Browse content similar to The Noose. 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 | 0:00:06 | |
Arthur. | 0:00:06 | 0:00:08 | |
John. | 0:00:08 | 0:00:09 | |
Michael. | 0:00:12 | 0:00:14 | |
The Chief Constable of Birmingham | 0:00:16 | 0:00:17 | |
has issued a warrant for your arrest. | 0:00:17 | 0:00:20 | |
MUTED | 0:00:20 | 0:00:22 | |
MUFFLED SHOUTS | 0:00:25 | 0:00:27 | |
I've made a deal with people even more powerful than our enemies. | 0:00:29 | 0:00:33 | |
Trust me, brother. | 0:00:37 | 0:00:39 | |
BIRDSONG | 0:00:45 | 0:00:47 | |
BELLS TOLL | 0:00:47 | 0:00:49 | |
Father. | 0:01:00 | 0:01:02 | |
What is it - Sunday? | 0:01:02 | 0:01:04 | |
There's been a mistake. | 0:01:04 | 0:01:05 | |
There's an appeal process underway that doesn't begin until January. | 0:01:05 | 0:01:08 | |
I want to see my lawyer, Mr Patrick. | 0:01:08 | 0:01:10 | |
Stop! This shouldn't be happening! | 0:01:10 | 0:01:13 | |
YELLING | 0:01:13 | 0:01:16 | |
Get your hands off me! | 0:01:20 | 0:01:21 | |
Argh! Get your hands off me, you bastards! | 0:01:27 | 0:01:30 | |
I'm John Shelby! | 0:01:31 | 0:01:34 | |
LAUGHS MANIACALLY | 0:01:34 | 0:01:36 | |
HE BREATHES HARD | 0:01:38 | 0:01:39 | |
WHISPERS: When I come back...when I come back, got to be clear. | 0:01:41 | 0:01:45 | |
Want to go outside. Want to go outside. | 0:01:45 | 0:01:47 | |
Want to go outside. Want to go outside. | 0:01:47 | 0:01:49 | |
FAINT SHOUTING | 0:01:52 | 0:01:53 | |
WHISPERING | 0:02:01 | 0:02:03 | |
Michael! Michael! | 0:02:12 | 0:02:14 | |
-Arthur! -Michael! -Arthur! | 0:02:14 | 0:02:16 | |
-John! Where's Tommy?! -Arthur! | 0:02:16 | 0:02:19 | |
-Arthur! -JOHN! | 0:02:20 | 0:02:22 | |
SHE HYPERVENTILATES | 0:02:29 | 0:02:31 | |
No! | 0:02:31 | 0:02:33 | |
Arthur, you have to call the King! | 0:02:52 | 0:02:54 | |
-About what? -About this! | 0:02:54 | 0:02:56 | |
This is the case of a family of Birmingham gangsters | 0:02:56 | 0:02:59 | |
on trial for murder and sedition. | 0:02:59 | 0:03:02 | |
Why would the King intervene? | 0:03:02 | 0:03:04 | |
The leader of the gang, Thomas Shelby. | 0:03:04 | 0:03:06 | |
He claims his family was caught up in a wider conspiracy. | 0:03:06 | 0:03:09 | |
-He names Winston Churchill. -You woke me up for this? | 0:03:09 | 0:03:12 | |
And he also sent us this. | 0:03:12 | 0:03:14 | |
How the fuck did a Birmingham racketeer | 0:03:17 | 0:03:20 | |
get his hands on a personal letter written by King George? | 0:03:20 | 0:03:24 | |
During a robbery at Hampton Court, | 0:03:24 | 0:03:26 | |
Shelby discovered a box of correspondence. | 0:03:26 | 0:03:28 | |
Among the papers he stole was that letter from the King himself, | 0:03:28 | 0:03:32 | |
which proves His Majesty was involved. | 0:03:32 | 0:03:34 | |
Oh, utter fuck. | 0:03:35 | 0:03:37 | |
If his family walks free, then he will burn the papers in my presence. | 0:03:39 | 0:03:43 | |
-When are they due to hang? -Today. | 0:03:44 | 0:03:47 | |
This morning, in Winson Green Prison. | 0:03:47 | 0:03:49 | |
Why the hell didn't you bring it up before?! | 0:03:49 | 0:03:51 | |
The plan was for the Lord Chamberlain | 0:03:51 | 0:03:53 | |
to intervene at the appeal but late last night | 0:03:53 | 0:03:56 | |
some local judge brought the executions forward. | 0:03:56 | 0:03:58 | |
Oh, my giddy aunt! | 0:03:58 | 0:04:00 | |
Put me through to His Majesty. | 0:04:02 | 0:04:03 | |
Well, wake him up! | 0:04:03 | 0:04:06 | |
HE BREATHES HARD | 0:04:09 | 0:04:11 | |
SHE GASPS | 0:04:11 | 0:04:13 | |
# No heaven, no hell No innocence... # | 0:04:13 | 0:04:17 | |
In the bleak midwinter. | 0:04:17 | 0:04:21 | |
In the bleak midwinter. | 0:04:21 | 0:04:23 | |
Thy kingdom come, thy will be done | 0:04:23 | 0:04:26 | |
on earth as it is... | 0:04:26 | 0:04:27 | |
Oh, Lord Jesus, | 0:04:27 | 0:04:29 | |
with this rope, pull me up to heaven. | 0:04:29 | 0:04:32 | |
I see your face shining down on me! | 0:04:33 | 0:04:36 | |
# No heaven, no hell, no innocence | 0:04:36 | 0:04:39 | |
# No heaven, no hell, no innocence | 0:04:39 | 0:04:42 | |
# No heaven, no hell, no innocence | 0:04:42 | 0:04:46 | |
# No heaven, no hell, no innocence | 0:04:46 | 0:04:50 | |
# No heaven, no hell No innocence... # | 0:04:50 | 0:04:52 | |
Wait! | 0:04:52 | 0:04:54 | |
# No heaven | 0:04:54 | 0:04:56 | |
# No hell, no heaven... # | 0:04:56 | 0:04:59 | |
-MUFFLED: -Wait! | 0:04:59 | 0:05:01 | |
MUTED | 0:05:01 | 0:05:03 | |
# No hell | 0:05:03 | 0:05:05 | |
# No heaven | 0:05:05 | 0:05:06 | |
# No hell | 0:05:06 | 0:05:08 | |
# No heaven | 0:05:08 | 0:05:10 | |
# No hell. # | 0:05:10 | 0:05:12 | |
Also, sir, in return for burning the King's letters, | 0:05:18 | 0:05:21 | |
Thomas Shelby has asked for something else. | 0:05:21 | 0:05:23 | |
An inclusion in this year's New Year's honours list. | 0:05:23 | 0:05:26 | |
Thomas Shelby has asked for the King to award him an OBE, sir. | 0:05:26 | 0:05:30 | |
MUSIC: Red Right Hand by Nick Cave & The Bad Seeds | 0:05:33 | 0:05:36 | |
MUTED | 0:05:36 | 0:05:38 | |
# Take a little walk to the edge of town | 0:05:49 | 0:05:53 | |
# Go across the tracks... # | 0:05:53 | 0:05:55 | |
God bless. Merry Christmas! | 0:05:55 | 0:05:58 | |
# Where the viaduct looms Like a bird of doom | 0:05:58 | 0:06:01 | |
# As it shifts and cracks | 0:06:01 | 0:06:05 | |
# Where secrets lie in the border fires | 0:06:06 | 0:06:10 | |
# In the humming wires | 0:06:10 | 0:06:12 | |
# Hey, man, you know you're never coming back | 0:06:12 | 0:06:15 | |
# Past the square, past the bridge Past the mills, past the stacks | 0:06:15 | 0:06:19 | |
# On a gathering storm | 0:06:22 | 0:06:24 | |
# Comes a tall, handsome man | 0:06:24 | 0:06:27 | |
# In a dusty black coat with a red right hand. # | 0:06:27 | 0:06:31 | |
FAINT CAROL SINGING | 0:06:38 | 0:06:40 | |
Not going home for Christmas, Mr Shelby? | 0:06:41 | 0:06:43 | |
Tomorrow. | 0:06:43 | 0:06:45 | |
So...Maria, or Clara, or Elizabeth? | 0:06:45 | 0:06:50 | |
It's Christmas. | 0:06:52 | 0:06:54 | |
Someone new, Billy. | 0:06:54 | 0:06:56 | |
I've wrapped all Charlie's presents and left them in the room. | 0:07:02 | 0:07:05 | |
What did I get him? | 0:07:05 | 0:07:07 | |
Toy horses, toy cars, toy guns. | 0:07:07 | 0:07:10 | |
You're due at the Singer factory at 8:00 tomorrow, not 8:30. | 0:07:12 | 0:07:14 | |
There's an union problem. | 0:07:14 | 0:07:16 | |
8:00. Yep. | 0:07:16 | 0:07:18 | |
Then the driver will take you home. | 0:07:18 | 0:07:21 | |
I'll drive myself. | 0:07:21 | 0:07:22 | |
Good night, Lizzie. Have a good Christmas. | 0:07:22 | 0:07:24 | |
-I'll have a vodka tonic. -Yes, ma'am. | 0:07:27 | 0:07:30 | |
Tommy, I've had Christmas cards | 0:07:37 | 0:07:39 | |
from John, Arthur, Ada, Michael and Polly. | 0:07:39 | 0:07:41 | |
And an invitation. | 0:07:45 | 0:07:47 | |
New Year's. | 0:07:47 | 0:07:49 | |
A party at John's house. | 0:07:49 | 0:07:51 | |
A party at John's big house. Good for him. | 0:07:51 | 0:07:53 | |
Ada's coming back from Boston for it. | 0:07:55 | 0:07:57 | |
I know. | 0:07:57 | 0:07:59 | |
It was me who gave her the time off. | 0:07:59 | 0:08:01 | |
Why don't you come? Just turn up. Bring Charlie. | 0:08:06 | 0:08:09 | |
Bring a lump of coal. First footing. | 0:08:09 | 0:08:12 | |
A dark-haired man crosses the threshold to bring good luck for the new year. Hm? | 0:08:13 | 0:08:17 | |
The babies will make everybody OK. Babies stop everything. | 0:08:17 | 0:08:21 | |
You can't pull a razor with a baby there. Not even Esme. | 0:08:21 | 0:08:24 | |
Just come. See what happens. | 0:08:29 | 0:08:32 | |
Tommy, you've never even seen Arthur's kid. | 0:08:36 | 0:08:39 | |
Nor John and Esme's. | 0:08:39 | 0:08:41 | |
-Your drink, madam. -Thank you. | 0:08:42 | 0:08:44 | |
Billy? | 0:08:44 | 0:08:46 | |
Who did you get for me? | 0:08:48 | 0:08:49 | |
-Theresa. -I said someone new. | 0:08:54 | 0:08:56 | |
Understood. | 0:08:57 | 0:08:58 | |
Do it for Charlie! | 0:09:03 | 0:09:04 | |
Charlie should know his cousins. | 0:09:04 | 0:09:06 | |
I got Charlie a real horse, Lizzie. | 0:09:09 | 0:09:12 | |
Not a toy. A thoroughbred. | 0:09:14 | 0:09:16 | |
And on Christmas Day, it'll be just you and Charlie. | 0:09:18 | 0:09:21 | |
And the horse. | 0:09:21 | 0:09:22 | |
You can't live like this another year. | 0:09:27 | 0:09:29 | |
Sex, freedom, whisky sours. | 0:09:32 | 0:09:35 | |
Which one should I give up first, Lizzie, eh? | 0:09:37 | 0:09:40 | |
I've got you something. | 0:09:48 | 0:09:50 | |
-WHISPERS: -Merry Christmas. | 0:10:01 | 0:10:02 | |
MUSIC: Adore by Savages | 0:10:06 | 0:10:08 | |
# If only I didn't want the world | 0:10:13 | 0:10:16 | |
# I wouldn't make you feel so sad | 0:10:16 | 0:10:19 | |
# I'm sure my shame would be gone | 0:10:19 | 0:10:22 | |
# Is it human to adore life? | 0:10:22 | 0:10:26 | |
# If only I'd hidden my lust | 0:10:26 | 0:10:29 | |
# And starved a little bit more | 0:10:29 | 0:10:33 | |
# If only I didn't ask for more | 0:10:33 | 0:10:36 | |
# Is it human to adore life? | 0:10:36 | 0:10:40 | |
MUFFLED SHOUTS | 0:10:40 | 0:10:43 | |
# I adore life. # | 0:10:44 | 0:10:46 | |
I told you, you didn't need to come on Christmas Eve. | 0:10:57 | 0:11:00 | |
I could have dealt with it. | 0:11:00 | 0:11:01 | |
Yeah? Like you dealt with it at the Pressings factory(!) | 0:11:01 | 0:11:05 | |
Well, this is the same problem. | 0:11:05 | 0:11:07 | |
Same fucking union convenor. | 0:11:07 | 0:11:10 | |
Area convenor for the Boilermakers' Union has got involved in something | 0:11:10 | 0:11:13 | |
that could have otherwise been fixed with a drink and a bribe. | 0:11:13 | 0:11:17 | |
-The wire-cutting shop? -Yeah. | 0:11:17 | 0:11:19 | |
Now, all the wire-cutters here are women. | 0:11:19 | 0:11:21 | |
That's why the union convenor thinks they're being underpaid. | 0:11:21 | 0:11:23 | |
Well, tell him there are no men in the cutting shops, | 0:11:25 | 0:11:28 | |
so there can be no comparatives. | 0:11:28 | 0:11:30 | |
-It's a woman. -What is? | 0:11:30 | 0:11:33 | |
The union convenor causing all the trouble. | 0:11:33 | 0:11:35 | |
-Fuck! -Her name's Jessie Eden. | 0:11:36 | 0:11:39 | |
-You heard of her? -Yeah. | 0:11:41 | 0:11:43 | |
Do you want me in the meeting? | 0:11:43 | 0:11:45 | |
No. | 0:11:46 | 0:11:47 | |
Michael? | 0:11:50 | 0:11:52 | |
Look...sometimes I have a sniff of snow, so what? | 0:12:09 | 0:12:13 | |
How's your mother? | 0:12:13 | 0:12:15 | |
I drove past her house. The drainpipe was hanging off. | 0:12:17 | 0:12:20 | |
Look, the cocaine keeps me awake. | 0:12:22 | 0:12:24 | |
Very long hours these days, and when I do sleep, | 0:12:25 | 0:12:28 | |
I dream about what happened. | 0:12:28 | 0:12:30 | |
I wasn't asking about you, Michael, was I? | 0:12:30 | 0:12:32 | |
I was asking about your mother. | 0:12:34 | 0:12:36 | |
Since she was pardoned, she's been on these fucking tablets | 0:12:38 | 0:12:41 | |
the doctor gave her when she was in the prison. | 0:12:41 | 0:12:43 | |
She says that when she was inside the noose...she saw spirits. | 0:12:43 | 0:12:47 | |
She's running seances, | 0:12:49 | 0:12:51 | |
but people just come into the house to steal things. | 0:12:51 | 0:12:53 | |
-Tommy, it's bad. -All right, all right. | 0:12:55 | 0:12:57 | |
Hm! Now, listen to me, Michael... | 0:13:00 | 0:13:02 | |
..the spirits she sees are real. | 0:13:08 | 0:13:12 | |
Believe they're real. | 0:13:13 | 0:13:15 | |
Believe it with her. | 0:13:15 | 0:13:17 | |
Then eventually... | 0:13:17 | 0:13:19 | |
you can take the remembered noose from around her neck... | 0:13:19 | 0:13:22 | |
..like a horse that's been choked off. | 0:13:23 | 0:13:26 | |
Keep her off whisky, throw away the tablets... | 0:13:27 | 0:13:31 | |
..and stop giving her fucking snow. | 0:13:32 | 0:13:33 | |
Fuck, Tommy, that sounded like family advice. | 0:13:36 | 0:13:39 | |
Are you coming back? | 0:13:41 | 0:13:42 | |
Nothing to come back to. | 0:13:44 | 0:13:46 | |
Truth is, they're all fucked. | 0:13:48 | 0:13:50 | |
-The lot of them. -Yeah. | 0:13:51 | 0:13:54 | |
Find out about that woman, Jessie Eden. | 0:13:58 | 0:14:01 | |
Don't let your mother keep cash in the house. And, oi! | 0:14:01 | 0:14:04 | |
No cocaine in my registered premises. | 0:14:05 | 0:14:08 | |
Did you see they all came? | 0:15:01 | 0:15:04 | |
Yeah, I saw you at the back. | 0:15:06 | 0:15:07 | |
It's funny they don't notice. | 0:15:10 | 0:15:12 | |
Oh, my sweet! | 0:15:17 | 0:15:19 | |
Oh, my heart! | 0:15:19 | 0:15:21 | |
Crushed to death in the canal. | 0:15:25 | 0:15:26 | |
But back home again, and so beautiful! | 0:15:28 | 0:15:33 | |
Oh! | 0:15:42 | 0:15:44 | |
-WHISPERS: -Inside the loop. | 0:15:51 | 0:15:52 | |
Inside the merry loop. | 0:15:58 | 0:16:00 | |
FOOTSTEPS | 0:16:04 | 0:16:06 | |
BARKING | 0:16:25 | 0:16:27 | |
For fuck's sake! | 0:16:31 | 0:16:33 | |
Fucking birds! | 0:16:41 | 0:16:43 | |
BARKING | 0:16:43 | 0:16:44 | |
VEHICLE APPROACHES | 0:16:44 | 0:16:46 | |
MUSIC: Alas Salvation by Yak | 0:16:46 | 0:16:49 | |
Ada. | 0:16:49 | 0:16:51 | |
Come on. | 0:16:52 | 0:16:53 | |
# Alas Salvation | 0:16:53 | 0:16:55 | |
# Alas Salvation | 0:16:55 | 0:16:59 | |
# Gilded lily nest of vipers Never ever did invite us. # | 0:16:59 | 0:17:03 | |
I thought we'd lost you to the great white way of Broadway. | 0:17:03 | 0:17:06 | |
No. Well, this beats Watery Lane, John. | 0:17:06 | 0:17:09 | |
Does it? Take a seat, I'll grab the kids. | 0:17:09 | 0:17:12 | |
Oh, it's all right, I'm not stopping. | 0:17:12 | 0:17:15 | |
I just want to drop those presents off for tomorrow. | 0:17:15 | 0:17:18 | |
I don't want words on Christmas Eve. | 0:17:18 | 0:17:20 | |
It's my house. You're welcome. | 0:17:20 | 0:17:22 | |
-Hm. -FAINT CHILDREN'S CHATTER | 0:17:22 | 0:17:24 | |
It's OK, I'm staying with Polly. | 0:17:24 | 0:17:27 | |
Yeah. She's in a bad way. | 0:17:27 | 0:17:30 | |
Mm. I'll bring her to her senses. | 0:17:30 | 0:17:31 | |
-Michael's already tried that. -I'll get through to her. | 0:17:32 | 0:17:35 | |
You still going to come to the party on New Year's Eve? | 0:17:38 | 0:17:41 | |
Yeah. Who else is coming? | 0:17:41 | 0:17:42 | |
Arthur, Linda... | 0:17:42 | 0:17:44 | |
Hello, Esme. | 0:17:46 | 0:17:48 | |
Who paid for your car and driver, Ada? | 0:17:50 | 0:17:53 | |
Shelby Company Limited. | 0:17:53 | 0:17:54 | |
Nice car. He treats you well. | 0:17:55 | 0:17:57 | |
His last little pet. | 0:17:57 | 0:17:59 | |
Look, this visit is meant to be about making things all right. | 0:18:00 | 0:18:04 | |
John had a rope around his neck. He shit himself. | 0:18:04 | 0:18:06 | |
All right, Esme, that'll do, yeah? Go in the kitchen. | 0:18:06 | 0:18:10 | |
Take a curse back to the money. | 0:18:10 | 0:18:13 | |
Anyway, there's your presents. | 0:18:20 | 0:18:22 | |
How's Arthur? | 0:18:22 | 0:18:24 | |
For Christmas, get him a sewing kit... | 0:18:25 | 0:18:28 | |
..so he can sew his fucking balls back on. | 0:18:28 | 0:18:30 | |
Oh! | 0:18:32 | 0:18:33 | |
GEESE HONK | 0:18:38 | 0:18:40 | |
PHONE RINGS | 0:19:02 | 0:19:03 | |
Maypole 245. | 0:19:11 | 0:19:13 | |
Hello, Esme. | 0:19:16 | 0:19:17 | |
There you go, look. That's a couple of eggs. Two eggs. There we go. | 0:19:17 | 0:19:22 | |
Arthur? | 0:19:22 | 0:19:24 | |
Be careful with Billy in there, there's a cock. | 0:19:24 | 0:19:27 | |
Yeah, I will. | 0:19:27 | 0:19:28 | |
And don't smoke that near him. | 0:19:28 | 0:19:31 | |
All right. Get out of it! | 0:19:31 | 0:19:34 | |
Esme called to say Ada's on her way over. | 0:19:34 | 0:19:36 | |
HE LAUGHS | 0:19:36 | 0:19:38 | |
Did you hear that, Billy boy? | 0:19:38 | 0:19:40 | |
Your Auntie Ada's coming all the way from America. | 0:19:40 | 0:19:43 | |
Bye, chickens! | 0:19:44 | 0:19:46 | |
Oh! We dropped an egg, look! | 0:19:46 | 0:19:49 | |
We dropped an egg, Billy boy. | 0:19:50 | 0:19:52 | |
MUSIC: Red Right Hand by FIDLAR | 0:19:52 | 0:19:56 | |
Give him the hell he gives us, Miss Eden. | 0:20:00 | 0:20:02 | |
# Take a little walk to the edge of town | 0:20:04 | 0:20:08 | |
# And go across the tracks | 0:20:08 | 0:20:11 | |
# Where the viaduct looms like a bird of doom | 0:20:12 | 0:20:15 | |
# As it shifts and cracks | 0:20:15 | 0:20:18 | |
# Where the secrets lie in the border fires | 0:20:19 | 0:20:24 | |
# In the humming wires...# | 0:20:24 | 0:20:26 | |
Excuse me! This is the gents... | 0:20:26 | 0:20:29 | |
You don't have a women's lavatory on the second floor | 0:20:29 | 0:20:31 | |
because no women get this far up. | 0:20:31 | 0:20:33 | |
If you don't have a women's lavatory, I can't go to it, can I? | 0:20:33 | 0:20:37 | |
# On a gathering storm comes a tall handsome man | 0:20:37 | 0:20:40 | |
# In a dusty black coat with a red right hand. # | 0:20:40 | 0:20:44 | |
You say there is a disparity in pay based on sex. | 0:20:57 | 0:21:01 | |
The male wire-cutters in the Rover factory | 0:21:05 | 0:21:07 | |
a mile and a half down the road | 0:21:07 | 0:21:08 | |
are paid ten shillings a week more | 0:21:08 | 0:21:10 | |
than the female wire-cutters here. | 0:21:10 | 0:21:12 | |
Different factories, different rates. | 0:21:12 | 0:21:15 | |
But both factories are owned by you, Mr Shelby. | 0:21:15 | 0:21:18 | |
Not in your own name, of course. | 0:21:18 | 0:21:20 | |
In the name of Arrow House Holdings. | 0:21:20 | 0:21:23 | |
You own the Lanchester car and van factory | 0:21:23 | 0:21:25 | |
in the name of Tilton Company Limited, | 0:21:25 | 0:21:27 | |
the Billings machine tools factories at Hay Mills and Greet | 0:21:27 | 0:21:30 | |
in the name of Stetchford Engineering, | 0:21:30 | 0:21:32 | |
the Bilston Forgings and Pressings factory in the name of Canalside, | 0:21:32 | 0:21:35 | |
and the canal warehousing in Gas Street, | 0:21:35 | 0:21:37 | |
Saltely and Cadbury in the name of Shelby Company Limited. | 0:21:37 | 0:21:40 | |
Also, 255 streets of back-to-back houses. | 0:21:40 | 0:21:44 | |
Very good. | 0:21:45 | 0:21:47 | |
Very good. | 0:21:48 | 0:21:51 | |
So this isn't about women and men. | 0:21:51 | 0:21:54 | |
It's about me, eh? | 0:21:54 | 0:21:55 | |
Tommy Shelby, OBE. No, it's not about you. | 0:21:55 | 0:21:59 | |
It's about disparities. | 0:22:01 | 0:22:02 | |
It's about ten shillings a week for working mothers | 0:22:02 | 0:22:05 | |
-so they can buy shoes for their kids. -Never had shoes myself. | 0:22:05 | 0:22:08 | |
So, now you deny others? | 0:22:08 | 0:22:09 | |
And, barefoot, I grew up mean. | 0:22:09 | 0:22:12 | |
-Oh, I know. -Oh, yeah, you know everything. | 0:22:12 | 0:22:15 | |
-Your turn of phrase... -Is unacceptable? | 0:22:15 | 0:22:16 | |
You grew up mean, you say? A threat in there, I think, somewhere. | 0:22:16 | 0:22:19 | |
-No threats. -The whole of Birmingham knows you, Mr Shelby. | 0:22:19 | 0:22:22 | |
Sweetheart...whatever you've heard, I don't need to make threats. | 0:22:22 | 0:22:28 | |
My comrade brothers and sisters... | 0:22:31 | 0:22:33 | |
Huh! Your brothers and sisters! All right, listen, | 0:22:33 | 0:22:36 | |
I will conduct myself as a businessman... | 0:22:36 | 0:22:38 | |
Who says "sweetheart"! | 0:22:38 | 0:22:40 | |
You say there is a ten-shilling disparity | 0:22:40 | 0:22:42 | |
between male and female cutters in two of my factories? | 0:22:42 | 0:22:45 | |
Very well. | 0:22:45 | 0:22:46 | |
I will increase the pay of the female cutters | 0:22:48 | 0:22:50 | |
in this factory by five shillings. | 0:22:50 | 0:22:52 | |
And I will cut the pay | 0:22:53 | 0:22:54 | |
of the male cutters in the Rover by five shillings... | 0:22:54 | 0:22:58 | |
..thereby achieving your sacred fucking parity. | 0:22:59 | 0:23:02 | |
And I will tell the men with families to feed | 0:23:03 | 0:23:07 | |
whose idea it was to cut their pay. | 0:23:07 | 0:23:10 | |
You do that, I will bring all my members out on strike. | 0:23:10 | 0:23:13 | |
Oh, yeah? The week after Christmas? You think so? | 0:23:13 | 0:23:16 | |
You know, everything you've said here today, | 0:23:16 | 0:23:18 | |
and the fact that we're having this meeting today | 0:23:18 | 0:23:21 | |
tells me that you are a woman without a family. | 0:23:21 | 0:23:24 | |
And everything I hear about you | 0:23:24 | 0:23:26 | |
tells me you are a man without a family, as well. | 0:23:26 | 0:23:28 | |
My comrade brothers and sisters are not afraid of you, Mr Shelby. | 0:23:31 | 0:23:34 | |
I will call an extraordinary meeting of my executive committee | 0:23:34 | 0:23:37 | |
as soon as Boxing Day. | 0:23:37 | 0:23:39 | |
You will hear the whistles blow all across Birmingham. | 0:23:39 | 0:23:42 | |
I've heard lots of whistles blow, sweetheart! | 0:23:44 | 0:23:47 | |
HE EXHALES | 0:23:51 | 0:23:53 | |
FOOTSTEPS | 0:24:05 | 0:24:07 | |
DOOR OPENS | 0:24:09 | 0:24:10 | |
The post has arrived, Mr Shelby. | 0:24:12 | 0:24:14 | |
I'm sorry to keep asking, | 0:24:21 | 0:24:22 | |
but Chef needs to know how many for dinner tomorrow. | 0:24:22 | 0:24:24 | |
He's new. He's foreign. He gets very upset. | 0:24:26 | 0:24:29 | |
Right. Well, you tell Chef | 0:24:32 | 0:24:33 | |
there'll be 27 guests for Christmas dinner tomorrow. | 0:24:33 | 0:24:35 | |
27? Family? | 0:24:35 | 0:24:38 | |
Yep. I thought Charlie could do with some company, | 0:24:38 | 0:24:41 | |
so I asked Johnny Dogs if he knew anyone who liked to eat goose... | 0:24:41 | 0:24:44 | |
..and he said he knew 26. | 0:24:45 | 0:24:46 | |
Tell Chef I want ten geese, | 0:24:49 | 0:24:51 | |
a buck cut into steaks, | 0:24:51 | 0:24:53 | |
some trout from the river. | 0:24:53 | 0:24:55 | |
Fetch whisky, brandy and wine from the cellar. Best we have. | 0:24:56 | 0:24:59 | |
There will be children? | 0:24:59 | 0:25:02 | |
Lots of children. | 0:25:02 | 0:25:04 | |
With Johnny's tribe, new ones might be born on the floor. | 0:25:04 | 0:25:06 | |
So have mops and buckets ready, eh? | 0:25:06 | 0:25:10 | |
And I want you at the table, Frances, so make it 28. | 0:25:11 | 0:25:15 | |
I will be busy. | 0:25:15 | 0:25:17 | |
You've put up with me this past year, | 0:25:17 | 0:25:19 | |
looked after Charlie when I've been on business. | 0:25:19 | 0:25:21 | |
Tomorrow, you will eat at my table. | 0:25:21 | 0:25:23 | |
Things will get better, I think, next year. | 0:25:27 | 0:25:29 | |
Uh-huh. | 0:25:32 | 0:25:34 | |
HE CLEARS THROAT | 0:25:50 | 0:25:51 | |
HE BREATHES HARD | 0:26:11 | 0:26:13 | |
It gets much warmer than here in the summer. | 0:26:32 | 0:26:34 | |
-Much colder in the winter. -I knew it. -Mm. | 0:26:34 | 0:26:36 | |
But parts of it are just like Birmingham. | 0:26:36 | 0:26:38 | |
Yeah. Shit and smoke are the same everywhere. | 0:26:38 | 0:26:42 | |
Hm. What about you, Linda? Are you working? | 0:26:42 | 0:26:45 | |
-I've been seeking work as a teacher. -A teacher. | 0:26:46 | 0:26:48 | |
But, you know, it's quite difficult. | 0:26:48 | 0:26:51 | |
The Shelby name, it's always in the papers. | 0:26:51 | 0:26:53 | |
And, er...what do you get up to all day, Arthur? | 0:26:55 | 0:26:58 | |
As you know, Arthur's previous endeavours | 0:26:58 | 0:27:00 | |
have left us with no need for a salary. | 0:27:00 | 0:27:02 | |
Arthur occupies his time in the garden, doing voluntary work. | 0:27:03 | 0:27:07 | |
He drives old people and cripples. | 0:27:08 | 0:27:10 | |
-Oh. -Yeah, well, it's something to do. | 0:27:10 | 0:27:13 | |
I want to open a garage. | 0:27:15 | 0:27:17 | |
-Some day. -Fixing cars, you know? | 0:27:17 | 0:27:19 | |
Sometimes cars attract ambitious men. | 0:27:19 | 0:27:21 | |
Yeah, well...I like fixing cars. | 0:27:23 | 0:27:26 | |
Mm. | 0:27:26 | 0:27:28 | |
PHONE RINGS | 0:27:30 | 0:27:32 | |
I'll go. I got it. | 0:27:32 | 0:27:34 | |
Maypole 245. | 0:27:40 | 0:27:42 | |
Arthur, have you checked your post? | 0:27:42 | 0:27:45 | |
I just got served a black hand. | 0:27:47 | 0:27:49 | |
I just got delivered a black fucking hand to the house. | 0:27:50 | 0:27:53 | |
From Luca Changretta. | 0:27:53 | 0:27:55 | |
WHISPERS: Jesus! | 0:27:56 | 0:27:58 | |
Jesus Christ! | 0:27:58 | 0:28:00 | |
Wait a minute, John, which one was Luca? | 0:28:03 | 0:28:05 | |
The old man's oldest son. | 0:28:05 | 0:28:07 | |
He was going to get done for killing a bank clerk in a robbery, | 0:28:09 | 0:28:11 | |
so his old man sent him back to New York. | 0:28:11 | 0:28:13 | |
You know what the black hand means among the wops, Arthur? | 0:28:15 | 0:28:18 | |
It's Mafia shit. | 0:28:18 | 0:28:20 | |
The Sicilian fucking Mafia! | 0:28:20 | 0:28:23 | |
Check your post, Arthur. | 0:28:24 | 0:28:26 | |
-Arthur, I was just leaving. -No, you're not. | 0:28:34 | 0:28:36 | |
-I need...I need to talk to you. -Arthur? | 0:28:37 | 0:28:41 | |
It's all right, Linda. Stay here. Ada, please. | 0:28:41 | 0:28:44 | |
Linda? You stay here. | 0:28:49 | 0:28:51 | |
Did you say Mafia? | 0:29:01 | 0:29:03 | |
-Esme, I need to make a call. -No! | 0:29:03 | 0:29:06 | |
-I need to make a fucking call! Give it here! -What the fuck is this?! | 0:29:06 | 0:29:09 | |
-Give it here! -Not until you tell me what the fuck it is! | 0:29:09 | 0:29:11 | |
-Give it here! -What is it?! | 0:29:11 | 0:29:14 | |
It's from Luca Changretta, all right? We killed his dad. | 0:29:14 | 0:29:17 | |
I remember. It was Tommy who killed him! | 0:29:17 | 0:29:21 | |
It was fucking Arthur pulled the trigger! | 0:29:21 | 0:29:24 | |
All right, it was mercy, but it was Arthur! | 0:29:24 | 0:29:26 | |
Anyway, it makes no fucking difference! | 0:29:26 | 0:29:29 | |
For the wops, it's family. | 0:29:29 | 0:29:31 | |
The black hand came here. | 0:29:31 | 0:29:33 | |
Everybody will have got one. | 0:29:33 | 0:29:35 | |
They're coming for us all! | 0:29:35 | 0:29:37 | |
We made an agreement. | 0:29:41 | 0:29:43 | |
We made a solemn promise. | 0:29:44 | 0:29:46 | |
We're the family now. | 0:29:47 | 0:29:49 | |
Here, look at that. | 0:29:58 | 0:30:01 | |
That's from Changretta's son, Luca. | 0:30:01 | 0:30:04 | |
How the fuck he knows where I live. Eh? | 0:30:04 | 0:30:08 | |
And why's he waited a year? | 0:30:09 | 0:30:10 | |
I'm going to see Tommy next. I'll talk to him. | 0:30:12 | 0:30:14 | |
I've been served a black hand and she won't even let me | 0:30:15 | 0:30:18 | |
keep a fucking spud gun in the house. | 0:30:18 | 0:30:20 | |
Go to a hotel. | 0:30:20 | 0:30:22 | |
It's Christmas Eve, Ada. | 0:30:22 | 0:30:23 | |
I've got a gun in the glove compartment. You take that for now. | 0:30:27 | 0:30:30 | |
I'll talk to Tommy and have him call. | 0:30:30 | 0:30:32 | |
-Just make sure you get to the phone first. -Yeah. -Now hug me, | 0:30:32 | 0:30:36 | |
like you came out here because you were emotional. | 0:30:36 | 0:30:38 | |
I am emotional. I just don't know what fucking emotion it is. | 0:30:38 | 0:30:42 | |
It'll be OK. I'll talk to Tommy. | 0:30:44 | 0:30:46 | |
You talk to him. | 0:30:46 | 0:30:47 | |
GOOSE HONKS | 0:30:51 | 0:30:52 | |
You and me both, brother. | 0:30:54 | 0:30:55 | |
ENGINE STARTS | 0:30:58 | 0:31:00 | |
Ada! | 0:31:03 | 0:31:04 | |
You wait there, you won't leave empty handed. | 0:31:06 | 0:31:08 | |
Here you go, look, some eggs, | 0:31:08 | 0:31:10 | |
you give them to Polly, all right? | 0:31:10 | 0:31:11 | |
And you, keep your eyes on the road. | 0:31:13 | 0:31:15 | |
Take care. | 0:31:16 | 0:31:17 | |
Who was on the phone, Arthur? | 0:31:25 | 0:31:27 | |
John. Wishing me Merry Christmas. | 0:31:27 | 0:31:30 | |
Come inside. It's getting late. | 0:31:35 | 0:31:37 | |
SHIP'S HORN | 0:31:39 | 0:31:42 | |
Thanks. | 0:32:00 | 0:32:02 | |
HE SPEAKS ITALIAN | 0:32:15 | 0:32:17 | |
Take off the hat. | 0:32:30 | 0:32:32 | |
Are you with those other Italians? | 0:32:39 | 0:32:41 | |
We're Americans. It says it right there on the paper. | 0:32:41 | 0:32:46 | |
USA. | 0:32:47 | 0:32:48 | |
And what's the purpose of your visit? | 0:32:52 | 0:32:54 | |
Pleasure. | 0:32:56 | 0:32:57 | |
Mum? It's me. | 0:33:10 | 0:33:12 | |
You left the door open. | 0:33:19 | 0:33:20 | |
To change the air. | 0:33:20 | 0:33:22 | |
I told you I was busy today. | 0:33:22 | 0:33:23 | |
What do you want? | 0:33:23 | 0:33:24 | |
Why haven't you opened your post? | 0:33:26 | 0:33:28 | |
I tidied up. | 0:33:29 | 0:33:30 | |
Ada's coming today. | 0:33:32 | 0:33:34 | |
She's late. | 0:33:34 | 0:33:35 | |
Tommy asked about you today. | 0:33:36 | 0:33:38 | |
I hope Ada's car hasn't broken down. | 0:33:40 | 0:33:42 | |
Is Shelby Company Limited still using Bentleys? | 0:33:42 | 0:33:46 | |
Yeah. | 0:33:46 | 0:33:47 | |
Bentleys are no good in the cold. | 0:33:48 | 0:33:50 | |
You should tell him. | 0:33:50 | 0:33:52 | |
I will. | 0:33:52 | 0:33:53 | |
Any other messages for Tommy? | 0:33:55 | 0:33:56 | |
Yeah. Fuck off. | 0:33:56 | 0:33:57 | |
He saw that your drain pipe was broken. He was worried. | 0:33:59 | 0:34:04 | |
Is that it? Is that all he asked about? Drainpipes? | 0:34:07 | 0:34:11 | |
No. He said that I'm to accept that you have a gift. | 0:34:11 | 0:34:14 | |
That you've always had a gift. | 0:34:16 | 0:34:17 | |
What gift? | 0:34:18 | 0:34:20 | |
Second sight. | 0:34:20 | 0:34:22 | |
Spirits. All that gypsy stuff, he said that I'm to believe you. | 0:34:23 | 0:34:26 | |
You think I don't hear his voice in yours. | 0:34:26 | 0:34:29 | |
You don't think I recognise his strategies. | 0:34:29 | 0:34:31 | |
I'm still a match for him. | 0:34:33 | 0:34:34 | |
Yes. | 0:34:34 | 0:34:35 | |
You are. And you still can be. | 0:34:35 | 0:34:38 | |
Me and Lizzie decided that | 0:34:41 | 0:34:43 | |
this New Year we're all to turn the page. | 0:34:43 | 0:34:45 | |
-You can't spend another year like this, Mum. -"Mum." | 0:34:48 | 0:34:51 | |
Mum. | 0:34:57 | 0:34:58 | |
That word is like a bullet to me. | 0:34:59 | 0:35:01 | |
I see your sister in that chair sometimes... | 0:35:08 | 0:35:11 | |
Look, me and Lizzie have decided. | 0:35:14 | 0:35:18 | |
It's time. | 0:35:21 | 0:35:22 | |
I bought these. | 0:35:25 | 0:35:26 | |
One for you and Ada | 0:35:28 | 0:35:30 | |
and one for you and me. | 0:35:30 | 0:35:32 | |
So Tommy said, "Keep her off the whisky." | 0:35:34 | 0:35:36 | |
I'll drink Champagne the day my son leaves | 0:35:40 | 0:35:42 | |
the employment of Shelby Company Limited. | 0:35:42 | 0:35:46 | |
You tell him that next time he mentions fucking drainpipes. | 0:35:46 | 0:35:49 | |
Right. Now, this is your job, Charlie. We give those to Santa | 0:36:06 | 0:36:12 | |
and Rudolph. | 0:36:12 | 0:36:14 | |
Good boy. Put this out for Santa, for his whisky. | 0:36:16 | 0:36:19 | |
Now, night-night. Merry Christmas. | 0:36:19 | 0:36:22 | |
-I will see you tomorrow. Sleep well. -Come on, Charlie. | 0:36:26 | 0:36:29 | |
APPROACHING VEHICLE | 0:36:57 | 0:36:59 | |
KNOCKING | 0:37:40 | 0:37:42 | |
Mr Shelby, it's your sister. | 0:37:53 | 0:37:55 | |
I know. Send her in. | 0:37:55 | 0:37:57 | |
I got a card, Ada. | 0:38:04 | 0:38:06 | |
I'm guessing Arthur and John have had one as well. | 0:38:06 | 0:38:08 | |
Hello, Tommy. "Hello, Ada, welcome home." Thanks, it's nice to be back. | 0:38:08 | 0:38:13 | |
I've spoken to Moss. | 0:38:16 | 0:38:17 | |
Moss said Changretta is a soldier for the Spinetti family, | 0:38:17 | 0:38:20 | |
which means he will have men with him, professional men. | 0:38:20 | 0:38:23 | |
They usually operate in units of around ten. | 0:38:23 | 0:38:25 | |
Moss is checking Cunard records to see if they're already in England. | 0:38:25 | 0:38:29 | |
This one's for you. | 0:38:29 | 0:38:30 | |
What is it? A time machine? | 0:38:32 | 0:38:34 | |
My God. Tommy Shelby. | 0:38:34 | 0:38:36 | |
Is that regret? | 0:38:36 | 0:38:37 | |
I'll open it tomorrow. | 0:38:37 | 0:38:39 | |
So, boss, in the light of the changed circumstances, | 0:38:40 | 0:38:43 | |
what are your orders? | 0:38:43 | 0:38:45 | |
Changretta knows where we all live. | 0:38:48 | 0:38:51 | |
If we stay out in the open, isolated, | 0:38:51 | 0:38:53 | |
he'll pick us off one by one. | 0:38:53 | 0:38:54 | |
We need to be together in a place even they won't dare to come. | 0:38:55 | 0:38:58 | |
You mean back home? | 0:39:00 | 0:39:01 | |
Within a four-mile radius of the Garrison, | 0:39:01 | 0:39:04 | |
every man is a guard and a soldier for us. | 0:39:04 | 0:39:06 | |
I'm calling a family meeting. Charlie Strong's yard, Boxing Day. | 0:39:06 | 0:39:11 | |
Finn's already there. You tell Polly and Michael. | 0:39:11 | 0:39:13 | |
I'll deal with John and Arthur. | 0:39:13 | 0:39:14 | |
And Esme and Linda? | 0:39:14 | 0:39:16 | |
Anyone who wants to live to see another Christmas | 0:39:18 | 0:39:20 | |
needs to come to where it's safe. | 0:39:20 | 0:39:21 | |
These bastards will kill kids as well. | 0:39:21 | 0:39:23 | |
When this business is finished, we can...go our separate ways. | 0:39:23 | 0:39:27 | |
Go and see Polly and explain. | 0:39:30 | 0:39:31 | |
She'll have had a card as well. | 0:39:31 | 0:39:33 | |
Do you think I'm on the list? | 0:39:35 | 0:39:38 | |
We're all on the list, Ada. | 0:39:38 | 0:39:40 | |
I gave my gun to Arthur. | 0:39:42 | 0:39:44 | |
Welcome home. | 0:40:02 | 0:40:03 | |
Holy shit, it's Father Christmas. | 0:40:22 | 0:40:25 | |
Yeah, and if you're good... you get what you deserve. | 0:40:25 | 0:40:30 | |
Fucking come here, you! | 0:40:31 | 0:40:32 | |
PHONE RINGS | 0:40:51 | 0:40:54 | |
Fuck. | 0:41:07 | 0:41:08 | |
Yeah, put me through to Maypole 245. | 0:41:16 | 0:41:19 | |
PHONE RINGS | 0:41:19 | 0:41:21 | |
-Hello. -Arthur, it's Tommy. | 0:41:29 | 0:41:31 | |
Be quick, they're asleep. | 0:41:31 | 0:41:33 | |
Family meeting, Charlie's yard, Boxing Day, midday. | 0:41:33 | 0:41:37 | |
I can't raise John but I'll send Michael to get him. | 0:41:37 | 0:41:40 | |
If you have to pull a gun on Linda, do it. Merry Christmas. | 0:41:42 | 0:41:45 | |
Merry Christmas, Tom. | 0:41:51 | 0:41:52 | |
What did you do with them? | 0:42:02 | 0:42:04 | |
My tablets were in the bathroom cabinet. | 0:42:05 | 0:42:07 | |
What did you do with them? | 0:42:07 | 0:42:09 | |
I threw them in the lavatory. | 0:42:09 | 0:42:11 | |
Tommy's orders? | 0:42:12 | 0:42:14 | |
No. My own decision. | 0:42:14 | 0:42:16 | |
How am I going to get through Christmas without them? | 0:42:20 | 0:42:23 | |
They close everything. | 0:42:23 | 0:42:24 | |
How am I going to get through Christmas without them? | 0:42:24 | 0:42:26 | |
-I'll help you. -They don't open anything. | 0:42:26 | 0:42:28 | |
Fucking no apothecary, nothing. | 0:42:28 | 0:42:30 | |
You can move in with me and I'll help you. | 0:42:31 | 0:42:33 | |
How can I get through fucking Christmas? Without... | 0:42:34 | 0:42:37 | |
Without anything! How? | 0:42:37 | 0:42:40 | |
SHE BREATHES HARD AND RAPIDLY | 0:42:40 | 0:42:42 | |
You can move in with me and I'll help you. | 0:42:44 | 0:42:47 | |
Fuck off! Fuck off! Fuck off, Thomas Shelby! | 0:42:47 | 0:42:50 | |
-Fuck off! -It's all right it's me. Mum, this as got to stop! | 0:42:50 | 0:42:52 | |
I don't want you, I don't want you, Thomas Shelby. | 0:42:52 | 0:42:54 | |
My husband is back and he loves me. | 0:42:54 | 0:42:56 | |
Tommy said to believe in spirits with you, but I can't. | 0:42:56 | 0:42:58 | |
Hello, Polly. Hello, Michael. Merry Christmas. | 0:42:58 | 0:43:01 | |
The door was wide open. | 0:43:03 | 0:43:04 | |
Fuck. | 0:43:04 | 0:43:05 | |
I spent the whole day tidying up. I wanted it to be nice. | 0:43:07 | 0:43:11 | |
I wanted it to look nice! | 0:43:11 | 0:43:12 | |
Why, Pol? It's only me. | 0:43:12 | 0:43:14 | |
It's OK. It's OK. | 0:43:14 | 0:43:16 | |
We can sit, sit and talk and put things back together. | 0:43:16 | 0:43:20 | |
It's OK. | 0:43:20 | 0:43:21 | |
-I'll leave you two to it. -No, you stay. | 0:43:21 | 0:43:24 | |
Now, listen, something's happened. Things have changed. | 0:43:26 | 0:43:30 | |
Today everyone in the family received one of these. | 0:43:32 | 0:43:36 | |
What does it mean? | 0:43:47 | 0:43:49 | |
Tommy's called a family meeting. He wants you both to come. | 0:43:49 | 0:43:52 | |
APPROACHING FOOTSTEPS | 0:43:55 | 0:43:58 | |
KNOCKING | 0:44:01 | 0:44:03 | |
Come. | 0:44:03 | 0:44:05 | |
I'm really sorry to bother you again, sir, | 0:44:11 | 0:44:14 | |
but Chef insists on knowing what time the guests will arrive. | 0:44:14 | 0:44:17 | |
Francis, for the last time, it's Johnny Dogs. They're gypsies. | 0:44:19 | 0:44:25 | |
They're camped down by the river. | 0:44:25 | 0:44:27 | |
When they're ready they'll walk up. All right? | 0:44:27 | 0:44:29 | |
He says it's about preparation, sir. | 0:44:29 | 0:44:32 | |
What is? | 0:44:32 | 0:44:33 | |
He's asked specifically. | 0:44:33 | 0:44:35 | |
Will they arrive before the King's speech or after? | 0:44:35 | 0:44:38 | |
You said he was new, this chef. | 0:44:42 | 0:44:44 | |
When did join us? | 0:44:47 | 0:44:49 | |
October. | 0:44:49 | 0:44:50 | |
October. | 0:44:54 | 0:44:55 | |
And he's foreign? | 0:44:57 | 0:44:58 | |
He's Italian, sir. | 0:44:58 | 0:45:00 | |
-Oh. -He's the best chef we've ever had in the house. | 0:45:00 | 0:45:05 | |
No shouting or swearing or blaspheming. | 0:45:06 | 0:45:09 | |
Do we have his references? | 0:45:09 | 0:45:10 | |
Yes. | 0:45:10 | 0:45:11 | |
The only problem has been his assistant. | 0:45:14 | 0:45:16 | |
What assistant? | 0:45:16 | 0:45:18 | |
He brought an assistant with him. He calls him his sous-chef. | 0:45:18 | 0:45:21 | |
Are they still working, Frances? | 0:45:25 | 0:45:28 | |
They'll be there till midnight, sir. | 0:45:28 | 0:45:30 | |
Right, thank you. Good night. | 0:45:34 | 0:45:36 | |
You can go to bed. | 0:45:36 | 0:45:37 | |
Merry Christmas, sir. | 0:45:38 | 0:45:40 | |
And I thought about your offer. | 0:45:42 | 0:45:44 | |
I'd be happy to sit at your table. | 0:45:46 | 0:45:48 | |
Right, thank you. | 0:45:49 | 0:45:51 | |
What's your name? | 0:46:30 | 0:46:31 | |
Max, Mr Shelby. | 0:46:31 | 0:46:33 | |
Max. | 0:46:33 | 0:46:34 | |
It's all right. Don't get up. | 0:46:36 | 0:46:38 | |
Oh. Sorry. Sorry. Sorry, yes. | 0:46:38 | 0:46:42 | |
You're new. I'm Mr Shelby. | 0:46:45 | 0:46:47 | |
Hello, sir. | 0:46:47 | 0:46:49 | |
I haven't taken time to introduce myself. | 0:46:49 | 0:46:52 | |
Antonio. | 0:46:54 | 0:46:55 | |
What have you done that's so wrong, eh? | 0:46:59 | 0:47:00 | |
Excuse me? | 0:47:02 | 0:47:03 | |
A sous-chef peeling potatoes. | 0:47:03 | 0:47:06 | |
It's an emergency. Late notice. | 0:47:08 | 0:47:11 | |
Oh. Late notice. | 0:47:11 | 0:47:14 | |
Right, right, carry on. | 0:47:15 | 0:47:18 | |
Antonio... | 0:47:27 | 0:47:28 | |
..here, £10. | 0:47:30 | 0:47:33 | |
For the late notice. | 0:47:33 | 0:47:34 | |
You wanted to know if my guests would arrive | 0:48:13 | 0:48:15 | |
before or after the King's speech? | 0:48:15 | 0:48:17 | |
-Eh? -Yes. | 0:48:21 | 0:48:23 | |
It'll be after. | 0:48:25 | 0:48:26 | |
How are you? | 0:48:35 | 0:48:36 | |
Oh, just...worried about tomorrow. | 0:48:38 | 0:48:40 | |
Yeah? I'm worried about Antonio. | 0:48:42 | 0:48:45 | |
You've been here two months and we've not met before. | 0:48:50 | 0:48:53 | |
It's my fault. I've been busy. | 0:48:53 | 0:48:55 | |
Thomas Shelby. | 0:48:57 | 0:48:58 | |
My hand has blood. | 0:49:01 | 0:49:03 | |
Oh, mine too. | 0:49:03 | 0:49:04 | |
Hey, er, how much do you pay Antonio? | 0:49:07 | 0:49:11 | |
I forget. | 0:49:13 | 0:49:15 | |
Must be a lot. | 0:49:16 | 0:49:18 | |
I just gave him £10. | 0:49:18 | 0:49:19 | |
Didn't mean a fucking thing to him. | 0:49:20 | 0:49:22 | |
Maybe it isn't you that pays him. | 0:49:26 | 0:49:28 | |
I've been reading up on you. | 0:49:41 | 0:49:43 | |
Bertorelli. Claridge's. | 0:49:43 | 0:49:46 | |
You used to work in a place called San Marco's, | 0:49:46 | 0:49:51 | |
on...on Fleet Street. | 0:49:51 | 0:49:54 | |
I used to know the man that owned San Marco's. | 0:49:56 | 0:50:00 | |
A man called Darby Sabini. | 0:50:00 | 0:50:02 | |
-I never met him. -No. | 0:50:04 | 0:50:06 | |
Maybe your...assistant, Antonio, maybe he's met him. | 0:50:06 | 0:50:11 | |
Here's how it is. | 0:50:14 | 0:50:15 | |
-Antonio was sent from New York. -I don't know. Please... | 0:50:15 | 0:50:19 | |
Darby Sabini facilitated. | 0:50:19 | 0:50:21 | |
He passed him on to you and told you to bring him into my house. | 0:50:21 | 0:50:24 | |
They threatened to kill you if you didn't do it. | 0:50:24 | 0:50:27 | |
You want me to dress you like you dressed that fucking stag? | 0:50:27 | 0:50:30 | |
Please! | 0:50:30 | 0:50:32 | |
-You know about me, right? -Mm-hm. | 0:50:34 | 0:50:38 | |
-You know what I do? -Mm-hm. | 0:50:38 | 0:50:40 | |
You wanted to know when my guests would arrive | 0:50:42 | 0:50:44 | |
because Antonio needed me alone. He's an assassin. | 0:50:44 | 0:50:47 | |
The plan is to kill me tomorrow. | 0:50:47 | 0:50:49 | |
I don't know. | 0:50:51 | 0:50:53 | |
They just said bring him here. | 0:50:54 | 0:50:56 | |
Well, bring him here. | 0:51:01 | 0:51:03 | |
Antonio! | 0:51:07 | 0:51:09 | |
HE CALLS OUT IN ITALIAN | 0:51:10 | 0:51:11 | |
HE SPEAKS ITALIAN | 0:51:43 | 0:51:45 | |
Aaaargh! | 0:51:48 | 0:51:50 | |
Aaaargh! | 0:51:52 | 0:51:54 | |
You are a black hand! You are a black hand! | 0:52:04 | 0:52:08 | |
How many came from New York? How many fucking came from New York? | 0:52:08 | 0:52:13 | |
Vaffanculo! | 0:52:13 | 0:52:14 | |
What did he... What did he say? Is that a curse or a number? | 0:52:15 | 0:52:19 | |
What did he fucking say? What did he fucking say? | 0:52:19 | 0:52:21 | |
-He said, "Fuck you." -Yeah? | 0:52:21 | 0:52:23 | |
GUNSHOT | 0:52:23 | 0:52:24 | |
The black hand means kill or be killed. | 0:52:35 | 0:52:37 | |
You go back to London, | 0:52:39 | 0:52:41 | |
you tell Darby Sabini he picked the wrong side in this war. | 0:52:41 | 0:52:45 | |
Once we've dealt with the Americans, we'll come for him. | 0:52:47 | 0:52:50 | |
Go on, go. | 0:52:50 | 0:52:51 | |
Go. | 0:52:51 | 0:52:53 | |
Oi! You tell anyone else, I'll come and find you. | 0:52:53 | 0:52:57 | |
Harrow 335. | 0:53:17 | 0:53:20 | |
The Hare and Hounds pub. | 0:53:20 | 0:53:21 | |
Robert. Yes, it's Mr Shelby. | 0:53:28 | 0:53:30 | |
Merry Christmas to you too. | 0:53:32 | 0:53:34 | |
Robert, is there a gypsy in the public bar playing | 0:53:34 | 0:53:36 | |
the fiddle for shillings? | 0:53:36 | 0:53:38 | |
Yes. | 0:53:38 | 0:53:40 | |
Can you, er, can you tell him I need to speak to him? | 0:53:40 | 0:53:43 | |
Thank you. | 0:53:43 | 0:53:45 | |
Oh, fuck, Tom. | 0:53:57 | 0:53:59 | |
I thought these sporting days were over. | 0:53:59 | 0:54:02 | |
Yeah, so did I. But they keep coming back at us. | 0:54:02 | 0:54:05 | |
There's a black stallion in the stables. | 0:54:06 | 0:54:08 | |
He's invisible at night, use him. | 0:54:08 | 0:54:11 | |
Take the body across the river to the rough ground. | 0:54:11 | 0:54:13 | |
-Burn him? -No. This one's a message. | 0:54:14 | 0:54:17 | |
Will there still be geese for dinner? | 0:54:19 | 0:54:21 | |
-Only if you can steal them on the way. -On the way where? | 0:54:21 | 0:54:24 | |
We're going back, Johnny. | 0:54:25 | 0:54:27 | |
Back to Small Heath. | 0:54:29 | 0:54:31 | |
Back where you belong. | 0:54:31 | 0:54:32 | |
HE SPEAKS HIS OWN LANGUAGE | 0:54:33 | 0:54:36 | |
Merry Christmas. You can keep the stallion. | 0:54:36 | 0:54:39 | |
Christ the fucking night. | 0:54:39 | 0:54:41 | |
Michael, they're coming today. Michael, shut up and listen. | 0:54:57 | 0:55:01 | |
You've got to get everyone out. | 0:55:01 | 0:55:02 | |
Get Polly and Ada to Charlie's yard. | 0:55:02 | 0:55:05 | |
I've told Arthur but I can't reach John. | 0:55:05 | 0:55:07 | |
When you've dropped Polly and Ada, | 0:55:07 | 0:55:08 | |
go out to John's place and get him out. All right? | 0:55:08 | 0:55:11 | |
-Is it Christmas? -Not just yet. Let's go, eh? -Mummy! | 0:55:14 | 0:55:18 | |
Move! | 0:55:29 | 0:55:31 | |
Hello? | 0:55:44 | 0:55:46 | |
GUN COCKS | 0:55:50 | 0:55:52 | |
Oh, fuck. It's you. Got nothing better to do on Christmas morning? | 0:55:53 | 0:55:57 | |
Tommy wants everybody at Charlie's yard now. Come on. | 0:55:57 | 0:56:00 | |
Get in. Get in. What's going to happen? It's fucking Christmas. | 0:56:00 | 0:56:04 | |
Look, John, we don't have time for this. | 0:56:04 | 0:56:07 | |
-Come into the house. -Just come to the meeting. -Have some food. | 0:56:07 | 0:56:10 | |
Tell Tommy Shelby we can look after ourselves. | 0:56:11 | 0:56:14 | |
Tommy says they could come for us today. | 0:56:14 | 0:56:16 | |
Tommy says, Tommy says. Are you his fucking parrot? | 0:56:16 | 0:56:18 | |
Look it's the Mafia, all right. | 0:56:18 | 0:56:19 | |
This is the New York Mafia we're talking about. | 0:56:19 | 0:56:22 | |
And we're the Peaky fucking Blinders. | 0:56:22 | 0:56:24 | |
No, we're not, John. | 0:56:24 | 0:56:25 | |
We're not the Peaky fucking Blinders unless we're together. | 0:56:25 | 0:56:28 | |
You were together on the gallows, | 0:56:28 | 0:56:30 | |
with one man missing. | 0:56:30 | 0:56:32 | |
John? John, come to the meeting, all right? Think about the kids. | 0:56:32 | 0:56:37 | |
Come to the meeting and if you want to leave then fine. | 0:56:37 | 0:56:40 | |
HORSE HOOVES | 0:56:40 | 0:56:41 | |
No. It's Christmas Day. We're the family now. | 0:56:41 | 0:56:45 | |
We're staying at home. | 0:56:45 | 0:56:46 | |
-In the fucking house! -Esme... | 0:56:49 | 0:56:51 | |
John! | 0:56:53 | 0:56:54 | |
GUNFIRE | 0:56:56 | 0:56:58 |