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I want you to be alive after your entire family is dead | 0:00:02 | 0:00:04 | |
that is what will hurt you the most. | 0:00:04 | 0:00:06 | |
Michael is badly wounded. | 0:00:06 | 0:00:08 | |
John is dead. | 0:00:08 | 0:00:09 | |
So I sent a message to Aberama Gold. | 0:00:09 | 0:00:12 | |
-I need you back. -I'll help you | 0:00:12 | 0:00:14 | |
cos Michael wants me to help you. Starting now. | 0:00:14 | 0:00:17 | |
The bullet's been written. | 0:00:17 | 0:00:19 | |
He, as the oldest brother... I'll put this bullet into his head. | 0:00:19 | 0:00:22 | |
You said you'd bring every man and woman out on strike. | 0:00:22 | 0:00:25 | |
Do you have a whistle? | 0:00:25 | 0:00:27 | |
WHISTLE BLOWS It's almost as if you want trouble. | 0:00:27 | 0:00:29 | |
This programme contains some violent scenes, | 0:00:30 | 0:00:32 | |
strong language from the start, and some scenes of a sexual nature | 0:00:32 | 0:00:36 | |
CLAMOUR OF VOICES | 0:00:51 | 0:00:54 | |
All right. First come, first served, form an orderly line, all of you. | 0:01:03 | 0:01:08 | |
All right. All right. | 0:01:08 | 0:01:11 | |
Right! Have your contracts of employment in your hand! | 0:01:13 | 0:01:17 | |
Bring 'em in! Get in there. | 0:01:17 | 0:01:20 | |
Get moving! On you go! Go on, keep going! | 0:01:20 | 0:01:24 | |
-Keep going. Whoa, where are you going? -Bradley. Foreman. | 0:01:24 | 0:01:28 | |
All right. You go and see that man over there. Go! | 0:01:28 | 0:01:31 | |
-What's your name? -Bradley. I'm a foreman. | 0:01:33 | 0:01:36 | |
-When did you last work here? -1922. | 0:01:36 | 0:01:37 | |
How many have done this type of work before? | 0:01:37 | 0:01:39 | |
They're mostly farm hands from down Worcester way. But I'll show 'em. | 0:01:39 | 0:01:42 | |
-Hungry men learn fast. -All right. On you go. | 0:01:42 | 0:01:44 | |
Dirty scabs! Blacklegs! | 0:01:44 | 0:01:48 | |
GLASS SMASHES | 0:01:48 | 0:01:50 | |
What bastard threw that? Get him out here! | 0:01:50 | 0:01:54 | |
Arthur! Oi! Enough. Get him out! | 0:02:03 | 0:02:07 | |
Get out! | 0:02:07 | 0:02:09 | |
Ten more! | 0:02:09 | 0:02:10 | |
-Two more. -Ten. -That's it. Close it up! | 0:02:14 | 0:02:18 | |
HEAVY DOORS CLOSE | 0:02:22 | 0:02:23 | |
Right. Ten bob a man. £2 there for you. | 0:02:23 | 0:02:28 | |
-What about security? -Yeah, well, about that... | 0:02:28 | 0:02:30 | |
By order of the city of Birmingham police department, | 0:02:30 | 0:02:33 | |
you and your ugly workforce are now under the protection... | 0:02:33 | 0:02:37 | |
..of the Peaky fucking Blinders. | 0:02:38 | 0:02:41 | |
DOOR OPENS | 0:02:54 | 0:02:55 | |
-Mr Gray? -Yeah, send him in. | 0:02:57 | 0:02:59 | |
It's your mother. | 0:02:59 | 0:03:00 | |
-WHISPERS: -Oh, fuck. | 0:03:00 | 0:03:02 | |
I read about it in the paper. | 0:03:14 | 0:03:16 | |
I have a right. | 0:03:19 | 0:03:20 | |
I'm your mum, as well. | 0:03:23 | 0:03:24 | |
You want me to go away? | 0:03:30 | 0:03:31 | |
Yes. | 0:03:34 | 0:03:35 | |
I'll just leave these. | 0:03:38 | 0:03:40 | |
They're from our orchard. | 0:03:45 | 0:03:47 | |
You used to love these. | 0:03:53 | 0:03:55 | |
I hope there are no worms in them. | 0:03:57 | 0:03:58 | |
Look, I just wanted to say that you're welcome to come home. | 0:04:24 | 0:04:29 | |
To get better at home. | 0:04:30 | 0:04:32 | |
I know you got bored in the village, but... | 0:04:32 | 0:04:34 | |
..we love you - | 0:04:37 | 0:04:38 | |
and your little brother misses playing football with you... | 0:04:38 | 0:04:42 | |
..and your dad... | 0:04:44 | 0:04:45 | |
..passed on. | 0:04:48 | 0:04:49 | |
He passed on peacefully in our bed. | 0:04:51 | 0:04:54 | |
Fuck. | 0:04:57 | 0:04:58 | |
Now go on. | 0:05:04 | 0:05:06 | |
I'm expecting Tommy, and he's due here now. | 0:05:06 | 0:05:10 | |
I'll go, then. | 0:05:12 | 0:05:13 | |
I'll not be in the same room as that man. | 0:05:15 | 0:05:18 | |
CAR PULLS UP OUTSIDE | 0:05:41 | 0:05:43 | |
DOOR OPENS | 0:06:02 | 0:06:04 | |
Come on, Pol, Tommy's expecting us. | 0:06:04 | 0:06:07 | |
Who's with us? | 0:06:08 | 0:06:10 | |
Isaiah and two Lee boys. | 0:06:10 | 0:06:12 | |
Ada, how long since you've had a fuck? | 0:06:14 | 0:06:17 | |
What? | 0:06:17 | 0:06:19 | |
It's been nearly two years with me. | 0:06:19 | 0:06:22 | |
Over Christmas I counted it up. | 0:06:22 | 0:06:25 | |
So, I've made a New Year's resolution to change the situation. | 0:06:25 | 0:06:29 | |
Oh. Anyone particular in mind? | 0:06:29 | 0:06:32 | |
Not really. | 0:06:32 | 0:06:33 | |
Just me and someone unsuitable. | 0:06:34 | 0:06:37 | |
# From starry eyes colliding | 0:06:40 | 0:06:43 | |
# From Mars to someone crying... # | 0:06:46 | 0:06:50 | |
I'll sit in the front. | 0:06:52 | 0:06:54 | |
# I'm never far away | 0:06:54 | 0:06:56 | |
# No matter what I'm hiding | 0:06:59 | 0:07:02 | |
# I get lost | 0:07:05 | 0:07:07 | |
# But I always come around | 0:07:08 | 0:07:11 | |
# Call when you're ready cos I'm ready to ride. # | 0:07:12 | 0:07:16 | |
So, this is just to make things official. | 0:07:16 | 0:07:19 | |
Your official return to the company payroll. | 0:07:19 | 0:07:21 | |
So no more talk of New Year's resolutions | 0:07:21 | 0:07:24 | |
or Tommy might change his mind. | 0:07:24 | 0:07:26 | |
-What New Year's resolution? -Never mind. | 0:07:26 | 0:07:28 | |
I think Ada's trying to tell me to behave myself. | 0:07:30 | 0:07:33 | |
Yeah. Behave yourself. | 0:07:33 | 0:07:35 | |
Behave myself or what? | 0:07:36 | 0:07:37 | |
Behave myself or fucking what? | 0:07:39 | 0:07:41 | |
OK, Polly, I'll tell you the truth. | 0:07:43 | 0:07:46 | |
After your recent troubles, Tommy asked me to keep an eye on you. | 0:07:46 | 0:07:48 | |
"Troubles?" | 0:07:48 | 0:07:50 | |
Whilst working for this company, | 0:07:51 | 0:07:53 | |
I have killed a man, | 0:07:53 | 0:07:54 | |
I have lost a man, I have found a son, | 0:07:54 | 0:07:57 | |
I have nearly lost a son, I have nearly lost my own life. | 0:07:57 | 0:08:01 | |
Now, I will accept my job back, | 0:08:02 | 0:08:05 | |
if the terms on offer are favourable... | 0:08:05 | 0:08:08 | |
..but I will not behave myself. | 0:08:10 | 0:08:12 | |
Sorry I'm late. | 0:08:26 | 0:08:28 | |
Where's Arthur? | 0:08:37 | 0:08:38 | |
Do I look like his fucking mother? | 0:08:40 | 0:08:42 | |
Oh, no. Why are you here? | 0:08:57 | 0:09:01 | |
You all right? Is Billy all right? | 0:09:01 | 0:09:03 | |
Yes. Everything's fine. | 0:09:03 | 0:09:05 | |
Well, look... Lovely to see you, but I'm late for a meeting. | 0:09:05 | 0:09:08 | |
They can wait. | 0:09:08 | 0:09:10 | |
I've got something for you. | 0:09:17 | 0:09:19 | |
Something for a loving husband who's been working very hard... | 0:09:19 | 0:09:23 | |
..and is under a great deal of pressure. | 0:09:23 | 0:09:26 | |
Something to relieve his stress. | 0:09:29 | 0:09:33 | |
It's silk. From Japan. | 0:09:41 | 0:09:44 | |
Feel. | 0:09:44 | 0:09:46 | |
My hands are dirty. | 0:09:51 | 0:09:53 | |
Good. | 0:09:53 | 0:09:54 | |
Feel all of it. | 0:09:54 | 0:09:56 | |
Feel it properly. | 0:09:58 | 0:10:00 | |
You, er... You want to do this here? | 0:10:07 | 0:10:11 | |
Why not? I thought you were the boss. | 0:10:11 | 0:10:15 | |
-I am the fucking boss. -Then tell me what to do, boss. | 0:10:16 | 0:10:20 | |
Come here. | 0:10:22 | 0:10:23 | |
Right, before we start this extraordinary general meeting | 0:10:23 | 0:10:28 | |
of the board of the Shelby Company Limited, | 0:10:28 | 0:10:31 | |
I'd like to note the absence of the Deputy Vice President, | 0:10:31 | 0:10:35 | |
who has not yet arrived. | 0:10:35 | 0:10:36 | |
We'll continue without his presence. | 0:10:36 | 0:10:38 | |
-HE CLEARS THROAT -Item number one. | 0:10:38 | 0:10:41 | |
The reinstatement of the Shelby Company Limited company treasurer. | 0:10:41 | 0:10:47 | |
The board welcomes back the former treasure, | 0:10:47 | 0:10:49 | |
with generously improved terms and conditions. | 0:10:49 | 0:10:52 | |
Due to the exceptionally difficult circumstances | 0:10:52 | 0:10:55 | |
the company now finds itself in. | 0:10:55 | 0:10:57 | |
The proposed treasurer will now check the terms and conditions, | 0:10:57 | 0:11:00 | |
to see if they are in order. | 0:11:00 | 0:11:01 | |
Item number two, during the absence of the Company Accountant, | 0:11:03 | 0:11:07 | |
due to ill health, | 0:11:07 | 0:11:08 | |
all responsibility for the keeping of the Company Accounts | 0:11:08 | 0:11:12 | |
pass to the head of acquisitions. | 0:11:12 | 0:11:14 | |
Item number three. The Company Treasurer, | 0:11:16 | 0:11:19 | |
having read the terms and condition, | 0:11:19 | 0:11:21 | |
lodges a signed contract of employment agreeing | 0:11:21 | 0:11:23 | |
to the terms and conditions with the temporary head of accounts. | 0:11:23 | 0:11:26 | |
All those in favour of the reinstatement of Mrs Elizabeth Gray | 0:11:26 | 0:11:30 | |
to the position of The Shelby Company treasurer, | 0:11:30 | 0:11:32 | |
please raise your hands. | 0:11:32 | 0:11:34 | |
Why, goodness. Thank you. | 0:11:36 | 0:11:37 | |
Any other business? | 0:11:37 | 0:11:39 | |
Right, I declare this extraordinary general meeting over. | 0:11:39 | 0:11:44 | |
Now we talk about the real business... | 0:11:45 | 0:11:47 | |
..but, for that, we need Arthur. | 0:11:48 | 0:11:50 | |
Where the fuck is Arthur? | 0:11:50 | 0:11:52 | |
SHE EXCLAIMS | 0:11:58 | 0:11:59 | |
KNOCK ON DOOR | 0:12:14 | 0:12:15 | |
-Mr Shelby! -Fuck off. | 0:12:15 | 0:12:18 | |
-They've broken into the paint shop. -Oh, yeah? | 0:12:18 | 0:12:20 | |
They're chucking paint around - | 0:12:20 | 0:12:22 | |
I think they mean to set light to it. | 0:12:22 | 0:12:24 | |
Well, you deal with it, man, I'm fucking busy! | 0:12:24 | 0:12:28 | |
What was all that about? | 0:12:53 | 0:12:55 | |
In this sinful place, | 0:13:10 | 0:13:13 | |
there will be temptations. | 0:13:13 | 0:13:15 | |
It's my responsibility as your wife | 0:13:15 | 0:13:17 | |
to help you resist those temptations. | 0:13:17 | 0:13:20 | |
By putting myself between you... | 0:13:21 | 0:13:24 | |
..and the devil. | 0:13:29 | 0:13:31 | |
In the words of my sinful Catholic mother, | 0:13:33 | 0:13:36 | |
"Keep his balls empty and his belly full." | 0:13:36 | 0:13:39 | |
God rest her soul. | 0:13:41 | 0:13:42 | |
KNOCK ON DOOR Mr Shelby! | 0:13:44 | 0:13:46 | |
You have to come to the paint shop immediately! Please! | 0:13:46 | 0:13:49 | |
Oh, I have to go. | 0:13:53 | 0:13:55 | |
Won't be late. | 0:13:55 | 0:13:57 | |
Sorry, ladies, there's no smoking in here. | 0:14:03 | 0:14:05 | |
Yes, love, we know. | 0:14:05 | 0:14:07 | |
All right. He's an hour late. Fuck him. | 0:14:09 | 0:14:12 | |
This business directly affects Arthur, but he's not here, | 0:14:13 | 0:14:17 | |
so we'll take a vote without him. | 0:14:17 | 0:14:19 | |
What business? | 0:14:19 | 0:14:21 | |
Official business that wasn't on your agenda, Ada. | 0:14:21 | 0:14:24 | |
An informant told us that six years ago Luca Changretta | 0:14:24 | 0:14:29 | |
came from New York to Birmingham to be best man at his cousin's wedding. | 0:14:29 | 0:14:32 | |
We found out that they used Reid and Dunn in Broadgate | 0:14:32 | 0:14:35 | |
for the photographs. | 0:14:35 | 0:14:36 | |
The photographer kept the negatives. I persuaded him to give us copies... | 0:14:36 | 0:14:41 | |
..and to enlarge this one. | 0:14:41 | 0:14:42 | |
That is Luca Changretta. | 0:14:44 | 0:14:48 | |
I've seen his face, so I could pick him out. | 0:14:48 | 0:14:50 | |
Half the men in the photograph are Changrettas, | 0:14:50 | 0:14:53 | |
which means the chances are they're the men will come kill us. | 0:14:53 | 0:14:57 | |
We need to get both these photographs | 0:14:57 | 0:14:58 | |
into pubs and on street corners, | 0:14:58 | 0:15:00 | |
and put it about that there's a reward for information. | 0:15:00 | 0:15:04 | |
We also propose that we give a copy of this photograph | 0:15:06 | 0:15:10 | |
to Mr Aberama Gold. | 0:15:10 | 0:15:12 | |
We need to forget the idea that it has to be Arthur | 0:15:12 | 0:15:15 | |
that pulls the trigger. Tradition will just fuck us up. | 0:15:15 | 0:15:19 | |
We should wait for Arthur. | 0:15:19 | 0:15:21 | |
Arthur's not here, Ada. | 0:15:21 | 0:15:23 | |
We need Luca Changretta dead. That's it. | 0:15:23 | 0:15:27 | |
Dropping the law of the bullet is part of the process of modernisation | 0:15:27 | 0:15:30 | |
that I was working on before I were... | 0:15:30 | 0:15:32 | |
..before I was executed. | 0:15:33 | 0:15:35 | |
You weren't executed, Pol. | 0:15:35 | 0:15:36 | |
What did you call me? | 0:15:38 | 0:15:39 | |
Right. Let's take a vote. I'll deal with Arthur. | 0:15:39 | 0:15:42 | |
All those in favour of giving the photographs | 0:15:42 | 0:15:45 | |
to Mr Gold raise your hand. | 0:15:45 | 0:15:46 | |
Then it will be done. | 0:15:59 | 0:16:01 | |
-Mum... -Oh, "mum" now, is it? | 0:16:01 | 0:16:03 | |
I smelt perfume when I came in here. | 0:16:04 | 0:16:06 | |
Yeah, it was the flowers. | 0:16:06 | 0:16:07 | |
Right, that's it. | 0:16:09 | 0:16:10 | |
Who came in here, Michael? | 0:16:10 | 0:16:12 | |
The truth is, Polly, the woman that raised him came in here. | 0:16:12 | 0:16:16 | |
She has every right to come in here. | 0:16:16 | 0:16:18 | |
She brought him fucking apples and she left. | 0:16:18 | 0:16:20 | |
We're in the middle of a vendetta and Arthur's missing. | 0:16:20 | 0:16:22 | |
We need to find him. | 0:16:22 | 0:16:24 | |
Concentrate on what unites us. | 0:16:24 | 0:16:27 | |
This is all temporary. | 0:16:27 | 0:16:28 | |
Yeah, temporary, right. | 0:16:28 | 0:16:30 | |
DOOR OPENS AND CLOSES | 0:16:33 | 0:16:34 | |
# There's a devil inside of me | 0:16:40 | 0:16:43 | |
# He's holding on... # | 0:16:44 | 0:16:46 | |
Bastards! | 0:16:46 | 0:16:47 | |
# And I don't know if he's staying or for how long | 0:16:47 | 0:16:52 | |
# There's a devil inside of me | 0:16:56 | 0:16:58 | |
# And he's holding on | 0:16:59 | 0:17:01 | |
# And I don't know if he's staying or for how long... # | 0:17:01 | 0:17:07 | |
Party is it, eh? Is that what it is? | 0:17:08 | 0:17:11 | |
What's this, a party, eh? Fuck off out of it! | 0:17:11 | 0:17:15 | |
Get out! | 0:17:15 | 0:17:16 | |
OK, I wasn't going to hit ya... but that wasn't fucking nice. | 0:17:22 | 0:17:26 | |
Oh, you... | 0:17:31 | 0:17:33 | |
Arthur! Mr Shelby! Please, Mr Shelby! Please. | 0:17:37 | 0:17:40 | |
Don't fucking move. Eh? Eh? Now get the fuck out! | 0:17:40 | 0:17:46 | |
Fuck you and fuck your revolution! | 0:17:48 | 0:17:51 | |
I'm a fucking mess. | 0:18:00 | 0:18:03 | |
GUNFIRE | 0:18:29 | 0:18:32 | |
Where are you going? | 0:19:29 | 0:19:30 | |
Come here. | 0:19:30 | 0:19:31 | |
Fucking hit man, are you? | 0:19:31 | 0:19:33 | |
Is that what you are? | 0:19:33 | 0:19:35 | |
Arthur Shelby, hey! | 0:19:37 | 0:19:39 | |
Let's see who wanted you. | 0:19:39 | 0:19:40 | |
What about... | 0:19:42 | 0:19:43 | |
What about fucking John Shelby? | 0:19:44 | 0:19:47 | |
John. | 0:20:14 | 0:20:15 | |
Thank you. | 0:21:00 | 0:21:01 | |
Send my guests in. | 0:21:01 | 0:21:04 | |
You wire Polo and let him tell the family. | 0:21:49 | 0:21:52 | |
He has four kids. | 0:21:54 | 0:21:56 | |
Don't you two have any other clothes to wear? | 0:22:05 | 0:22:08 | |
Uh? | 0:22:08 | 0:22:09 | |
Look at me. | 0:22:17 | 0:22:19 | |
Huh? | 0:22:19 | 0:22:21 | |
I'm here as a lover of theatre. | 0:22:21 | 0:22:24 | |
They kill two of our men... | 0:22:49 | 0:22:51 | |
..you complain about your fucking belly. | 0:22:55 | 0:22:57 | |
Luca. | 0:23:00 | 0:23:01 | |
Luca, con tutto rispetto... | 0:23:03 | 0:23:06 | |
-With respect... -"With respect?" | 0:23:06 | 0:23:09 | |
You raised. | 0:23:09 | 0:23:11 | |
"With respect?" | 0:23:14 | 0:23:15 | |
Open your mouth. | 0:23:17 | 0:23:18 | |
Come on... | 0:23:18 | 0:23:20 | |
Open your fucking mouth! | 0:23:20 | 0:23:21 | |
You fucking dress like them. | 0:23:23 | 0:23:25 | |
You eat like them. | 0:23:25 | 0:23:27 | |
You don't fucking talk to me about "with respect". | 0:23:27 | 0:23:30 | |
Sit down. | 0:23:50 | 0:23:51 | |
What do you have? | 0:24:01 | 0:24:02 | |
Arthur Shelby killed her son in a boxing ring four years ago. | 0:24:13 | 0:24:16 | |
She would do that for us? | 0:24:32 | 0:24:33 | |
OK. | 0:24:44 | 0:24:46 | |
Anyone seen Arthur? | 0:25:14 | 0:25:16 | |
Anyone seen Arthur? Hey? | 0:25:18 | 0:25:21 | |
In your office, Tom. | 0:25:21 | 0:25:22 | |
If you're not going to show up for a family meeting, | 0:25:28 | 0:25:31 | |
you let someone know. We thought you were dead, | 0:25:31 | 0:25:33 | |
there's 15 fucking Italians out there. | 0:25:33 | 0:25:36 | |
No, there's not, there's 13. | 0:25:36 | 0:25:39 | |
I just killed two of them. | 0:25:39 | 0:25:42 | |
Ripped out their hearts and burnt their bones to ash. | 0:25:42 | 0:25:46 | |
I did it. | 0:25:49 | 0:25:50 | |
Me. Your brother. | 0:25:51 | 0:25:54 | |
Not fucking Aberama Gold or his punch-drunk son. | 0:25:55 | 0:25:58 | |
But me! | 0:25:58 | 0:26:00 | |
Even if you don't trust me no more. | 0:26:02 | 0:26:05 | |
What the fuck are you talking about? Arthur? | 0:26:05 | 0:26:07 | |
I got cleaned up at Ada's. | 0:26:08 | 0:26:10 | |
She told me, you took a vote in my absence. | 0:26:11 | 0:26:15 | |
All right, calm down and tell me about the men you killed. | 0:26:15 | 0:26:18 | |
You put my job out for contract. | 0:26:18 | 0:26:21 | |
Arthur... | 0:26:21 | 0:26:22 | |
Yeah, well, I'm going to make it my fucking job anyway. | 0:26:22 | 0:26:26 | |
Because this was all my fault. | 0:26:26 | 0:26:28 | |
-It was me that shot the old man... -Yeah, out of mercy. | 0:26:28 | 0:26:31 | |
Aye, now John's dead, | 0:26:33 | 0:26:35 | |
he's dead because of me, and I want to make it right. | 0:26:35 | 0:26:39 | |
Arthur, wait. | 0:26:39 | 0:26:40 | |
How did the men get in the factory? I need to know. | 0:26:42 | 0:26:44 | |
Through the back fucking door | 0:26:49 | 0:26:51 | |
that was supposed to be locked and bolted. | 0:26:51 | 0:26:55 | |
Some bastard gave me up. Somebody with keys. | 0:26:55 | 0:26:59 | |
Yeah. Why don't you sit there and work it out for yourself? | 0:27:01 | 0:27:05 | |
And take a fucking vote. | 0:27:07 | 0:27:09 | |
Who is this little bear? Yes? | 0:27:25 | 0:27:28 | |
Eh? | 0:27:28 | 0:27:30 | |
Are you all right? | 0:27:33 | 0:27:35 | |
Daddy's home, Billy. | 0:27:39 | 0:27:41 | |
-Yeah, I'm all right. -Look, Daddy's home. | 0:27:41 | 0:27:46 | |
How's Polly? | 0:27:47 | 0:27:49 | |
Is she all right? | 0:27:51 | 0:27:53 | |
Oh, go on, Linda. I mean, it was her idea, wasn't it? | 0:27:56 | 0:28:02 | |
Hum? The Japanese silk? | 0:28:02 | 0:28:05 | |
I'll put him to bed. | 0:28:06 | 0:28:08 | |
SHE OPENS DOOR | 0:28:14 | 0:28:15 | |
You kept me away from that fucking meeting | 0:28:19 | 0:28:21 | |
-to stop me from voting. -Here we go. | 0:28:21 | 0:28:24 | |
It was Polly's idea, wasn't it? | 0:28:24 | 0:28:27 | |
Eh? | 0:28:27 | 0:28:28 | |
You know what I am, don't ya? I am a working man. | 0:28:29 | 0:28:33 | |
Yeah. | 0:28:35 | 0:28:36 | |
Fucking working man. | 0:28:37 | 0:28:39 | |
Fucking...who's lost his job. | 0:28:41 | 0:28:44 | |
Is that what I am, Linda? | 0:28:48 | 0:28:50 | |
Is that what I am, eh? | 0:28:50 | 0:28:52 | |
I don't want you dead. Polly doesn't want you dead. | 0:28:54 | 0:28:58 | |
Let Mr Gold do the killing. For money. | 0:28:58 | 0:29:01 | |
It's the modern way, Arthur. | 0:29:01 | 0:29:04 | |
Watch. | 0:29:07 | 0:29:08 | |
What are you doing? | 0:29:20 | 0:29:21 | |
Now fire it into the fireplace. | 0:29:24 | 0:29:27 | |
Please. | 0:29:27 | 0:29:28 | |
-All right. -Fire it. | 0:29:32 | 0:29:35 | |
Get rid of it. | 0:29:36 | 0:29:38 | |
Then we'll go to bed. | 0:29:43 | 0:29:45 | |
Do anything you like. | 0:29:46 | 0:29:48 | |
Just fire the gun, Arthur. | 0:29:49 | 0:29:51 | |
Fire it. | 0:29:52 | 0:29:54 | |
You go tell Polly... | 0:29:56 | 0:29:57 | |
..there are rules between a man and women. | 0:30:00 | 0:30:03 | |
Fucking rules. | 0:30:05 | 0:30:07 | |
That I have to do this. | 0:30:13 | 0:30:15 | |
I have to do it. | 0:30:18 | 0:30:19 | |
John wants me to do it, Linda. | 0:30:22 | 0:30:25 | |
My brother. | 0:30:28 | 0:30:30 | |
And I'm going to do it. | 0:30:32 | 0:30:35 | |
Was it fear, or was it hatred? | 0:31:22 | 0:31:24 | |
-Was what fear or hatred? -Isaiah... | 0:31:26 | 0:31:29 | |
You had a one way ticket to Glasgow in your pocket. | 0:31:37 | 0:31:39 | |
Your wife and kids left three days ago. | 0:31:43 | 0:31:46 | |
Now...I'm going to ask you again. | 0:31:47 | 0:31:50 | |
Was it fear of the Italians, or hatred of us | 0:31:54 | 0:31:58 | |
that made you unlock the door and give up my brother? | 0:31:58 | 0:32:02 | |
I didn't unlock any door. | 0:32:02 | 0:32:04 | |
Here, have a drink. | 0:32:08 | 0:32:10 | |
You're going to need it. | 0:32:11 | 0:32:13 | |
35 Drumcree Street, Parkhead, Glasgow... | 0:32:17 | 0:32:20 | |
Please, please, please, please... | 0:32:20 | 0:32:23 | |
We have allegiances with Catholic gangs in that city. | 0:32:23 | 0:32:27 | |
Your family are safe only at my discretion. | 0:32:27 | 0:32:30 | |
Now...explain to me... | 0:32:31 | 0:32:35 | |
..why you were catching a midnight train to Glasgow. | 0:32:35 | 0:32:38 | |
You mean you don't know? | 0:32:40 | 0:32:41 | |
I run a factory full of blackleg, non-union labour. | 0:32:43 | 0:32:46 | |
I live in a street full of men laid off or on strike. | 0:32:46 | 0:32:50 | |
Look at this photograph, Mr Devlin, | 0:32:51 | 0:32:53 | |
-and tell me who are the men who contacted you... -No. | 0:32:53 | 0:32:55 | |
No, you listen to me. | 0:32:55 | 0:32:57 | |
I get spat at, | 0:32:57 | 0:32:59 | |
windows smashed, petrol on the curtains... | 0:32:59 | 0:33:02 | |
..but, for fear of you, I clock in every fucking morning - | 0:33:02 | 0:33:06 | |
and, today, two men are shot and burnt on my shift... | 0:33:06 | 0:33:09 | |
..and you ask me why I'm getting the midnight train to Glasgow? | 0:33:09 | 0:33:12 | |
Who else has the keys to that door? | 0:33:22 | 0:33:24 | |
They hang on a hook inside my office. | 0:33:24 | 0:33:27 | |
Today, I left the office unlocked. | 0:33:28 | 0:33:30 | |
-Why? -Because I forgot. Because I left in a hurry. | 0:33:30 | 0:33:34 | |
Because there were men trying to set fire to the factory! | 0:33:34 | 0:33:37 | |
Mr Shelby, may I tell you something? | 0:33:39 | 0:33:42 | |
You have a lot of enemies. | 0:33:44 | 0:33:46 | |
Communists. | 0:33:47 | 0:33:49 | |
Italians. | 0:33:49 | 0:33:50 | |
Before the factory came out on strike, | 0:33:54 | 0:33:57 | |
I heard word that two Italians attended a Communist Party meeting | 0:33:57 | 0:34:01 | |
in Stechford. They hardly spoke English. | 0:34:01 | 0:34:04 | |
Now, if they got a party man into the factory | 0:34:06 | 0:34:09 | |
it might have been him that unlocked the door for them. | 0:34:09 | 0:34:12 | |
Mr Shelby...my train leaves at 12. | 0:34:16 | 0:34:20 | |
It's just gone 11. I could still make it. | 0:34:20 | 0:34:23 | |
Please. For my kids. | 0:34:26 | 0:34:29 | |
I need you here. | 0:34:36 | 0:34:37 | |
Isaiah, get three of our men with police badges | 0:34:37 | 0:34:41 | |
-to watch Mr Devlin's house. -Mr Shelby, please... | 0:34:41 | 0:34:44 | |
Our friends in Glasgow will take care of your family. | 0:34:47 | 0:34:50 | |
For the curtains. | 0:34:52 | 0:34:54 | |
Before you, I was an ordinary working man. | 0:34:55 | 0:34:59 | |
Yeah, and now you're one of us. | 0:34:59 | 0:35:02 | |
MUSIC: Bye Bye Blackbird by Gene Austin | 0:35:22 | 0:35:25 | |
SHE SINGS ALONG: # Blackbird, blackbird | 0:35:34 | 0:35:36 | |
# Singing the blues all day | 0:35:36 | 0:35:39 | |
# Right outside of my door... # | 0:35:39 | 0:35:43 | |
MUSIC CONTINUES | 0:35:43 | 0:35:45 | |
HE KNOCKS | 0:35:58 | 0:36:00 | |
MUSIC STOPS | 0:36:02 | 0:36:03 | |
Who is it? | 0:36:05 | 0:36:07 | |
It's Tommy Shelby. | 0:36:07 | 0:36:08 | |
Is this union business? | 0:36:13 | 0:36:15 | |
Yes. | 0:36:15 | 0:36:16 | |
So, conduct it in the proper place at the proper time. | 0:36:16 | 0:36:18 | |
I've come to make an improved offer. | 0:36:18 | 0:36:20 | |
I heard music. | 0:36:33 | 0:36:34 | |
What's your improved offer? | 0:36:36 | 0:36:38 | |
Do I not get a drink? | 0:36:38 | 0:36:40 | |
No. | 0:36:40 | 0:36:41 | |
-Have you ever seen any of the men in this photograph before? -What? | 0:36:48 | 0:36:53 | |
You're a member of the Stechford Communist party. | 0:36:57 | 0:37:01 | |
I'm told two Italian men attended a meeting recently. | 0:37:01 | 0:37:04 | |
Can you see either of them in this picture? | 0:37:04 | 0:37:07 | |
As the Small Heath coordinator | 0:37:11 | 0:37:13 | |
of the Organisation for the Maintenance of Supplies, | 0:37:13 | 0:37:17 | |
I have also been sworn in as a Special... | 0:37:17 | 0:37:19 | |
SHE SIGHS | 0:37:19 | 0:37:20 | |
We have reason to believe that outside agitators from overseas | 0:37:21 | 0:37:25 | |
are attempting to foment trouble in our factories | 0:37:25 | 0:37:28 | |
in advance of a General Strike, | 0:37:28 | 0:37:30 | |
which could take place at any moment. | 0:37:30 | 0:37:32 | |
This is a matter of national security. | 0:37:32 | 0:37:34 | |
May I look at your badge? | 0:37:36 | 0:37:37 | |
Yes. | 0:37:39 | 0:37:40 | |
What would you like to drink, Constable? | 0:37:51 | 0:37:53 | |
Whisky. And, actually, it's Sergeant. | 0:37:53 | 0:37:55 | |
I only have beer. Times are hard. | 0:37:55 | 0:37:58 | |
How long has it been since you've had a bottle of M&B bitter? | 0:37:58 | 0:38:01 | |
Help yourself. | 0:38:02 | 0:38:04 | |
Have a seat. | 0:38:07 | 0:38:08 | |
You know, when this business began, I did some research on you. | 0:38:16 | 0:38:20 | |
It turns out I know someone who used to know you very well. | 0:38:20 | 0:38:23 | |
Kitty Jurossi. | 0:38:25 | 0:38:26 | |
You were in love with Kitty's sister, Greta Jurossi, | 0:38:30 | 0:38:33 | |
before the war. Do you remember Greta Jurossi? | 0:38:33 | 0:38:35 | |
Her parents were Italian. | 0:38:37 | 0:38:39 | |
They didn't approve of a Watery Lane Gypsy... | 0:38:39 | 0:38:42 | |
..but you won them over. With your charm. | 0:38:42 | 0:38:45 | |
Sweetness. | 0:38:45 | 0:38:47 | |
Very... Very thorough research. | 0:38:49 | 0:38:53 | |
Greta died at the age of 19. Of consumption... | 0:38:53 | 0:38:57 | |
..and Kitty said you were at her bedside for three months. | 0:38:59 | 0:39:03 | |
Every day. Holding her hand... | 0:39:03 | 0:39:05 | |
..and after she died, you went away to war. | 0:39:06 | 0:39:08 | |
Kitty said that the sweet boy who left never came back. | 0:39:10 | 0:39:13 | |
No-one came back. | 0:39:13 | 0:39:15 | |
Here's the funniest thing. | 0:39:16 | 0:39:18 | |
She said, in those days, you believed in things. | 0:39:20 | 0:39:23 | |
In justice. Fairness. | 0:39:23 | 0:39:25 | |
Once you saw a man beating his horse, and you fought him. | 0:39:25 | 0:39:28 | |
He was twice your size, but you beat him... | 0:39:28 | 0:39:30 | |
..and then you beat him with his own whip. | 0:39:30 | 0:39:32 | |
Kitty always liked to tell tall tales. | 0:39:34 | 0:39:36 | |
She's a party member now. | 0:39:37 | 0:39:39 | |
She swears before you enlisted in the army | 0:39:40 | 0:39:42 | |
you joined the Communist Party yourself. | 0:39:42 | 0:39:44 | |
Is that true? | 0:39:48 | 0:39:50 | |
MUSIC STARTS | 0:39:56 | 0:39:58 | |
When I was at the door, | 0:40:00 | 0:40:03 | |
I saw you through the curtains. | 0:40:03 | 0:40:05 | |
You were dancing alone. | 0:40:06 | 0:40:08 | |
I've also done my research. | 0:40:11 | 0:40:14 | |
Your sweetheart was at Passchendaele. | 0:40:19 | 0:40:22 | |
When he came back, he was listed among the shellshocked. | 0:40:24 | 0:40:27 | |
Blew his own fucking brains out. | 0:40:28 | 0:40:30 | |
I don't know any men in the photo. | 0:40:39 | 0:40:41 | |
You haven't looked. | 0:40:46 | 0:40:47 | |
This afternoon, two men came into my factory | 0:40:49 | 0:40:51 | |
and tried to kill my brother. | 0:40:51 | 0:40:53 | |
I believe a Stechford Communist Party member let him in. | 0:40:53 | 0:40:56 | |
I was wondering if you might be able to help me in my investigations. | 0:40:56 | 0:41:00 | |
Kitty said next time I see you, before we start fighting, | 0:41:06 | 0:41:10 | |
I should send you her love from the good old days... | 0:41:10 | 0:41:13 | |
..and give you this. | 0:41:13 | 0:41:15 | |
Greta Jurossi and Tommy Shelby in Blackpool. | 0:41:17 | 0:41:21 | |
Do you recognise the boy in the photograph? | 0:41:31 | 0:41:34 | |
I'll leave that here. | 0:41:57 | 0:41:58 | |
Apologies for interrupting your dance. | 0:42:03 | 0:42:05 | |
# I wish | 0:42:45 | 0:42:49 | |
# I wish | 0:42:51 | 0:42:56 | |
# But it's all in vain | 0:42:57 | 0:43:02 | |
# I wish I was | 0:43:02 | 0:43:06 | |
# A maid again | 0:43:06 | 0:43:10 | |
# But a maid again | 0:43:10 | 0:43:14 | |
# I never can be | 0:43:14 | 0:43:20 | |
# Till apples grow... # | 0:43:21 | 0:43:27 | |
Arthur, I need you to listen to me. | 0:43:27 | 0:43:32 | |
I need you to listen to me, Arthur. | 0:43:33 | 0:43:36 | |
The world is changing. | 0:43:39 | 0:43:41 | |
Listen to me, Arthur. | 0:43:44 | 0:43:46 | |
Listen to the sweet voice of Jesus. | 0:43:48 | 0:43:52 | |
-Finn? -It came from Arthur's house. | 0:44:52 | 0:44:54 | |
-HE BANGS ON DOOR -Arthur. | 0:44:56 | 0:44:57 | |
Arthur. | 0:45:00 | 0:45:01 | |
Where is he? | 0:45:01 | 0:45:03 | |
Arthur? | 0:45:05 | 0:45:06 | |
He fired the bullet. | 0:45:07 | 0:45:09 | |
Linda... | 0:45:12 | 0:45:13 | |
..says it's the modern way, so... | 0:45:15 | 0:45:18 | |
It's the modern way. | 0:45:21 | 0:45:23 | |
Yeah. Yeah. Yeah, it's all right. | 0:45:23 | 0:45:27 | |
It's all right, brother. | 0:45:29 | 0:45:31 | |
You did well. | 0:45:37 | 0:45:38 | |
God spoke to him, not me. | 0:45:38 | 0:45:40 | |
What are you doing here? | 0:46:05 | 0:46:07 | |
On Mondays, I do the inventory. | 0:46:07 | 0:46:09 | |
Make sure nobody's dipping their hand. | 0:46:09 | 0:46:11 | |
Well, it's now my job now. | 0:46:11 | 0:46:15 | |
I'm back - | 0:46:16 | 0:46:18 | |
and there's going to be nobody dipping their hand with me here, | 0:46:18 | 0:46:20 | |
not unless they want it cut off. | 0:46:20 | 0:46:22 | |
DOOR OPENS AND CLOSES | 0:46:22 | 0:46:25 | |
I said to Arthur, while I'm in this fucking place, | 0:46:34 | 0:46:36 | |
I want something to keep my mind busy. | 0:46:36 | 0:46:38 | |
What? You're going to take bets? | 0:46:38 | 0:46:40 | |
I've always been able to do addition and subtraction | 0:46:40 | 0:46:42 | |
without pen and paper - | 0:46:42 | 0:46:44 | |
but I'll need a telephone. | 0:46:44 | 0:46:45 | |
Apparently, we have special clients who take bets by telephone. | 0:46:45 | 0:46:49 | |
Linda? | 0:46:49 | 0:46:50 | |
This is a betting shop. | 0:46:52 | 0:46:54 | |
Look... | 0:46:54 | 0:46:56 | |
..Arthur said yes. Tommy said yes. | 0:46:56 | 0:46:58 | |
But did God say yes? Gambling is a sin, Linda. | 0:46:58 | 0:47:01 | |
It's not me that's doing the gambling. | 0:47:01 | 0:47:03 | |
I'm just taking the bets. | 0:47:03 | 0:47:06 | |
The rule is that door should always remain locked until 9am. | 0:47:15 | 0:47:18 | |
Right. Boy. Boy, where are you going? | 0:47:21 | 0:47:24 | |
Well, Arthur's not coming in today. He's taking the day off. | 0:47:24 | 0:47:27 | |
-So... -So what? | 0:47:27 | 0:47:30 | |
So, today, Tommy said that I'm in charge. | 0:47:30 | 0:47:33 | |
Sorry, you're in charge? | 0:47:33 | 0:47:34 | |
Yeah. That's what he said. | 0:47:36 | 0:47:38 | |
All right, sweetheart. | 0:47:42 | 0:47:44 | |
Ladies, let's give our boss a first day that he'll never forget. | 0:47:47 | 0:47:54 | |
Sending Finn to the shop was a mistake. | 0:48:04 | 0:48:06 | |
They've already found out he's a virgin and they're arranging | 0:48:06 | 0:48:10 | |
a girl for him this afternoon. | 0:48:10 | 0:48:11 | |
I thought Linda was there. | 0:48:11 | 0:48:13 | |
She is. She loved the idea. | 0:48:13 | 0:48:15 | |
Yeah, I know. She even swears now. | 0:48:17 | 0:48:19 | |
"Fuck" sounds funny coming from her. | 0:48:19 | 0:48:22 | |
Polly says in the end we all turn into our mother. | 0:48:22 | 0:48:24 | |
Ah, well, keep an eye on her. | 0:48:24 | 0:48:27 | |
The whore watching the Madonna. | 0:48:29 | 0:48:31 | |
-Does Finn know what they've planned? -No. | 0:48:31 | 0:48:35 | |
Do they have someone? | 0:48:35 | 0:48:37 | |
Yes. A girl I used to work with. | 0:48:37 | 0:48:40 | |
-Is she nice? -No. She's from Aston. | 0:48:42 | 0:48:46 | |
They're paying her out of petty cash. | 0:48:46 | 0:48:48 | |
Right, well, call 'em and tell them to pay extra and get someone nice. | 0:48:48 | 0:48:54 | |
-Nice women don't do that sort of thing. -Yes, they do. What about you? | 0:48:55 | 0:49:00 | |
I mean, in the past. Come on. | 0:49:03 | 0:49:06 | |
Where are we going? | 0:49:06 | 0:49:07 | |
Somewhere I've not been in a long time. | 0:49:07 | 0:49:10 | |
WILDFOWL CALL AND SQUAWK | 0:49:14 | 0:49:18 | |
Are we expecting somebody? | 0:49:28 | 0:49:30 | |
Tommy, I'm fucking freezing here. | 0:49:33 | 0:49:36 | |
We used to come here. | 0:49:38 | 0:49:40 | |
She'd wait for hours for me, when I couldn't make it... | 0:49:43 | 0:49:46 | |
..and I'd wait for her, if her family kept her in. | 0:49:48 | 0:49:52 | |
Who? | 0:49:54 | 0:49:55 | |
Some girl. | 0:49:58 | 0:49:59 | |
Some girl before France. | 0:50:01 | 0:50:02 | |
I've not been back here since... | 0:50:07 | 0:50:09 | |
..but I wanted to come here with you. | 0:50:16 | 0:50:18 | |
Are you kissing her or me? | 0:50:30 | 0:50:32 | |
You. | 0:50:35 | 0:50:36 | |
I want Shelby Company Limited | 0:51:22 | 0:51:24 | |
to increase non-taxable charitable contributions to local charities | 0:51:24 | 0:51:29 | |
by 25% as of now... | 0:51:29 | 0:51:31 | |
..and I'm going to build two new institutes for destitute children. | 0:51:32 | 0:51:37 | |
One in Saltley, one in Digbeth. | 0:51:37 | 0:51:40 | |
I've already identified the buildings. | 0:51:40 | 0:51:42 | |
Two former workhouses. | 0:51:42 | 0:51:44 | |
I want you to be in charge of the project. | 0:51:46 | 0:51:48 | |
Right, come on, let's go. | 0:51:50 | 0:51:52 | |
Why? | 0:51:52 | 0:51:53 | |
Because I promised someone I was going to change the world. | 0:52:01 | 0:52:04 | |
You do realise, Tommy, we're all going fucking mad here. | 0:52:08 | 0:52:11 | |
Yeah, I know. Come on. | 0:52:11 | 0:52:15 | |
Finn? Come here. | 0:52:28 | 0:52:30 | |
How was your day? | 0:52:35 | 0:52:36 | |
Yeah, it was OK. | 0:52:36 | 0:52:38 | |
Good man. Well done. | 0:52:39 | 0:52:41 | |
No trouble? | 0:52:41 | 0:52:43 | |
No. No trouble. | 0:52:43 | 0:52:45 | |
And she looked after you? | 0:52:47 | 0:52:48 | |
I don't want it like that ever again, Tom. | 0:52:53 | 0:52:56 | |
Not when they don't even want to do it, except for the money. | 0:52:56 | 0:53:00 | |
-Everything's for the money, Finn. -Yeah, I know. But, er... | 0:53:01 | 0:53:05 | |
She said "be a man". | 0:53:07 | 0:53:09 | |
And were you a man? | 0:53:11 | 0:53:12 | |
Yeah... | 0:53:13 | 0:53:14 | |
..but then I apologised to her, cos she just looked so tired. | 0:53:16 | 0:53:20 | |
Sit down, Finn. | 0:53:23 | 0:53:25 | |
Right, listen to me, Finn. She was right. | 0:53:29 | 0:53:33 | |
You need to be a fucking man. | 0:53:34 | 0:53:36 | |
People get tired. | 0:53:37 | 0:53:38 | |
Working in a fucking factory gets you tired. | 0:53:38 | 0:53:41 | |
I don't go round apologising. Do I? | 0:53:41 | 0:53:44 | |
No. | 0:53:44 | 0:53:45 | |
There's an empty space here to be filled. | 0:53:45 | 0:53:47 | |
-Do you understand? -Yeah. | 0:53:47 | 0:53:51 | |
So, be a fucking man. | 0:53:51 | 0:53:53 | |
OK, Tom. | 0:53:56 | 0:53:57 | |
-Champagne, please. -Of course. | 0:54:41 | 0:54:43 | |
Madam, women alone are not allowed at the bar. | 0:54:45 | 0:54:51 | |
Will someone be joining you? | 0:54:51 | 0:54:53 | |
What do you think? | 0:54:53 | 0:54:55 | |
This is public enough, no? | 0:55:40 | 0:55:42 | |
Yes. | 0:55:44 | 0:55:46 | |
So? | 0:55:48 | 0:55:49 | |
The boy in the hospital is out of bounds... | 0:55:51 | 0:55:54 | |
..and I'll ask you to spare Finn and Arthur. | 0:55:54 | 0:55:56 | |
In return for what? | 0:55:59 | 0:56:01 | |
Tommy Shelby. | 0:56:06 | 0:56:07 | |
And, er, why should I trust you? | 0:56:14 | 0:56:16 | |
Because you know our history. | 0:56:18 | 0:56:20 | |
You know what happened between us. | 0:56:22 | 0:56:25 | |
You are an unlikely Cassius. | 0:56:27 | 0:56:30 | |
You know, my mother... | 0:56:38 | 0:56:41 | |
My mother knew your mother. | 0:56:41 | 0:56:43 | |
She taught her how to read. | 0:56:45 | 0:56:48 | |
Did she tell you that John and Arthur spared her life? | 0:56:50 | 0:56:53 | |
When Tommy wanted her dead. | 0:56:53 | 0:56:55 | |
Yeah - and now she's giving me the information about you people. | 0:56:57 | 0:57:00 | |
So, Tommy Shelby was right. | 0:57:02 | 0:57:05 | |
His ruthlessness...was justified. | 0:57:07 | 0:57:13 | |
You should have killed her when you had the chance. | 0:57:15 | 0:57:18 | |
John was a good boy. | 0:57:20 | 0:57:22 | |
Arthur tries. | 0:57:25 | 0:57:27 | |
Tommy's different. | 0:57:29 | 0:57:31 | |
You take Tommy. Spare the rest. | 0:57:33 | 0:57:36 | |
You know, my mother used to say this about you. | 0:57:40 | 0:57:46 | |
She said, "That Polly Gray, | 0:57:47 | 0:57:50 | |
"that child would never let go of a grievance... | 0:57:50 | 0:57:54 | |
"..and she loves to dance." | 0:57:59 | 0:58:01 | |
What do you say, hm? | 0:58:06 | 0:58:08 | |
You want to dance? | 0:58:08 | 0:58:10 | |
I don't dance any more. | 0:58:16 | 0:58:17 | |
Yeah, that's a shame... | 0:58:20 | 0:58:22 | |
..cos you're dancing with me. | 0:58:29 | 0:58:31 |