | |
Now, if I tell you, | 0:53:50 | 0:53:52 | |
I can't take the knowledge back. | 0:53:52 | 0:53:54 | |
Better off without it. | 0:53:57 | 0:53:58 | |
So this is when he was with the parish. | 0:54:03 | 0:54:05 | |
Better off without it, Pol. | 0:54:05 | 0:54:06 | |
This is when he was with the Fathers... | 0:54:18 | 0:54:21 | |
This is when he was in the care of the Holy Fathers. | 0:54:21 | 0:54:24 | |
Michael wants it so you don't know. | 0:54:26 | 0:54:28 | |
-That priest... -That priest... | 0:54:38 | 0:54:41 | |
who was there... | 0:54:41 | 0:54:43 | |
when he was taken in... | 0:54:43 | 0:54:45 | |
and who is still walking the fucking earth. | 0:54:45 | 0:54:48 | |
Fuck. | 0:54:48 | 0:54:49 | |
Fuck. | 0:54:58 | 0:54:59 | |
He asked me, Pol... | 0:54:59 | 0:55:01 | |
and I said yes. | 0:55:01 | 0:55:02 | |
And I said, | 0:55:07 | 0:55:09 | |
"You put a bullet in that fucker's brains... | 0:55:09 | 0:55:13 | |
"..by order of the Peaky Blinders." | 0:55:15 | 0:55:17 | |
SHE SIGHS | 0:55:25 | 0:55:27 | |
No. | 0:55:30 | 0:55:31 | |
Not my son. | 0:55:33 | 0:55:34 | |
He'll still be as dead if Arthur does it. | 0:55:38 | 0:55:40 | |
And part of him will always stay dead. | 0:55:40 | 0:55:42 | |
I swear to God... | 0:55:46 | 0:55:47 | |
In whose house it took place. | 0:55:47 | 0:55:48 | |
..if my son pulls the trigger... | 0:55:48 | 0:55:51 | |
..I will bring this whole fucking organisation down around your ears. | 0:55:52 | 0:55:56 | |
MUSIC: Red Right Hand by Nick Cave And The Bad Seeds | 0:56:09 | 0:56:12 | |
# On a gathering storm comes a tall, handsome man | 0:56:25 | 0:56:29 | |
# In a dusty, black coat with a red right hand. # | 0:56:29 | 0:56:34 |