diff --git "a/scripts/Peaky Blinders (S1 E1).txt" "b/scripts/Peaky Blinders (S1 E1).txt" new file mode 100644--- /dev/null +++ "b/scripts/Peaky Blinders (S1 E1).txt" @@ -0,0 +1,3697 @@ + 1. + + + + Episode One - BLUE AMENDS + + +1 EXT. CHINESE QUARTER- DAY 1 - 16:50 1 + + Thursday 6th February 1919 - A young CHINESE GIRL (MAI) is + running, carrying a baby. An older Chinese man (ZHANG, her + FATHER) is yelling at her in Chinese to hurry up, turning + and waiting then trotting along beside her. + + ZHANG + (Hurry up. Or they will + kill us all.) + + They run and cross a street between ragged horses and + creaking carts. + + +2 INT. CHINESE QUARTER, LAUNDRY - DAY 1 - 16:51 2 + + Grey sheets hang in lines inside the chaotically cramped + laundry. Steam hisses from irons and there is a giant + thumping sound of a steam hammer coming from a forging and + pressing factory nearby. + + The heavy wet sheets are being scrubbed on steel washboards + by Chinese children aged seven to eleven. There are old + grandmothers using the steam irons, some with babies asleep + in slings on their backs. An old man lies asleep on an + ironing board. Through the steam we hear a dozen urgent + conversations in the same language. + + We might think we are in Shanghai until we see a + caption.... + + BIRMINGHAM, ENGLAND, 1919. + + Mai bursts into the laundry and hands her baby to a young + cousin barely big enough to take the baby’s weight. She + hisses quickly in Cantonese... + + MAI + (Do your tits still have + milk?) + + The cousin nods as she takes the baby. + + MAI + (Feed her) + + Mai turns to leave but a grandmother calls out... + 2. + + + GRANDMOTHER + (Hey! Where are you + going?) + + Zhang steps in from outside and speaks with fear. + + ZHANG + (They have asked for her) + + GRANDMOTHER + (Who have asked for her?) + + A pause. Zhang glances at his terrified daughter through a + billow of steam. + + +3 EXT. SLUM STREET - DAY 1 - 16:55 3 + + We are in a typical Small Heath tenement court. The yard is + a hundred foot long and dissected by a cobbled street. Two + four-storey tenements glare at each other across the + cobbles. Lines of washing are strung across the courtyard + and the sheets flap in the breeze. + + Dozens of children of all ages, all barefoot and dressed in + rags, are playing on the cobbles. Women are hanging washing + or bringing it in, calling out to each other, their voices + echoing against the tenement walls. The air fizzes with + yelling and laughter. + + We spend a moment with these people. A little boy pulls + open the door of an outside lavatory, exposing an old man + inside, to general hilarity. There are various cats and + dogs about the place. Tucked behind a blackened brick wall + an illegal gin still drips it’s lethal liquor into a stone + jar. + + The women are all dressed in billowing dresses (in + Victorian style) with brightly colored calico head-scarves + wrapped around their heads. + + In spite of the poverty, there is a feeling of huge energy + and vigor, rather than despair. In the background we hear + the thumping roar of heavy engineering factories. + + After a few moments, a man riding a beautiful black horse + trots into the courtyard. The horse’s hooves click on the + cobbles. + + Instantly, all talking and laughter stops. Whispered word + goes around the children and mothers like wildfire. All + games are frozen. Washing is left in baskets. Mothers turn + to the crowds of children to summon their own. + 3. + + +We study the man who has produced such instant terror as he +rides into the courtyard. He is immaculately dressed in a +dark suit (odd for a man riding a horse) and his boots are +polished. He is mid-thirties, handsome and well groomed. + +On his head he wears a Stetson Hatteras cap angled steeply +over his forehead, with generous folds of cloth hanging +over his ears. The peak puts his dark eyes in shadow. + +This man is THOMAS Shelby. + +He ducks under a line of sheets and finally pulls up his +horse and dismounts. + +The courtyard is now miraculously empty, with all the +mothers and children now hiding in doorways or alleys. + +They are all watching Thomas as he takes a gold watch on a +chain from his vest pocket and checks the time. His horse +snorts steam into the cold air. + +At that moment, at the end of the street we see Mai and +Zhang arrive. They turn into the courtyard and slow down +when they see Thomas and the horse. Zhang takes Mai’s hand +and leads her on to the rendezvous. + +Thomas takes out a fat Sweet Afton cigarette and lights it +with a match. Zhang and Mai approach as if Thomas were a +gunfighter in a Western street. All eyes are on them as +they meet. + +Zhang speaks English with a heavy chinese accent. + + ZHANG + Sir? This is her. + + THOMAS + The girl who tells fortunes? + +Zhang bows confirmation. Thomas hardly glances at Mai +before gesturing at Zhang to begin what is evidently a pre- +arranged exchange. With shaking hands, Zhang pulls a small +velvet bag from his inside pocket and holds it up for +Thomas to see. There is a golden dragon woven into the +velvet. + +Thomas reaches into the inside pocket of his jacket. As he +reaches in, we see a long barreled Webley revolver hanging +in a tan-leather army issue holster. Zhang and Mai see it +too and shrink back. Thomas takes two pound notes out of +his pocket which he holds up for Zhang to take (making sure +everyone watching can see the transaction). + 4. + + + Zhang takes the money then hands the velvet bag to Mai. He + quickly gives her instructions in Chinese and she seems to + be a little baffled. He urges her to do as she is told. + + Mai hesitantly opens the velvet bag and pours a palm full + of red powder into her hand. Thomas half smiles and urges + her to obey Zhang’s whispers. Mai puts her hand near to the + horse’s nose and blows. + + A cloud of red dust hits the horse. The horse snorts and + shies and we see Thomas’s face through the cloud of red + dust. Children in the alleys stare with wonder and whisper + to each other. We eavesdrop on one child explaining to her + little sister... + + CHILD 1 + They’re doing a magic spell to make + it win a race. + + Mai blows some more red dust onto the horse’s nose and + Thomas rubs it into the soft flesh around the nostrils. + + With the velvet bag now empty, Thomas drops his cigarette + and, in one easy movement, he mounts the horse. He looks + down at Zhang and Mai and touches his cap. He then looks + all around at the women and children watching and calls + out... + + THOMAS + The horse’s name is Monaghan Boy. + Kempton 3 o’clock Monday. You + ladies have a bet yourselves but + don’t tell anybody else. + + We might know Thomas is fully aware word of this will + spread like wild fire. He wheels the horse around and trots + away down the courtyard. Zhang and Mai watch him go. As + Thomas ducks under the flapping sheets, women and children + slowly emerge into their doorways and stare with open + mouths, mystified by what they just saw. Finally, a + grandmother speaks loudly to them all. + + MOTHER + Those Peaky Blinder devils are + using witchcraft now. + + +4 EXT. GARRISON LANE - DAY 1 - 17:00 4 + + We re-join Thomas as he rides his beautiful black horse + down the industrial street, silencing the chaos around him + briefly as he goes. + 5. + + + The street is busy with horse traffic and the odd car and + delivery van. Garrison Lane cuts between soaring industrial + buildings. The street is alive with children and, outside + every pub, men are gathered, smoking and drinking. On a + corner, a beggar is playing an accordion but he stops and + bows as Thomas passes. Other men look to their shoes as + Thomas rides by, some of them darting into doorways to + avoid his gaze. + + Outside the CHAIN TAVERN a black Afro-Caribbean street + preacher with long straggly hair (JIMMY JESUS) is preaching + fire and brimstone to no one, a large leather-bound bible + in his hand... + + JIMMY JESUS + ...And Abraham made his home in a + cave, but it was good because God + resided there with him. You see + children, God does not care if you + live in a slum or in a mansion... + + As the shadow of Thomas and his horse passes over Jimmy, he + glances up and nods a greeting. + + Thomas slows to allow a line of men to cross the road. They + are all blind, walking in single file, each with a hand on + the shoulder of the man in front, the leader being led by a + dog. (These are men blinded in the war, now begging for + pennies). + + The men sing ‘Molly Malone’ as they walk and the last in + line holds a begging bowl. Thomas leans down in the saddle + to drop a coin into their bowl. + + As the line of blind men clears, two policemen walking in + the opposite direction see Thomas. They both look nervous + and touch their caps. + + POLICEMAN + Good morning Mr Shelby. + + Thomas ignores them and urges his horse on. + + +5 EXT. CHARLIE STRONG’S YARD - DAY 1 - 17:30 5 + + The yard is a fantastic collection. It is ostensibly a + scrap metal yard but there is junk and treasure of every + kind. The Grand Union Canal runs through the yard and there + are stables for dray horses beside the water. A bonfire + burns in a corner of the yard. + 6. + + +The flames reflect on the high walls that seclude the yard +and there is a large corrugated iron gate. The gate is +being hammered from outside and a settled Gypsy (a +Diddicoi) named CHARLIE STRONG emerges from a small office +to open the gate. + +He is mid-forties, hard as iron, dressed in a fine tweed +suit and cap but with a large golden earring in his left +ear to denote his race. + +He opens the gate to find Thomas standing with his black +horse. No words are exchanged as Thomas enters and begins +to unsaddle the horse. + +Charlie turns towards the bonfire and calls out. + + CHARLIE + Curly? Get here. + +From the billowing smoke another Diccicoi man (CURLY) +appears. His head is totally bald and he wears a dark suit +(and a gold earring). He approaches at a trot and we will +learn that he is, (to use the language of the time), +‘simple minded’. However, we will also learn that he has a +way with horses like no one else. + + CHARLIE + Curly, come and tell this horse he + needs to get on a boat and stand + still. + +Curly takes the horse and begins to whisper to it as he +leads it toward the canal, where a coal boat is waiting. + +Charlie takes a cigarette from Thomas and smiles. + + CHARLIE + I heard there’s been some mumbo + jumbo in the Garrison with a + Chinese girl. What’s afoot Tommy? + +Thomas almost smiles too as he lights his cigarette. + + THOMAS + It’s a game called ‘turning rust + into gold’. + +Charlie moves a little closer. + + CHARLIE + So you still have the stomach for + games? + 7. + + +Thomas shrugs, stares into the flames. + + THOMAS + Business as usual. Like we agreed. + +Thomas looks up at Charlie without expression and repeats +to confirm... + + THOMAS + Like we agreed. + +Charlie takes a moment. We sense a secret between them. + + CHARLIE + I’m finding sleep hard to come by. + + THOMAS + Take less water with your rum. + + CHARLIE + Tommy, what if word gets round that + it was you? + + THOMAS + There’ll be no word from your lips, + Uncle Charlie. + +Over at the canal side, Curly is placing a couple of planks +for the horse to walk on. + + THOMAS + And he’s the only other one who + knows. + +Charlie half smiles. + + CHARLIE + I told him the whole thing was a + dream so that’s what he believes. + +Charlie drops his cigarette into the flames... + + CHARLIE + (Softly) + Bloody nightmare more like. + + THOMAS (FIRMLY) + I’m dealing with it. + +A pause. Charlie looks uncertain. Thomas turns and walks. + 8. + + + Charlie watches him go and we suspect dangerous times are + upon them. + + +6 EXT. WATERY LANE - DAY 1 - 18:10 6 + + Two lines of two storey terraces form a long street where + children play. Thomas approaches a particular door. We will + learn that this is the Shelby home and headquarters. + + Thomas opens the unlocked door and enters. We notice a + horse shoe nailed to the front door for luck as the door is + slammed in our faces... + + +7 INT. SHELBY HOME, PARLOUR - CONTINUOUS - DAY 1 - 18:11 7 + + Thomas breezes through a hallway and a parlour decorated + with brass and fancy floral crockery. The Shelby home is + compact, a typical terrace, but we might notice a surfeit + of brass and flowery ornamentation around the place. The + Shelbys are cash rich but without conventional good taste. + The home is decorated like a gypsy caravan, or a boatman’s + barge with lots of roses, elephants and castles. + + We might glance a photograph of three brothers in military + uniform, smiling (this is Arthur, Tommy, and John - all in + Warwickshire Yeomanry uniform, with a freshly dug trench + behind them). + + Thomas tosses his coat aside and passes through a small + kitchen, where a young boy (FINN, 10, Thomas’s youngest + brother) is smoking a cigarette into the flames of a coal + fire. A rabbit roasts on a spit. Finn hides the cigarette + and calls out as Thomas passes... + + FINN + Arthur’s mad as hell. + + THOMAS + What does a ten year old know about + hell? + + FINN + I’m eleven Sunday. + + Thomas keeps walking and passes into a pantry which has + been opened out to form a small back room. Instead of a + back wall, there is a black curtain. Thomas passes through + the curtain... + + +8 INT. BETTING SHOP - CONTINUOUS - DAY 1 - 18:12 8 + 9. + + + ...To our surprise the pantry gives out onto a secret + world. + + We find two hole terraced houses have been knocked through + to form a single open plan space with the windows boarded. + It is a fully functioning (illegal) betting shop and it is + buzzing with activity. + + The large room is dominated by a huge blackboard on which + bets and odds are being chalked by two RUNNERS in shirt + sleeves. They stand on stepladders to reach the top of the + board. The room swirls with cigarette and cigar smoke and + there are half a dozen men queuing silently at a desk to + lay bets. A heavy looking man (a gang enforcer known as + SCUD-BOAT) is taking the bets in the form of coins wrapped + in scraps of paper. + + Scud-boat unwraps the pieces of paper and drops coins into + a hat as he unrolls the next bet. Thomas pauses and peers + up at the blackboard. We see twenty bets, all for Monaghan + Boy. + + The sight doesn’t please or displease him. + + One of the men at the blackboard is young and pretty and + immaculately groomed. This is JOHN Shelby (Thomas’s 24 year + old brother). When he sees Thomas, he looks up from his + ledger and hisses with delight... + + JOHN + Tommy, will you just look at the + board. Will you just look. + + At that moment, at the far end of the room, a door opens + from a small office, partitioned by glass and curtains. A + man in his late thirties puts his head around the door. We + will learn that this is ARTHUR. He calls out angrily. + + ARTHUR + Tommy! Get in here! + + Arthur slams the door. John smiles as Thomas sets off + towards the partitioned office (we sense Thomas is in + trouble he can handle). Through reflections in the glass of + the partitioned office, we see Arthur’s angry, anxious + face, waiting. + + +9 INT. BETTING SHOP, ARTHUR’S OFFICE - CONTINUOUS - DAY 1 - 9 + 18:13 + + The office has a photograph of the King dominating the + wall. + 10. + + +Beneath it sits the King of the Shelby gang, Arthur Shelby. + +Arthur is three years older than Thomas, his hair slicked +and oiled, his jet black moustache dropping around his +thick lips. He wears gold chains and smokes a thick cigar, +the smoke almost hiding him. On the desk where he sits, +there is a half full bottle of rum and a mountain of coins, +pennies, shillings, farthings. He is counting them slowly +into a top hat as Thomas enters. + +Thomas closes the door. Arthur deliberately takes a while +to finish his count before looking up. + + ARTHUR + You was seen doing the powder trick + down at Garrison court. + +Thomas leans back against the door. + + THOMAS + Times are hard. People need a + reason to lay a bet. + +(As the conversation continues, we should sense that Arthur +feels his authority is threatened by Thomas. Arthur is +angry and blustery. Thomas is cool, hardly moving from the +door). + + ARTHUR + There was a Chinese. + + THOMAS + The washer women say she’s a witch. + It helps them believe. + + ARTHUR + We don’t mess with Chinese. + + THOMAS + Look at the board... + + ARTHUR + (Snapping back) + Chinese have cutters of their own. + + THOMAS + We agreed. I’m taking charge of + drumming up new money. + + ARTHUR + When did we agree that? + 11. + + +Thomas simply glances at the bottle of rum on Arthur’s +desk. + +Arthur retreats a little. + + ARTHUR + What if Monaghan Boy wins? + +Thomas stares hard at Arthur to suggest it’s all under +control. Arthur gets to his feet, his big fists on the +desk. + + ARTHUR + You fixing races now Tommy? + +Thomas angles his head. His eyes are hidden in shade. + + ARTHUR + You have permission from Billy + Kimber to be fixing races? + +Thomas doesn’t reply, his face hardening. Arthur comes +around the desk and comes close... + + ARTHUR + What’s got into you Tommy? You + think we can take on the Chinese + and Billy Kimber. Billy has an + army... + +Thomas interrupts firmly... + + THOMAS + I think, Arthur. That’s what I do. + I think. + +They stare at each other and once again Thomas glances at +the rum bottle. + + THOMAS + So that you don’t have to. + +Thomas turns and heads for the door. + + ARTHUR + Tommy! + +Thomas leaves and Arthur hurries after him... + + ARTHUR + Tommy, there’s some news from + Belfast... + 12. + + +10 INT. BETTING SHOP - CONTINUOUS - DAY 1 - 18:15 10 + + Thomas is already walking away through the smoke. Arthur + comes to the door and calls out... + + ARTHUR + Tommy! I’m calling a family council + tonight at eight o’clock. This time + you be there Tommy! + + John turns. Thomas walks on. + + ARTHUR + You hear me?! There’s trouble + coming. + + Thomas disappears through the velvet curtain. Arthur + seethes as he stares out. John studies him reacting to + Thomas’s defiance (which comes as no shock to John). Arthur + goes back into the office and slams the door. + + Through the glass partition we see his silhouette as he + takes a swig of rum. + + +11 EXT. CANAL - DAY 1 - 18:25 11 + + On the oil-slicked surface of the canal a beer bottle + floats, neck up. We watch it float past the open doors of a + forging and pressing factory, which has its main entrance + and delivery bay facing the canal. Through the open door we + briefly glimpse the hell inside the factory. A white hot + furnace is smelting metal and a five hundred pound steam + hammer slams from the roof onto burning steel, setting off + a huge explosion of sparks. + + Bare chested men are silhouettes against the burning white + heat and some of them swig beer from iron buckets. + + The beer bottle floats on past the doorway and the pounding + of the hammer is now just a sound. We follow the bottle for + a few more moments and see Finn standing on the bank, + staring at the bottle as it passes. He has something in his + hands. + + Then a bullet splashes in the water beside the bottle. Then + another. + + We come around to see Finn holding a Webley revolver and + aiming it with both hands at the passing bottle. He cocks + the trigger with both thumbs with some difficulty and fires + again. This time, the bottle smashes. Then we hear an + anxious voice. + 13. + + + VOICE + Finn? + + Finn turns and sees a woman in her mid-twenties, pretty and + prettily dressed in sleek Twenties (Faux Flapper) style, + standing on the tow path, her expensive white shoes oozing + in the mud. She wears a white hat at a jaunty angle and she + has a jazz-age figure. Finn smiles at her. + + FINN + Hello Ada. + + The woman is ADA Shelby, Thomas’s younger sister. She will + almost always be dressed to kill. Her fancy clothes will + often contrast the mud and grime of her surroundings. + + When Finn turns, he turns with the gun, so that it is + unintentionally aimed at Ada. Ada stares down the barrel of + the gun but she is brave and smiles. + + ADA + Finn, my pigeon, do you want to put + the gun down? + + FINN + It’s John’s. I found it on the + sideboard. + + ADA + Put it down on the ground very, + very softly because the trigger is + cocked. + + Finn begins to slowly put the gun down. Then, a sudden bang + from the foundry makes him jump and the gun slips from his + hand and the gun goes off. Ada does a little dance of shock + but the bullet flies wide. Ada then leaps forward and grabs + the gun. She unloads it like a professional and puts the + gun into her handbag. + + ADA + John is a dead man. Aunt Polly will + rip his balls off. + + Ada grabs Finn’s hand and marches off down the tow-path. + + +12 INT. 1ST CLASS TRAIN CARRIAGE - TRAVELLING - DAY 1 - 18:30 12 + + The carriage is spacious and the blinds are half drawn. + Only one man sits inside the six seat carriage. He is a + barrel-chested man with a bushy moustache and a wing + collar. He wears a heavy, dark suit. + 14. + + +This is CHIEF INSPECTOR CAMPBELL. + +He has round-rimmed spectacles on the tip of his nose as he +pulls a cardboard folder from a leather case. The desk in +the compartment is already covered in paperwork, all laid +out neatly in sections. + +There is a large blue print map of ‘The BSA Factory (Small +Heath)’ with intricate detail of workshops and offices. The +map has been pushed to the top of the table. + +Campbell is taking a bound folder from a leather case. The +cover of the new folder is labelled in red. ‘SPECIAL +BRANCH’. + +Beneath it is written in black ‘Top Secret. BSA robbery. + +Prime suspects’. + +He opens the folder. On the first page we see a small mug +shot photograph of Arthur Shelby. His name is beneath the +photograph and among the text we might glimpse the words +‘Gangster. Racketeer. Illegal bookmaker’ in bold type. + +Beneath it reads ‘GANG-NAME....PEAKY BLINDERS’. + +He turns the page and we see a photograph of Thomas Shelby. + +It is a head and shoulders shot but we see he is wearing +military uniform. Campbell scans the page, his pen hovering +over the text. + +We come close to the text so that only two or three words +at a time are legible. We read the words ’King’s medal for +gallantry’ in bold. Below it we read the words +‘racketeering, protection, armed robbery’. + +Beneath it in bold type, ‘GANG NAME...PEAKY BLINDERS’. + +At that moment the carriage door slides open and the ticket +inspector enters. + +Campbell closes his file calmly then shows his identity +badge. We glimpse the shield of the Special Branch. When he +speaks we will hear a Protestant Belfast accent. + + CAMPBELL + Government business. + 15. + + + The inspector gives him a sideways bow of the head in + deference. The inspector leaves. Campbell opens his file + again and turns a page to find a page devoted to ‘FREDDIE + THORNE’. We see a mug shot photograph of a handsome man in + his early thirties who is also wearing military uniform. + + Beneath his name in bold type we read... ’BSA Union + Convenor. + + Communist agitator. Bolshevik’. + + Campbell turns the page back to look once again at the face + of Thomas Shelby and Freddie Thorne. He holds both pages in + view at once. + + It’s as if Campbell is trying to decide which of the two + handsome uniformed men he will fall upon first. Then he + closes the book, settles back and closes his eyes. + + +13 EXT. GARRISON PUB, GARRISON LANE - DAY 1 - 18:45 13 + + We see Thomas approaching the pub and entering. + + +14 INT. GARRISON PUB - CONTINUOUS - DAY 1 - 18:45 14 + + The pub is an ornate Cathedral built to combat the gloom of + poverty. + + Every brass is polished to a blinding shine. All the + mirrors are gilded. Where outside there is dereliction, + inside the pub there is an excess of colour and decoration. + + There is a table by the window occupied by a group of men + whose faces we don’t see. Others stand at the bar, smoking + and drinking bitter or mild. Scud-boat is collecting bets + from punters at tables. Then Thomas enters. + + Everyone in the pub freezes a little but they all try hard + to carry on as normal. We join Thomas as he comes to the + bar and removes his cap. A barman is about to hurry to + serve Thomas but he is outrun by the LANDLORD of the + Garrison whose name is HARRY FENTON. Harry is scarred above + the eye. He is instantly deferential and produces a bottle + of stout which he opens quickly and puts in front of + Thomas. + + HARRY + On the house, Mr Shelby. + 16. + + +Thomas barely looks up from his cigarette pack as he puts +some coins on the bar anyway. As Thomas lights his +cigarette, we notice through his smoke that the men at the +window table are looking over. One of the men is on his +feet, draining his pint with purpose. As he approaches the +bar, we recognize him as FREDDIE THORNE from the photo in +Campbell’s file. + +Freddie comes to stand beside Thomas and appears to lack +the fear of almost everyone else. + + FREDDIE (TO HARRY) + I’ll take a Mild. + +Thomas hardly looks at Freddie but we feel a tension +between the men as they stand side-by-side. (Perhaps their +handsome silhouettes compete for our focus as they both +stare straight ahead). When Harry gives Freddie his pint, +Freddie pays with the money Thomas put down on the bar. It +is a deliberate gesture. Harry looks horrified. Thomas +draws on his cigarette and shrugs acceptance. Freddie half +smiles. + + FREDDIE + Cheers Thomas. Good health to you. + +Freddie sips his beer but doesn’t leave. Thomas knows there +is an agenda. Finally, Freddie speaks softly. + + FREDDIE + Is it not enough everybody’s scared + to death of you these days Tommy? + You have to make fools of them as + well. + +Thomas takes a weary breath (as if he expects this from +Freddie). + + FREDDIE + People who believe in witches + spending money they don’t have on a + horse that can’t win. + +Most in the pub have turned their backs, fearing Thomas. + +Freddie persists in a soft voice. + + FREDDIE + You have fun playing with their + ignorance... + +Thomas glances back at Freddie’s friends near to the door. + 17. + + + THOMAS + When the revolution comes you can + make me Minister of Information. + +Freddie has picked up Thomas’s hat and is examining the +peak. + +For the first time, we see its secret. + +There are three razor blades sewn into the peak, hardly +visible but proud enough of the peak to be lethal. + +Freddie makes a point of peering at the razor blades before +tossing the cap down onto the bar. + + FREDDIE + The crown of a Prince. + +Freddie turns to Thomas. + + FREDDIE + Soon to be King I’d bet. + +Thomas almost rises to the bait. + + THOMAS + You don’t bet. + + FREDDIE + No, but these past few days I’ve + been speculating. + +Thomas orders another bottle with a gesture and Harry +quickly opens it. In the silence Thomas senses significant +business. + + THOMAS + About what? + +Freddie gestures back at his comrades who are all averting +their eyes. + + FREDDIE + One of my Union comrades has a + sister who works in the telegraph + office at the BSA factory. + +Thomas swigs his beer. + + FREDDIE + 18. + + + She says in the past week there’s + been messages coming from London to + the brass. From Winston Churchill + himself. + +Thomas doesn’t react but we sense he knows more than he is +showing... + + FREDDIE + Something about a robbery. + +Thomas doesn’t react. + + FREDDIE + ‘A robbery of ‘national + significance’ it said. Underlined. + Twice. + +Freddie waits for the words to land but Thomas is poker +faced. + + FREDDIE + They’re keeping it out of the + papers but our girl is snooping. + +Still Thomas doesn’t react. + + FREDDIE + And she found something that’ll + make you laugh. + +A pause. + + FREDDIE + She found a list of names left on + the telegraph machine. And on the + list was your name and my name + together. + +Thomas appears to be unmoved but Freddie knows him well and +knows he’s on to something. + + FREDDIE ) + Now what kind of list would have + the name of a Communist and the + name of a bookmaker side-by-side? + +At last Thomas engages. He half smiles. + + THOMAS + Perhaps it’s a list of men who give + false hope to the poor. + 19. + + +Thomas turns to him and confronts. + + THOMAS + The only difference between me and + you Freddie is that sometimes my + horses stand a chance of winning. + +Thomas glances back with disgust at Freddie’s ‘comrades’. + +Freddie stares at Thomas. We might sense that these two men +knew each other well once but now Freddie is appalled by +what his friend has become. + + FREDDIE + (Quickly) + You know, there are days when I + hear about the cuttings and + beatings that I wish I’d let you + take that bullet in France. + +Thomas is privately amused and retorts instantly... + + THOMAS + There are nights I wish you had. + +A pause. Perhaps Freddie understands how those nights feel. + +Finally... + + FREDDIE + (To business) + So you don’t know anything about a + robbery that would trouble Mr + Churchill? + +Thomas swigs his beer. + + THOMAS + Freddie, I prefer to drink alone. + +Freddie studies him but before he can speak a figure walks +past the frosted glass behind them. First Thomas, then +Freddie, turn and they both recognize the man at the same +time. + + THOMAS/FREDDIE + Ah shit. + +Harry has seen the figure approaching the door too and he +reacts with alarm. + + HARRY + Ah, not again. + 20. + + +He dashes behind the bar... + + HARRY + Take cover! It’s Danny Whizz Bang! + +Everyone reacts. Suddenly the pub door flies open and DANNY +WHIZZ-BANG enters. Danny is a barrel of a man, short but +wide and round and full of muscle. His face is crimson with +rage and he immediately grabs a chair and hurls it across +the pub. + +As everyone scatters, he becomes a one-man whirlwind and +begins to smash glasses and knock over chairs. + +Thomas and Freddie swap a half amused glance before +silently resolving to act. They put down their drinks in +unison. They approach Danny from either side, and in +restraining the madman, we see that they are used to +working together in violent situations. + +Freddie takes Danny’s attention as Thomas grabs him from +behind. Freddie dives forward and grabs Danny’s legs, +upending him. Danny kicks and flails but Thomas falls on +him face down. Now Thomas is lying on top of Danny, their +faces close. Thomas hisses in Danny’s ear. + + THOMAS + Danny, you’re home. You’re home. + We’re all home in England. + +Both Freddie and Thomas see the comedy of all this. Danny +growls out a furious mantra... + + DANNY + Had to go bang, had to go bang, had + to go bang. + + THOMAS + You’re not an artillery shell, + Danny, you’re a man. + +Danny roars and struggles some more. + + THOMAS + You’re not a whizz bang. You’re a + human being. Now get yourself + together for Christ’s sake. + +After a moment Danny takes a huge breath and then takes +this on board. He begins to breath more easily. He looks up +at Thomas’s face just an inch from his own. + + DANNY + 21. + + + Ah hell. Did I do it again? + +Thomas kneels up and dusts himself off. He looks up at +Freddie and the two men share a weary half smile. + + THOMAS + Yeah you did it again Danny. Got to + stop doing this, man. + +Thomas gets to his feet. Freddie holds out a hand and helps +Danny up and puts his cap firmly back on his head. + + FREDDIE + Danny, next time you feel you’re + about to go bang, go down Aston. + The Garrison is a dangerous place + to break the rules. + +To illustrate his point, Freddie gestures at Thomas who +turns away to get his drink. Danny is now fully himself. He +looks around at the damage and then recognizes where he is. + + DANNY + Ah shit. Am I in the Garrison + Tavern? Oh God. Mr Shelby, I’m + sorry... + +Thomas swigs his beer. + + THOMAS + Go home to your wife, Danny. Try to + get all that smoke and mud out of + your head. + +Danny bows his head. + + DANNY + Yes Mr Shelby. I’m sorry Mr Shelby. + +Danny turns and quickly hurries out. Freddie rejoins Thomas +at the bar and in silence they share amusement at Danny’s +bizarre behavior. Meanwhile Harry has hurried up to +Thomas.... + + HARRY + Mr Shelby, you have to do something + about him. + +Freddie interrupts. + + FREDDIE + 22. + + + Damn right Harry. You pay the Peaky + Blinders a lot of money for + protection. + + Thomas grits his teeth. Freddie needles him some more. + + FREDDIE + You’re the law around here now + Tommy, aren’t you? + + Freddie grabs his beer. + + FREDDIE + Why don’t you put a bullet in Danny + Whizz Bang’s head. Like they do + with mad horses. + + Thomas turns sharply and glares at Freddie. Freddie + considers his old friend then raises his hands in mock + surrender. + + FREDDIE + Maybe you’ll have to put a bullet + in my head someday too. + + Thomas and Freddie stare at each other. Thomas doesn’t + smile. He grabs his cap and angles it on his head before + heading for the door. He picks up a knocked over chair as + he goes and calls out so all the customers can hear... + + THOMAS + Bring the bill to the Peaky + Blinders. We’ll take care of it. + + Freddie watches him go and turns back to his beer. Now that + he is alone he stares down into it with deep regret in his + eyes. + + +15 EXT. SLUM STREET - DAY 1 - 19:55 15 + + John Shelby is walking down the alley. + + Then suddenly, shockingly, a gun is pointed at his head. We + * see the lady holding the gun - this is AUNT POLLY, the * + matriach of the Shelby family, someone who all of the + brothers respect. She has a fierce expression and speaks * + with venom to John. + + JOHN + What the bloody hell did you do + that for? + 23. + + + John scurries backwards but Polly whacks him around the ear + with her hand. + + JOHN + Aunt Polly.... + + POLLY + Don’t you Aunt Polly me. Look at + this gun. + + Polly holds the Webley revolver up for John to look at. + + POLLY + You recognize it? + + John slowly does recognize it. + + POLLY + This afternoon Finn was playing + with it by the cut. It was loaded. + He nearly shot Ada’s tits off. + + John is horrified and slowly gets to his feet. He reaches + out for the gun but Polly pulls it away. + + POLLY + He found it on the sideboard in the + betting shop. + + JOHN + It must have dropped out of my + pocket... + + POLLY + When you were drunk. + + JOHN + Aunt Pol. I’m sorry. + + Polly peers at him and softens a little. + + POLLY + John, I know bringing up kids + without a woman is hard. I’ll keep + this among the women if you swear + not to leave guns laying around. + + John takes a moment and nods agreement. + + +16 INT. SHELBY HOME - DAY 1 - 20:03 16 + 24. + + + Finn is eavesdropping at a closed door. We hear the rumble + of Arthur’s voice from the other side. Finn is smoking a + cigarette and listening intently. We pass through the door + to join the family council... + + +17 INT. BETTING SHOP - DAY 1 - 20:03 17 + + The family are gathered and Arthur is addressing them. In + the room we find John, Ada, Aunt Polly, Scud-boat (a + cousin), a weasel-like runner called FRED FARR (an uncle), + two twins in their twenties with hard, dark faces (NIPPER + AND HENRY) and a Gypsy cousin in his fifties called JOHNNY + LOVELOCK. Johnny wears a bowler hat and is accompanied by + his three sons, aged eleven to twenty, all dark with golden + earrings. Thomas stands near to the crackling fire. + + Everyone is drinking beer. The air is thick with smoke. + + Arthur is speaking and also taking swigs from a silver + flask. + + We might see that he is already drunk but as an habitual + drunk he holds it well. + + ARTHUR + I called this meeting because I got + some news. From Ireland. + + Thomas watches Arthur like a hawk, waiting for him to + stumble... + + ARTHUR + Nipper and Henry got back from + Belfast last night. They were + buying a stallion to cover their + mares. + + Arthur gestures at Nipper and Henry and they confirm with a + nod. + + ARTHUR + They were in a pub in the Shankhill + Road yesterday and there was a + copper handing out these. + + Arthur produces a printed flyer, the size of an A5 sheet. + It is an offer of employment (we should use a copy of the + actual flyer which was produced at the time). Arthur hands + the sheet forward for first John, then Ada and the others + to look at. + + John reads the top line of the flyer aloud... + 25. + + + JOHN + ‘If you’re over five feet and can + fight, come to Birmingham’. + +There are puzzled looks as the flyer is passed on. Arthur +summarizes... + + ARTHUR + They’re recruiting Protestant + Irishmen to come over here as + Specials. + + ADA + To do what? + +The flyer has arrived at Thomas who speaks up before Arthur +can speak. + + THOMAS + To clean up the city. + +Arthur is surprised by Thomas’s knowledge. Thomas looks +over to Arthur then steps away from the fire and begins to +address the meeting. + + THOMAS + He’s a Chief Inspector. The last + four years he’s been clearing the + IRA out of Belfast... + + ARTHUR + How do you know so bloody much? + + THOMAS + Because I asked the coppers on our + payroll. + + ARTHUR + Why didn’t you tell me? + + THOMAS + I’m telling you. + +The meeting looks flustered but Polly has fixed Thomas with +a stare. She has suspicions about Thomas which will grow. + + POLLY + So why are they sending him to + Birmingham? + 26. + + +There is silence. Arthur is about to speak but instead +takes a swig. He evidently has no idea. Thomas steps to the +head of the meeting (we should be free to feel that +Thomas’s usurping of Arthur is unsubtle and done without +grace). + + THOMAS + There have been a lot of strikes at + the Austen works and the BSA + factory lately. Papers are talking + about sedition. Revolution. I + reckon it’s Communists he’s after. + +Thomas and Polly stare at each other. We might see even now +that these two are the real power in the family. Polly +senses deceit in Thomas with a sixth sense... + + POLLY + So this copper will leave us alone, + right? + + THOMAS + There are Irishmen in Green Lanes + who left Belfast to get away from + him. They say Catholic men who + crossed him used to disappear in + the night. + +John is on his feet. + + JOHN + Yeah but we ain’t IRA. We bloody + fought for the King. + +John looks around... + + JOHN + Anyway, we’re Peaky Blinders. We’re + not scared of coppers. + + JOHN + If they come for us, we’ll cut them + a smile each. + +There are some sniggers from the young men. The older heads +are solemn. Thomas still has the flyer in his hand. He +calmly screws it up into a ball. + + THOMAS + We’re just all going to have to be + more careful. That’s all. + +He steps to the fire and throws the flyer into the flames. + 27. + + + He turns back to Arthur and pointedly hands the authority + back to him (now that the business is done)... + + THOMAS + So Arthur, is that it? + + Arthur is a little fuzzy and nods. Polly now has deep + suspicions that Thomas knows more than he is saying. She + gets to her feet... + + POLLY + This family does everything open. + You have nothing more to say to + this meeting, Tommy? + + Silence. Thomas feels her suspicion and meets her stare. + + THOMAS + Nothing that’s women’s business. + + Polly stares back with cool certainty... + + POLLY + This whole bloody enterprise was + ‘women’s business’ while you boys + were away at war. What’s changed? + + Thomas is equally cool as he gestures around... + + THOMAS + We came back. + + Thomas heads for the door and Arthur finally follows. Polly + reacts with a growl. Then we move close on the burning + flyer in the fireplace. In the flames we see a signature on + the bottom of the page, along with the name in print. + + The flyer is signed by ‘Chief Inspector Chester Campbell’. + + +18 EXT. SNOW HILL TRAIN STATION - NIGHT 1 - 20:20 18 + + A huge steam train has pulled up at the buffers and clouds + of steam swirl across the platform. Through the white + clouds we see a figure emerging like an angel (or a devil). + As the cloud clears we see it is Chief Inspector Campbell. + + He has thrown a shiny black cape over his dark suit. He has + a bowler hat on his head. His shoes are polished to a + shine. + + He carries a cane. + 28. + + + Campbell marches towards us and past, steam swirling around + him. + + +19 EXT. GARRISON LANE - NIGHT 1 - 20:30 19 + + The street is lively in the dark. Children still play out + and the men are mostly drunk. Buskers play and beggars beg. + As we join the scene, we are close on Jimmy Jesus, who is + standing on a box, preaching in his Birmingham/Jamaican + accent... + + JIMMY JESUS + And the Lord will smite the unholy + when the great judgement comes. And + judgement is coming my friends. + Judgement is coming to this wicked + City... + + Campbell’s carriage shoots through shot and we join + Campbell inside. We see him staring out at the street. His + face is impassive, the half lit street scene is reflected + on the cab window. He sees drunks staggering from pub-to- + pub and notices four young prostitutes standing on a street + corner. + + Gangs of children smoke pipes and play barefoot. A horse is + being beaten into submission as it shies against the weight + of its dray. We pass the Chain pub and then approach the + twinkling lights of the Garrison, where young men with caps + pulled down over their eyes drink on the pavement, some + swigging from iron buckets. + + As the Garrison approaches, a rock hits Campbell’s window + and the reflection is shattered. Campbell doesn’t even + flinch. + + Another rock hits the carriage, then another. The driver + shouts down... + + DRIVER + That’s it, I don’t go any further. + + Campbell blinks impassively. + + CAMPBELL + Take me to the Police Station. + + The driver hurriedly turns his horse around and the cab + hurries away... + 29. + + + As the cab clears shot, we find Ada Shelby, walking fast + down Garrison Lane, dressed in white with her hat angled on + her head. We follow her. She hurries past Jimmy Jesus as he + preaches some more... + + JIMMY JESUS + Your wickedness and your + fornications will be revealed... + + Ada hurries past him and disappears into the shadows. + + +20 EXT. CANAL TOW PATH, BRIDGE - NIGHT 1 - 20:40 20 + + In the gas lit half-darkness we find Ada reaching some + steps and trotting down them. The steps lead into more + darkness and we might begin to wonder where the hell she is + going. + + Moonlight shimmers on the canal, and the noise of Garrison + Lane is distant. Ada arrives at a canal bridge and lights a + cigarette. She looks all around. A moment later a figure + emerges from the shadows. + + In Ada’s match light we see the man is Freddie Thorne. Ada + smiles and goes to him. Freddie puts his arms around her + and kisses her on the forehead. She offers him her + cigarette and he takes a drag. + + ADA + I got tickets for the Penny Crush. + They’re showing a Tom Mix picture. + + Freddie smiles wearily as he smokes Ada’s cigarette. + + FREDDIE + I’m not in the mood for the + pictures tonight Ada. + + She takes the cigarette. She thinks she knows what Freddie + is in the mood for. + + ADA + I’m not doing it here again. I got + covered in mud last time. + + Freddie smiles again, takes her arm. + + FREDDIE + Let’s just walk a bit. + 30. + + +Ada is reluctant, staying put. In the distance there is +blinding light from a foundry and there are flashes of +light on the horizon from other factories. + + ADA + If we go down as far as Greet we + could go to a pub. + + FREDDIE + Your brothers have friends in + Greet. They have friends + everywhere. We’d have to walk to + London... + +Ada pulls her arm free. + + ADA + I’m with you because you’re the + only man around here not scared of + them. + +Freddie leans against the bridge. + + FREDDIE + Oh I’m scared of them alright. + +She turns her back and speaks as if it’s a line from a +romantic novel. + + ADA + But you love me more than you fear + them, right? + +He turns her around and pulls her close. + + ADA + I don’t want to be always sneaking + about. + + FREDDIE + Soon, we’ll tell them. + + ADA + When? + +Freddie doesn’t answer. A pause. + + FREDDIE + How did the family meeting go? + + ADA + Usual. + 31. + + + She smokes... + + ADA + There’s a new copper coming. + + Freddie takes the cigarette... + + FREDDIE + Yeah I heard. + + ADA + And Tommy says he’s after the likes + of you. + + She turns to stare at Freddie pointedly. + + ADA + So maybe you should burn your books + and stop making speeches. + + He smiles. He pulls her close and addresses her lovingly. + + FREDDIE + Oh my Ada. Only Princess of the + royal family of the Kingdom of + Small Heath. + + FREDDIE + I am just a poor communist frog + with a big mouth. Give me a kiss, + Princess Ada. + + They kiss each other with deep passion. + + +21 INT. CATHOLIC CHURCH - DAY 2 - 09:30 21 + + Friday 7th February - The church is ornate with bleeding + Christ’s around the altar. Polly is sitting alone at a pew + with her head bowed. The double doors open and Thomas + enters. He doesn’t pause or genuflect, he just walks to + Polly’s aisle. She doesn’t turn until he sits beside her. + + THOMAS + I have ten minutes. What do you + want? + + Polly reacts to the cursory tone. + + POLLY + (Firmly) + An explanation. + 32. + + +Thomas reacts to Polly in a way he reacts to no one else. + +Her admonishments have an effect. + + THOMAS + An explanation of what? + + POLLY + Of what’s so secret. + +A pause... + + POLLY + I’ve always been able to tell... + + THOMAS + (Interrupts) + Tell what? + + POLLY + When you’re hiding something. + +A pause. + + POLLY + People round here talk. Some of + them work at the BSA. + +Thomas reacts to a bull’s eye. He takes a weary breath. + + POLLY + I’ve been talking to wives of + factory hands. + + POLLY + Detectives have been asking + questions in the proofing shops. + +Thomas looks up at the iconography. He doesn’t care for it. + + POLLY + Nothing happens at the factory + without you knowing about it. + +Thomas turns to Polly and we see he has respect for her. + +Still he waits... + + POLLY + Speak. God and Aunt Polly are + listening. + 33. + + + Finally Thomas comes clean in a soft voice... + + THOMAS + It was meant to be routine. I had a + buyer in London for some + motorcycles. I asked my men to + steal me four bikes with petrol + engines. I’m guessing my men were + drunk. There’s a still inside the + factory makes tram line gin... They + picked up the wrong fucking + crate... + + POLLY + So what was in the crate? + + Thomas takes a moment... + + THOMAS + The boys delivered it to Charlie’s + yard as agreed. + + +22 FLASHBACK - EXT. CHARLIE’S YARD - NIGHT X - 22:00 22 + + By gas light and fire light, through drizzle, we see + Charlie, Curly and Thomas using crow bars to prize the + crate open. We move close. Thomas pulls down a box and + forces it open. We see dull metal, a barrel, a roll of + machine gun shells... + + THOMAS (OOV) + They must’ve taken it from the + proofing bay instead of the export + bay. + + We come close to Thomas’s face as he reacts to the sight of + the contents of the box. Curly steps into the light... + + CURLY + Holy sweet baby of Mary. + + +23 INT. CATHOLIC CHURCH - DAY 2 - 09:31 23 + + Thomas stares ahead. + + THOMAS + Inside the crate we found twenty + five Lewis machine guns with ten + thousand rounds of ammunition. + Fifty semi automatic rifles, two + hundred pistols with shells... + 34. + + +Polly crosses herself. + + THOMAS + All bound for Libya. Sitting right + there in Charlie Strong’s yard. + +Polly is in shock. + + POLLY + Jesus Tommy. Tell me you threw them + in the cut. + +Thomas doesn’t exactly show uncertainty but there is a +flicker which he smothers. + +Polly stares at him with horror, but Thomas keeps staring +straight ahead. + + THOMAS + (Matter of fact) + We put them in the stables out of + the rain. The guns hadn’t been + greased yet... + +A pause. Polly suddenly punches and hammers Thomas’s arm +and shoulders and Thomas calmly takes the blows for a while +then grabs her arm. She slowly gets control. + + POLLY + That’s why they sent the copper + from Belfast. + +Thomas looks away. + + THOMAS + Maybe. Maybe not. + +Polly laughs away the doubt... + + POLLY + Thomas Shelby, you are bookmaker, a + robber, a fighting man, but you are + not a fool... + +She lowers her voice out of respect for the Christ +statue... + + POLLY + You sell those guns to anyone who + has use for them, you will hang. + +A pause. + 35. + + + POLLY + Dump them somewhere the police can + find them. When they know they + haven’t fallen into the wrong hands + perhaps this will blow over. + + Thomas nods gently. Polly takes his hand. + + POLLY + Tell Charlie to dump them tonight. + + Thomas gets to his feet. + + THOMAS + He won’t move contraband around + under a full Moon. + + Polly is about to speak... + + THOMAS + Three days until it wanes. + + POLLY + And then you’ll do the right thing. + + Thomas nods once and she grabs his arm and stares into his + eyes. + + POLLY + You have your mother’s common sense + and your father’s devilment. I see + them fighting. + + A pause. + + POLLY + Let your mother win. + + He turns and walks. His footsteps echo. Polly sits down + again in the pew and crosses herself with a mumbled prayer. + + +24 EXT. GARRISON LANE - DAY 2 - 09:40 24 + + We see the Garrison Tavern in early morning. Then, from + behind, we see a young woman crossing the street and + approaching the pub. + + +25 INT. GARRISON PUB - DAY 2 - 09:41 25 + 36. + + +The pub still bears the scars of Danny Whizz Bang’s visit +the day before. Harry is moving chairs and tables back when +he sees the silhouette of a woman walking past the window +then standing in the frosted glass of the door. + +She knocks and Harry approaches. He opens the door and +finds a beautiful woman, dressed for practical work but +beautiful nonetheless. This is GRACE BURGESS. When Grace +speaks she will have a light Southern Irish accent... + + GRACE + I’m here about the job as barmaid. + +Harry turns and goes back to work. + + HARRY + Are you mad? + + GRACE + Am I what? + +She steps inside. + + HARRY + You know about this place? + +Grace hesitates. + + GRACE + I saw an advertisement. + +He half smiles at her nervousness. Then speaks flatly. + + HARRY + Job’s been filled. + + GRACE + But it was in yesterday’s paper. + +Harry grabs a broom and busies himself sweeping up +cigarette ends... + + HARRY + Believe me love, I’m doing you a + favour. + + GRACE + I’m not asking for favours, I’m + asking for employment. + + HARRY + You’re too nice. + 37. + + + GRACE + How can you know? + + HARRY + And too pretty. They’d have you up + against a wall... + + GRACE + I have experience. + +Harry leans on his broom and peers at her. She reaches into +her bag for a sheet of paper... + + GRACE + I have references... + +Harry takes the sheet of paper. + + HARRY + Which part of Ireland are you from? + + GRACE + Galway. I worked in Dublin. + +Harry glances at the crucifix around her neck. + + HARRY + My mother was from Galway. + +Grace smiles. He looks at her smile then nods and goes back +to his work... + + HARRY + Too pretty. + +He continues to sweep. Grace makes a decision. + + GRACE + Watch... + +Grace grabs a spittoon from the base of the bar.... + + GRACE + And listen... + +Grace begins to sing the pretty Irish ballad ‘I wish I was +in Carrickfergus’ as she scoops up the other two spittoons. +She clutches all three in one hand and swirls them around +as she sings. Her voice is sweet and strong. She pours the +slimy, disgusting contents of one spittoon into the other +then that one into a third (with a slurp). Her song swoops +on... + 38. + + + GRACE + (Singing) + ...But the sea is wide, and I can’t + cross over... + + Her face shows no reaction of horror as she brandishes the + fully charged spittoon then heads for the back of the bar. + + Grace swiftly unlatches the bar divide and empties the + spittoon into the sink. She pours water from a jug into the + spittoon and returns to systematically half fill and swill + the other two spittoons. She then pours the dirty water + into one spittoon and takes it back to the sink and pours + it away. + + All the time singing... + + GRACE + ...with gold and silver, I will + support you... + + She places the three spittoons back in place with a + clatter, handles facing outward. She finishes her song with + a flourish to an amazed Harry... + + GRACE + ‘...Ah but I’m sick now, and my + days are over. So come all you + young men, and carry me down.’ + + Grace bows elegantly then straightens. Harry stares at her. + + She smiles and glances at the freshly fixed glass pane. + + GRACE + In Ireland my singing made them cry + and stopped them fighting. + + Harry takes a breath. He studies her again then looks + around at his battered pub. + + HARRY + I hope you know a lot of songs. + + +26 INT. POLICE STATION - DAY 2 - 10:00 26 + + A large meeting room has been cleared and twenty uniformed + police officers sit in rows of hard backed chairs. Smoke + rises from them. Amongst them is one Sergeant MOSS, who we + will meet again. + 39. + + +There is a murmur of conversation until Chief Inspector +Campbell walks purposefully onto the small stage at the +front of the meeting room. The room falls silent. + +He studies his officers for a few moments, his face devoid +of expression. He allows the silence to continue until it +hurts. The officers begin to shift uneasily in their seats. + +Finally he speaks... + + CAMPBELL + Babies. Discarded with the fish + bones and egg shells. + +A puzzled pause. + + CAMPBELL + Girls. Eleven years old. Pierced + and punctured by old men for + threepence a time. Rutted upon like + animals. + +Silence. + + CAMPBELL + Degradation. Fathers with their + daughters, brothers and sisters + sharing beds. Beggars and thieves + left to run in the streets and + astride the whole stinking pile of + wounds and rotten flesh... + +A pause. + + CAMPBELL + Your masters. The men who you touch + your cap to. + +He stares down on them like God. + + CAMPBELL + The Peaky Blinders. The vicious + merciless gangs who blind those who + see and cut out the tongues of + those who talk. + +He stares down at the lines of officers... + + CAMPBELL + 40. + + + You are worse than them. Those of + you who have been taking their + bribes these years since the war. + Those of you who have looked the + other way, you are worse than them. + +A pause before Campbell yells... + + CAMPBELL + God damn you for soiling your + uniforms!! + +There is a terrified silence. + + CAMPBELL + Then there are the Communists. And + the IRA Fenians. Blacker hearts + still. They feed on the puss of all + this corruption like maggots in a + corpse. And like maggots, if they + are left to swell they will + eventually swarm like flies and + spread their rotten philosophy + across the country and across the + world. + +His voice echoes to silence. + + CAMPBELL + Those then are our enemies. A three + headed beast. It is my job to + decapitate each one and by God I + will do it. + + CAMPBELL + I don’t trust any one of you until + you earn my trust and it takes some + earning. + +He nods at the door and a uniformed officer opens it. To +Moss and everyone’s astonishment a line of twenty hard +looking men in heavy boots and working clothes march into +the room. They stare straight ahead, most with their +sleeves rolled up ready for work. + +Their heavy boots drum on the wooden floor and Campbell +stares down on them with a watchful eye. + + CAMPBELL + These are the new men who will be + bolstering your ranks. Good men. + From God fearing families. + 41. + + + The men begin to form a line on the stage behind Campbell + and stare straight ahead. + + CAMPBELL + They will be sworn in and in + uniform before the sun sets. By + sunrise tomorrow, they will be on + the streets. + + A pause. + + CAMPBELL + God help those who stand in our + way. + + +27 INT. PENNY CRUSH CINEMA, FOYER - DAY 3 - 10:45 27 + + Saturday 8th February - The queue has already formed and is + growing for a Charlie Chaplin film, snaking out through the + entrance door. + + Then we see Arthur Shelby with a woman on each arm, both + dressed for fun. Arthur is leading them, chest puffed out, + straight through toward the cinema auditorium... + + ARTHUR + You see ladies? When you’re with a + Blinder you don’t have to queue. + + As Arthur disappears into the cinema, he doesn’t notice a + double line of four Specials marching at quick-march time + towards the entrance door of the cinema. + + +28 INT. PENNY CRUSH CINEMA, AUDITORIUM - DAY 3 - 10:46 28 + + Inside the otherwise empty auditorium, we find Arthur with + the two women taking their seats. + + ARTHUR + Right, I want a blow job off both + of you before they let the ordinary + people in. + + The women laugh but right then the double doors of the + cinema burst open and the Specials, including Sergeant MOSS + pour in. + + They grab Arthur roughly by the arms... + + ARTHUR + 42. + + + Eh? What the fuck are you + doing?!... + + Arthur fights but the Specials quickly and efficiently pin + his arms up his back. The women scatter and the Specials + lead Arthur away... + + ARTHUR + Oi!! I’m Arthur Shelby!! I am + Arthur fucking Shelby!! + + The policemen are brutal and fast. They slam Arthur into + the frame of the door before dragging him into the light... + + +29 INT. POLICE STATION, EMPTY ROOM - DAY 3 - 11:30 29 + + Arthur is hurled against the wall of a bare room. In the + van he has been given a brutal beating. His face is bloody + and bruised. He is in shock and in agony. Two officers grab + him and sit him down in a hard backed chair. + + Arthur almost passes out and rolls onto the floor but one + of the policeman shoves him back in place. Arthur groans + with pain and rage. + + Then Chief Inspector Campbell strolls into the room. He has + his cane in his hand and he stops to lean on it as he + stares at Arthur’s bloody face. + + CAMPBELL + Arthur Shelby. + + Arthur’s words hang limply... + + ARTHUR + What de huck... + + Campbell whacks Arthur across the face with his cane. + + CAMPBELL + Lead pack dog of the Peaky + Blinders. + + Campbell gestures at one of the officers who produces the + cap which Arthur was wearing. Campbell studies the peak, + the razor blades sewn in place. + + CAMPBELL + Your uniform, yes? + + Arthur is breathing hard, bleeding from many wounds. + 43. + + +Campbell roughly shoves the cap onto Arthur’s head and +peers at him. + + CAMPBELL + Terrifying, I’m sure. + +He turns to a uniformed officer - Sergeant MOSS. + + CAMPBELL + Did he have a gun? + + MOSS + (Local accent) + No gun Sir. Knife in his sock. Cosh + in his belt. + +Campbell nods and patrols. + + CAMPBELL + Mr Shelby, I want you to see this + as me introducing myself to you. Do + you understand? + +Campbell patrols some more. + + CAMPBELL + In all the world the only thing + that interests me is the truth. + +He stops and studies Arthur. He comes close and stares deep +into his groggy eyes. + + CAMPBELL + What do you know about the robbery? + +Arthur is confused and blinks away blood. + + ARTHUR + What robbery? + +Campbell studies him for a moment then grabs his hand in a +lock and begins to twist his thumb back. Arthur growls in +pain. + + CAMPBELL + I will ask you again. What do you + know about the robbery? + +Arthur is strong and instinctively twists his hand free +with a yell but in the process his thumb breaks at the hand +joint. + +He growls in agony and is breathing hard. + 44. + + +Campbell grabs the tip of the thumb and holds it steady. + +Arthur holds his breath then splutters... + + ARTHUR + I swear to God I don’t know what + you’re talking about. What robbery? + +Campbell studies Arthur and we sense a keen intuition. He +delicately lets go of his thumb. + + CAMPBELL + After thirty five years of dealing + with animals like you, I can tell + just by sniffing the air whether or + not you are lying. + +Arthur is cursing his broken thumb... + + ARTHUR + I’m not fucking lying! + + CAMPBELL + (Softly) + I know. + +Arthur slowly looks up and gets his breath through pain. + + CAMPBELL + I see nothing of interest behind + the blood in your eyes. And no + blood in your veins that could + carry even a trace of cunning or + guile. So... + +Campbell straightens. He patrols again. + + CAMPBELL + Understand this. It is well within + my power to have you and the rest + of your scum family face down in + the canal before the year is out. + +He turns sharply. A long pause. + + CAMPBELL + Alternatively, we can help each + other. + +Even through agony, Arthur is taken by surprise. Campbell +smiles. + 45. + + +30 INT. GARRISON PUB - DAY 3 - 12:30 30 + + It is Saturday lunchtime. The place is heaving with men, + some of them wearing blue scarfs. Beer is flying over the + bar and the talk is loud. A piano plays. Smoke swirls. + + Grace is learning the ropes but she is already pulling + pints with aplomb. Harry brushes by... + + GRACE + Is it always this busy on a + daytime? + + Harry pulls a pint beside her... + + HARRY + No. These boys are all on their way + to St. Andrews. + + GRACE + To pray? + + Harry chuckles. + + HARRY + That’ll be the day. St. Andrews is + a football ground. The Blues are + playing. + + Harry gestures at a group of four men, drinking beer and + smoking near the door... + + HARRY + That’s the forward line and the + goalie believe it or not. + + Harry takes his pint to his customer. Grace hears a tap on + one of the small windows to the private snug bar and + hurries to it. + + She opens the small, frosted window. She comes face-to-face + with Thomas. Grace and Thomas peer at each other. There is + a crackle of electricity. After a moment... + + THOMAS + I need a bottle of Rum. + + Grace double takes. Harry has glimpsed who she is serving + and looks anxious. He calls out... + + HARRY + Grace? Whatever it is, it’s on the + house. + 46. + + +Grace is a little thrown. Thomas is putting coins on the +bar... + + GRACE + A whole bottle? + +Thomas looks up at her, his eyes shaded. She stammers... + + GRACE + White rum or dark? + + THOMAS + I don’t care. + +Grace nods anxiously and turns around to the spirit +cupboard. + +Thomas watches her and sees anxiety. She finds a bottle of +dark Rum and puts it onto the bar. + + GRACE + Harry said on the house. + +Thomas pushes the coins forward then peers at Grace. + + THOMAS + Are you a whore? + +Grace is astonished. Thomas stares at her. + + THOMAS + Because if you’re not, you’re in + the wrong place. + +Thomas takes the bottle of rum and leaves. Grace watches +him go. Harry hurries to her and Grace catches her +breath... + + GRACE + He’s one of the ones you told me + about. + +Harry quickly closes the frosted window and locks it. + + HARRY + Grace, you’re a friendly girl but + be careful. If I say ‘on the house’ + say nothing to whoever you’re + serving. If they decide they want + you there’s nothing anybody could + do about it. + +Harry swigs a beer. + 47. + + + HARRY + Lucky for you, since he got back + from France, Tommy doesn’t want + anybody at all. + + +31 INT. SHELBY HOME, PARLOUR - DAY 3 - 12:35 31 + + Arthur is sitting on a hard-backed chair, groaning in pain. + + John and Polly are there and Ada is boiling water on the + open fire. + + ADA + John, wipe the blood out of his + eye. + + JOHN + Since when did you give orders? + + Ada squeezes a cloth.... + + ADA + I’m a trained nurse. + + ARTHUR + Don’t make me laugh, it hurts my + face. + + ADA + I bloody am. + + JOHN + You went to one first aid class in + the church hall and got thrown out + for giggling. + + ADA + Not before learning how to stop + somebody from choking. + + ARTHUR + I’m not choking. + + ADA + You will be when I wrap this cloth + round your neck. + + Thomas enters with the bottle of rum. The mood darkens... + 48. + + +He grabs a cloth and soaks it in the rum. We sense +battlefield training is kicking in as he applies the spirit +to the worst of Arthur’s wounds. Arthur already has his +thumb strapped with tape. Thomas is close to Arthur. Arthur +drinks some more, the sting of the alcohol hurting his +mouth. + + ARTHUR + He said Mr Churchill sent him to + Birmingham. + +Ada brings a bowl of boiling water to the table. + + ARTHUR + National interest, he said. He said + there’d been a robbery. + +Polly turns sharply to glare at Thomas. Thomas steps back, +not reacting. + + ARTHUR + He said he wants us to help him. + +John is offended... + + JOHN + We don’t help coppers. + + ARTHUR + He knew all about our war records. + He said we’re patriots like him. + +Ada has soaked a cloth in hot water and holds it onto +another wound... + + ARTHUR + He said he wants us to be his eyes + and ears. + +Arthur brushes Ada aside and peers at Thomas. + + ARTHUR + I told him we’d have a family + meeting and a vote. + +The two men stare at each other. Thomas says nothing. +Arthur takes another swig... + + ARTHUR + Why not? We have no truck with + communists. Or Fenians. + +Polly and Thomas are silent but Arthur is studying Thomas. + 49. + + + ARTHUR + What the fuck is wrong with you? + Polly, what is wrong with him + lately? + + Polly peers at Thomas for a moment. + + POLLY + If I knew, I’d buy the cure from + Compton’s Chemists. + + Thomas grabs his coat... + + THOMAS + Arthur, you’re broken up pretty + bad. + + He pulls his coat on, leaves. Arthur growls but his wounds + stop him from leaving his chair. Polly calls out... + + POLLY + Tommy! + + Thomas has already gone. + + +32 EXT. GARRISON LANE - DAY 3 - 12:40 32 + + We find Jimmy Jesus walking along the pavement near to the + Garrison, stopping every few paces to pick up cigarette + ends. + + He drops each one into a small sack he has slung over his + shoulder. + + As he walks, he hears a voice from an alley. + + THOMAS + Hey Jimmy. + + Jimmy ducks into the alley to join Thomas, who gives him a + cigarette and a light. + + THOMAS + Jimmy, what do you see? + + Jimmy blows smoke... + + JIMMY JESUS + I see lots of new coppers in shiny + coats. + 50. + + + THOMAS (SOFTLY) + Who do you see talking to them? + + JIMMY JESUS + The silver back coppers don’t talk + to anybody. They’re looking for + something. + + Thomas looks around... + + THOMAS + Do they say what? + + JIMMY JESUS + The ranks don’t know. They’ve just + been told to search cellars and out + houses. + + Thomas hands Jimmy a ten shilling note. Jimmy studies him. + + JIMMY JESUS + What’s happening Tommy? + + Thomas hands Jimmy the pack of cigarettes. + + THOMAS + Keep your eyes open and your mouth + shut. + + Jimmy suddenly stands erect and salutes Thomas... + + JIMMY JESUS + Yes Sir Sergeant Major. + + The salute suggests Jimmy is a veteran too. Thomas doesn’t + salute back but instead walks away. + + +33 EXT. WATERY LANE - NIGHT 3 - 00:30 33 + + We’re outside the Shelby Home on Watery Lane. + + +34 INT. SHELBY HOME, THOMAS’ ROOM - NIGHT 3 - 00:30 34 + + The bedroom has a bay window overlooking the street + outside. + + Gas light flickers from outside through net curtains. The + factories work all through the night and we hear the boom + of the giant steam hammers and see the flashes from the + steel foundries. + 51. + + + Thomas is in restless sleep in a plain bed, with a water + jug and a bottle of whisky on the bedside table. The thud + of industry makes for a restless mood in the room and + Thomas mumbles under his breath. + + Then he wakes with a start, breathing hard. He looks around + the room with incomprehension for a long time before coming + to himself. His hands are shaking and his eyes are wild. + + He gets to his feet and hurries to a drawer. He pulls out a + small, white clay pipe and a red velvet bag (similar to the + one the chinese girl used). + + From the bag he pours a palm full of brown opium. + + He feverishly pours the opium into the pipe then lights a + match. He puts flame to the opium and draws. Then he blows + a cloud of smoke. + + He slowly eases into the opium and takes some big breaths + of smoke. He goes to the window and pulls open the curtain + to look out over Montague Street. The terraces are all + sleeping in moonlight. Thomas looks deeply sad as he stares + out over his kingdom through his trailing smoke. + + Then footsteps. Thomas sees two policemen, both wearing + shiny capes, walking down the cobbled street carrying long + coshes. The sight of them seems to take Thomas by surprise + and he stares down as they pass under his window. + + One of the officers stops and peers up at the window, + apparently knowing who lives at that address. The two + policemen share a joke and one of them drags his finger + across his throat in a warning gesture to Thomas. + + Thomas reacts. The challenge seems to spark a reaction. His + face hardens and he speaks softly to the departing + police... + + THOMAS + See you in No-Man’s land boys. + + +35 EXT. LITTLE ITALY - DAY 4 - 10:00 35 + + Sunday 9th February - The neighborhood of Nechells Green + has several streets occupied by Italian immigrants. It has + recently stopped raining, and the street is full of kids + and looks like all the streets, but the shop signs are in + Italian and the language being yelled out by children is + Italian too. + 52. + + + Sharply dressed Italian men and their families walk down a + stretch of houses and shops. Cigarettes are lit and + greetings are made. Newspapers blow around (with headlines + about strikes and wage cuts). It is a pleasant, colorful + scene... + + Then, a man walking fast, wipes shot. + + We join him and realize it is Danny Whizz Bang. He is + wearing just a suit jacket over a collarless shirt. We come + close to his face beneath his hat and hear him mumbling... + + DANNY + Got to go bang, got to go bang... + + He is not looking where he is going and clatters into a + metal table and chairs outside a small ITALIAN CAFE. + + Chairs lean against two other tables, still stacked + following the recent rain. The cafe is closed and has its + blinds down. + + Danny curses the tables and chairs and untangles his feet. + + He stares like a mad man all around. He then picks up a + metal chair and hurls it to the ground. + + Almost immediately, a waiter appears from inside the cafe. + + WAITER + Hey, what you do? We’re closed. + + Danny stares at him with wild eyes. He growls and turns + over another metal table. The waiter is a small guy but + he’s not scared. He pulls a small stiletto from the back of + his belt. + + WAITER + Go home crazy man. + + Danny stares at the knife. He breaths hard. Then he + suddenly yells... + + DANNY WHIZZBANG + Fix bayonets!!! + + He hurls himself at the waiter, grabs the knife, twists it + around and plunges it into the waiter’s chest. The waiter + grips Danny’s jacket with a death grip before falling into + the bloody rain. Danny stares, realizes, then walks. + + +36 EXT. TRAIN STATION, PLATFORM - DAY 4 - 11:43 36 + 53. + + + A steam train is waiting at platform five. Passengers are + alighting and boarding. We hear an announcement... + + ANNOUNCEMENT + The train at platform five is the + Manchester Piccadilly bound 11.45 + originating from London Euston. + It’s departure will be delayed by + fifteen minutes. + + Through the crowd we see Campbell, dressed smartly, a top + hat on his head, hurrying toward the first class carriages. + + Then we see Campbell approaching the Pullman car at the + front of the First Class section. Two plain clothes + detectives guard the door of the carriage and they check + Campbell’s papers before allowing him to board. + + +37 INT. PULLMAN CARRIAGE, TRAIN STATION - DAY 4 - 11:44 37 + + The carriage has been turned into an office, with no lack + of luxury. + + Campbell is stopped by a DETECTIVE and briefly searched. He + is then shown through to the main carriage. + + There is a well stocked drinks cabinet and a large desk. + + There is thick cigar smoke and we see a pudgy man in pin + stripes working at the desk. + + This is WINSTON CHURCHILL. + + Campbell is introduced by one of the detectives... + + DETECTIVE + Secretary of State, this is Chief + Inspector Campbell. + + Campbell removes his hat and WINSTON CHURCHILL stands to + shake hands. Like many bullies, Campbell is awed by power. + + CAMPBELL + Mr Churchill, may I say what a + great honour it is to meet you. + + Churchill smiles and sits.... + + CHURCHILL + Bit of a whistle stop tour. Love + the hat by the way. + 54. + + + CAMPBELL + Thank you. It’s beaver. + + CHURCHILL + So how are you settling in? + + CAMPBELL + I have set up a command network. I + have agents in place across the + city who will act as my eyes and + ears. I have begun to interrogate + suspects vigorously. + +Churchill checks some papers (Campbell’s CV)... + + CHURCHILL + You were in Belfast. I understand + you broke a few Fenian hearts + there. + + CAMPBELL + A rat’s nest Sir. + +Churchill peers out of the window... + + CHURCHILL + So who do you think stole the guns? + Fenians or Communists? + +Campbell begins to speak like a preacher, a mantra... + + CAMPBELL + If it is IRA Fenians I will find + them and find the guns. If it is + Communists I will find them and + find the guns. If it is common + criminals I will find them and find + the guns. To me there are no + distinctions between any of the + above. + +Churchill studies Campbell and is almost amused by him. + + CHURCHILL + We chose you because you are + effective. + +Churchill offers a cigar but Campbell declines... + + CHURCHILL + 55. + + + But remember this, Mr Campbell. + This is England, not Belfast. + Bodies thrown into rivers, wash up + in the papers here. We must keep + the existence of these stolen guns + out of the papers otherwise we will + simply be advertising them for + sale. + + Campbell nods acceptance. + + CHURCHILL + If there are bodies to be buried, + dig holes and dig them deep. + + The platform whistle blows and Churchill closes his file... + + CHURCHILL + I want everything accounted for + down to the last bullet. + + +38 INT. GARRISON PUB - NIGHT 4 - 20:30 38 + + It’s dark outside and the place is packed with drunk and + happy men. + + Grace is standing on a make-shift stage near to the pub + piano and she is singing ‘The Boy I Love’, a sweet romantic + ballad with a lilting rhythm. The men in the pub are + singing along or swapping raucous laughter with the handful + of young prostitutes who hang out in pairs among the men. + + Grace’s voice is strong and Harry peers at her with + admiration. The song continues for a while and then the pub + door opens. First John and then Thomas enter. All heads + turn away. Men peer into their beer and all the men stop + singing. + + But Grace continues to sing. + + Thomas stands near to the door, peering up at Grace. The + pianist stops playing. Even then Grace continues to sing. + + There is silence apart from the song and Grace’s voice + falters only a little. She is nervous but somehow her + momentum keeps her going. + + John waits for Thomas to decide his reaction. Thomas’s eyes + are shaded. He stares without expression and now it’s as if + the song is directed at him. Grace concludes her song... + + GRACE + 56. + + + The boy I love is up in the + gallery.... + + We come close on Thomas’s face... + + GRACE + As pretty as a robin. As gentle as + a dove. + + Then silence. Finally, Harry dares to speak up. + + HARRY + We haven’t had singing in here + since the war. + + Thomas glares up at Harry. After a moment. + + THOMAS + Why do you think that is? + + Thomas leads his brother to their own private snug bar and + the door slams behind them. + + +39 EXT. FREDDIE THORNE’S GARRET - NIGHT 4 - 20:45 39 + + Freddie lives in one room in a tenement. From outside, + through a metal grill window and through skipping children + we hear the sound of sex. + + +40 INT. FREDDIE THORNE’S GARRET - NIGHT 4 - 20:47 40 + + The room is functional and the walls lined with books, + mostly revolutionary literature. There is a single bed in + which Freddie and Ada are just recovering from sex. Freddie + lights a cigarette and shares it with Ada. We can hear + children playing outside. After a moment... + + FREDDIE + So did Arthur say what kind of deal + this new copper offered him? + + Ada turns angrily to Freddie. + + ADA + The second your balls are empty + it’s back onto politics. + + She gets out of bed and begins to dress, the cigarette + smouldering in her mouth. Freddie half smiles... + + FREDDIE + 57. + + + What did Tommy say? + +Ada grabs a black mourning dress from the back of a chair. + +She begins to dress with anger which Freddie knows will +pass... + + ADA + He didn’t say anything. You know + what he’s like. + +A pause. Freddie thinks fondly... + + FREDDIE + Yeah, I know what he’s like. He + likes to take his fights onto the + mud. Doesn’t like to stand and + wait. + +Ada turns to Freddie. + + ADA + You know what he’d do if he found + out about us. + + FREDDIE + (Calm, defiant) + He could try. + +Ada turns back sharply (her black dress in her hand). + + ADA + Sometimes it’s like you’re with me + to show you can. + +Ada is about to pull on her black mourning dress but +Freddie takes her arms. He addresses her in a broken +mirror. + + FREDDIE + One day me and Tommy will be on the + same side again. + +Ada stares at his reflection. + + ADA + Yeah. When you become a bookie. + +Freddie laughs and embraces her from behind. He reaches for +a large black hat with a black veil, the kind worn by women +in mourning and common on the streets after the war. We +realize this is Ada’s disguise. He offers it to Ada... + 58. + + + FREDDIE + There sister. Thanks for coming. + + Ada half smiles. + + ADA + I must be the only girl ever who + had to wear a black widow dress to + get to wear a white one. + + She looks hopefully at Freddie. Freddie just smiles. + + +41 EXT. CHARLIE STRONG’S YARD - NIGHT 4 - 21:30 41 + + We find Curly and Charlie hauling heavy crates onto a coal + barge. They are in a hurry. We watch the work for a while + and see the gun cases as they are being loaded. + + Charlie drops a sack into the hold of the boat then turns + to see Thomas entering the yard. Charlie joins Thomas at + the fire. + + CHARLIE + They are aboard. There’s no Moon. + We can take them out to the turning + point beyond Gas Street and leave + them on the bank. They’ll be found + by railwaymen first thing. + + Charlie nods and warms his hands on the flames. He responds + to Tommy’s silence and gets uneasy. + + CHARLIE + Is that agreement? + + A pause. Factories pound in the night... + + THOMAS + (Softly) + I changed my mind. + + A pause. + + CHARLIE + You what? + + THOMAS + (Flat) + I have an alternative strategy. + 59. + + +Thomas takes a set of three large iron keys from his pocket +and offers them to Charlie. (We might realize, in the fire +light, Charlie feared something like this). + + THOMAS + Tell Curly to take her out to the + old tobacco wharf. There’s a lock + up mooring we used to keep + cigarettes. He knows it. + +Charlie stares at Thomas with horror, not taking the keys. + + THOMAS + When the boat leaves your yard it’s + no longer your concern. + + CHARLIE + (Firmly) + Have you lost your fucking mind? + +Thomas lays the keys aside to light a cigarette.... + + CHARLIE + Have you not seen the streets? + They’ve sent an army to find these + things... + + THOMAS + (Calm) + That’s right. They’ve shown their + hand... + + CHARLIE + (Incredulous) + Their hand? + +Thomas speaks almost as if he has rehearsed his +rationalization... + + THOMAS + If they want them back this bad, + they’ll have to pay. That’s the way + of the world. Fortune drops + something valuable in your lap, you + don’t just dump it on the bank of + the cut. + +Charlie stares at Thomas with disbelief... + + CHARLIE + 60. + + + You’re blood Tommy. I’ve always + looked out for you like a dad. + You’re going to bring holy hell + down on your head. This copper + takes no prisoners... + + A half smile appears on Thomas’s face. + + THOMAS + I’m told he didn’t serve. + + A pause. + + THOMAS + Reserved occupation. + + Charlie peers at Thomas as if he is slowly realizing + something... + + CHARLIE + It’s another war you’re looking for + Tommy? + + Thomas finishes his cigarette and puts the bunch of keys in + Charlie’s top pocket. + + THOMAS + The tobacco wharf. By order of the + Peaky Blinders. + + +42 EXT. MUSEUM - DAY 5 - 10:55 42 + + Monday 10th February - Campbell enters the museum. + + +43 INT. MUSEUM, STATUE ROOM - DAY 5 - 10:59 43 + + Campbell is wandering among the statues. The museum is + sparsely attended. He checks his watch. After a moment, + Grace walks by. + + Campbell looks straight ahead as he talks... + + CAMPBELL + Are you in position? + + GRACE + I am in, Sir. + + A shock. Grace works for Campbell (we might recall him + telling Churchill that he had agents in the field). + 61. + + + CAMPBELL + Your first impressions. + +Grace takes a moment... + + GRACE + I am quite shocked at how these + people live. + +Campbell looks grave... + + CAMPBELL + As you know Grace, I was opposed to + the use of female operatives in the + beginning. But Belfast proved their + worth. + +Grace seems keen to divert the flattery... + + GRACE + Have you found anything out that + might help me? + + CAMPBELL + I interrogated the head of the + Peaky Blinders. He didn’t know + anything. A brute. His gang may + even prove useful to us. + + GRACE + It strikes me that it isn’t Arthur + who heads the Shelby family. It is + the younger one... + +A pause. + + GRACE + Thomas. + +Grace nods as Campbell glances at her briefly. + + GRACE + They say he won two medals for + gallantry in the War. + +Campbell squeezes the end of his moustache... + + CAMPBELL + You sound fascinated. + + GRACE + (Ignoring) + 62. + + + However, my opinion has not + changed. The bookmaker gangs have + other business and the communists + are too weak to have planned this. + I believe the guns were taken by + the IRA. + + Campbell nods gently. + + CAMPBELL + You must not let your history cloud + your judgement. + + GRACE + (Knowing) + What history? + + Silence as someone passes. Grace continues wearily... + + GRACE + That the IRA murdered my father + will not affect my judgement. + + Campbell hears but doesn’t quite believe. He hands her a + slip of paper with a list of serial numbers and speaks + softly. + + CAMPBELL + If you see a gun, check the serial + numbers against this list. + + Campbell turns to go, checking his watch. Then he stops and + smiles at Grace. + + CAMPBELL + Your father was the finest officer + I ever worked with. I know he would + be very, very proud of you. + + He drifts away. Grace seems to be deeply affected by + mention of her father but holds it all in check... + + +44 EXT. GRAND UNION CANAL - DAY 5 - 18:00 44 + + We find Leo, the Italian cafe owner, and another Italian + guy, standing on the tow path. They are dressed in black + suits and overcoats. + + Behind them, we see a black coal barge slowly motoring up + the canal toward them. Leo reacts to someone crossing the + canal bridge. + 63. + + +We see Thomas, escorting Danny Whizz Bang. + +Thomas and Danny come down to the tow path a hundred yards +from where Leo and his friend are standing. Thomas is +wearing his cap and a long black coat. + +We come close to Thomas and Danny. Thomas speaks with grim +seriousness. Danny removes his hat and twirls it in his +hand. + + THOMAS + Danny, as you know, the man you + killed was Italian. And those two + men down there are his brothers. + +Danny, filled with terrible remorse, glances in their +direction. They glare murder at him. + + THOMAS + Now if I let the Italians do this + they’ll cut off your manhood and + let you drain. That’s how those + bastards do things. + +Danny takes a breath, stares ahead. The factories bang and +hiss. + + THOMAS + So, to stop a war breaking out + between us and the Italians, and to + save you from their barbarity, I + said I would dispatch you myself. + +Danny nods, already expecting this. + + THOMAS + They are here to witness. + +Thomas offers Danny a cigarette and he takes it with +shaking hands. Thomas lights his cigarette. Danny takes a +big draw. + + DANNY + I died over there anyway Tommy. I + left my fucking brains in the mud. + + THOMAS + Yeah. You have any last requests, + comrade? + +Danny takes a heavy breath. + + DANNY + 64. + + + You’ll look out for my Rosie and my + boys. + +Thomas nods as he smokes. + + DANNY + See they get apprenticeships. At + the BSA factory or the Austen. + They’ll make foremen. I know they + will. Just ordinary. Just ordinary + men. And they won’t get told to do + that shit, that shit, that shit we + got told to do. + +Thomas nods gently. Danny peers at Thomas with tears in his +eyes. + + DANNY + I suppose I ought to pray now. + +Thomas looks away. The black coal barge is getting closer. + + DANNY + Those fucking guns blew God right + out of my head. + +Danny bows his head and fights tears. He hears the +squelching tread of the horse approaching. + + DANNY + Is that boat for me? + +Thomas nods... + + THOMAS + We have to get your body out of the + city. This new copper, you know... + +Danny nods. + + DANNY + Don’t bury me anywhere where + there’s mud. Ok? Promise me. Bury + me on a hill. And tell Rosie where. + +Thomas nods then pulls his Webley revolver from his pocket. + +Danny’s eyes squeeze closed and his fists clench. Thomas +holds out his hand to shake. Danny shakes it. + + THOMAS + You were a good man and a good + soldier. + 65. + + + DANNY + Yes Sergeant Major. + + Danny folds his hands over his belt and lowers his head. + The boat is almost alongside. Danny closes his eyes. Thomas + holds up the gun for the Italian brothers to see. He then + puts it to Danny’s temple... + + THOMAS + (Softly) + In the bleak midwinter. + + Danny nods. The boat is alongside. Thomas pulls the trigger + (and as he does, he kicks the backs of Danny’s knees.) + There is a splash of blood and brains on Thomas’s face. + + Danny falls face first onto the deck of the boat as it + passes. + + Thomas wipes the blood from his face and looks down at the + Italian brothers. They turn and walk away and Thomas walks + away in the opposite direction. + + As he walks we see no emotion on his face. + + +45 INT. BETTING SHOP - NIGHT 5 - 20:20 45 + + Thomas enters through the customer entrance. He sits down, + lights a cigarette and opens a newspaper onto the racing + page. He studies the racing results. Outside we hear + children playing. + + Then Arthur bursts in. His face is scarlet with rage, his + wounds still healing. He has a newspaper of his own in his + big meaty hand and he slaps it... + + ARTHUR + (Furious) + It bloody won! + + Tommy doesn’t look up from his paper. + + ARTHUR + Monaghan Boy bloody won! + + Thomas finally turns to Arthur. He has a deep, deadly look + on his face. + + THOMAS + Yeah. It won. + + A pause. + 66. + + + THOMAS + And word will spread. So next time + we do the powder trick it won’t + just be the Garrison that’ll bet on + the horse, it’ll be the whole of + Small Heath. And you know what? The + horse will win again. + + Thomas confronts Arthur, toe-to-toe... + + THOMAS + And the third time we do it we’ll + have the whole of Birmingham + betting on it. A thousand quid bet + on the magic horse. And that time, + when we are ready, the horse will + lose. + + They stare into each other’s eyes. Then, without diverting + his gaze, Thomas reaches out and grabs the rum bottle from + Arthur’s desk. + + THOMAS + Have a drink and think about it + Arthur. + + Thomas turns and leaves through the drape curtain. Arthur + considers the bottle. + + +46 EXT. CANAL TOW PATH, TUNNEL - NIGHT 5 - 20:30 46 + + The coal barge is moored. If we didn’t know the grim truth, + this would be a rural idyll. + + After a moment, we see Charlie getting back onboard the + boat, carrying a shovel. We assume he has disposed of + Danny’s body. + + Then, suddenly, Danny Whizz Bang emerges from the hold. He + is a little dazed and has just washed his face of blood. + + CHARLIE + You ok Danny? + + Charlie stows the shovel (he just went for a latrine + break). + + DANNY + I’m still in shock. You’re sure + this isn’t heaven? + + CHARLIE + 67. + + + (smiling) + If it was heaven, what would I be + doing here? Tommy wanted you to + think it was real to try to knock + some sense into you. + + Danny rubs his woozy head. + + DANNY + A shell full of sheep brains hurts + pretty bad. + + CHARLIE + It was meant to. + + They prepare to set off. + + DANNY + So where are you taking me? + + CHARLIE + London. Tommy has a little job for + you. Give you chance to say thanks. + You’re a Peaky Blinder now Danny. + + The boat glides from its mooring. Danny now looks to be + filled with foreboding. + + +47 INT. SHELBY HOUSE - NIGHT 5 - 20:40 47 + + Aunt Polly is polishing a big brass pot and we see her face + in the uncertain reflection in the brass. She hears someone + entering the house. Aunt Polly prepares herself. Thomas + enters and produces a wad of notes and two bags of coins + which he places on the table. + + Polly takes the bag of coins and weighs it in her hand. + + POLLY + A bad week. + + Thomas removes his hat, sits down, rubs his eyes wearily. + + Polly begins to count the money and speaks casually, hiding + her anxiety... + + POLLY + There was no Moon last night. I + looked. + + Thomas lights a cigarette... + 68. + + + POLLY + Did you do the right thing? + + THOMAS + (Firmly) + Yes. I did the right thing. + + Polly stops counting and stares at him. She can read him + like a book. + + Thomas turns and leaves. In Polly’s face we read that she + knows Thomas didn’t dispose of the guns. She reacts and + peers at the pile of coins. She knows there are dangerous + times to come. + + +48 EXT. GARRISON LANE - NIGHT 5 - 20:45 48 + + We hear the song ‘In the Bleak Midwinter’ as we follow + Thomas walking through his kingdom. We are close on his + face, looking for reaction. He is resolved. He walks past + the Garrison... + + As he walks, Grace peers out from inside the pub and + watches him go. + + THE END + \ No newline at end of file