PEAKY BLINDERS II

Episode One

'Soldier’s Heart’

SHOOTING SCRIPT

Written by

Steven Knight

20/02/14

THIS SCRIPT IS STRICTLY CONFIDENTIAL

Please do not discuss the contents of this script with anyone

outside the Production.

©Caryn Mandabach Productions & Tiger Aspect Productions 2014

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1 OPEN ON BLACK - FLASHBACK 1 1

Then...
A 1919 penny spinning in darkness in slow motion, glinting in
light. It spins slowly enough for us to glimpse the King’s
head spinning through shot three times...

2 INT. BETTING SHOP, ARTHUR’S OFFICE (1919)- NIGHT, FLASHBACK 1 2

We see the spinning coin in the air above Tommy’s head, taken
from the final sequence of series one, episode six.
The coin continues to spin. A whistle is blown on a train
platform. Suddenly...

3 INT. TRAIN STATION (1919) - NIGHT, FLASHBACK 1 3

We cut into the existing scene from series one. Again we
witness Campbell taking Grace by surprise as she is about to
board a train. Campbell pulls a gun. The train hisses
steam...

4 INT. BETTING SHOP, ARTHUR’S OFFICE (1919)- NIGHT, FLASHBACK 1 4

Silence. The coin spins for just two seconds...

5 INT. TRAIN STATION (1919) - NIGHT, FLASHBACK 1 5

Campbell points the gun at Grace. Grace reacts, and, with
just a flicker of her eyes, we infer she is not going to go
quietly.
Campbell doesn’t know if she is armed and almost challenges
her to go for her gun. Grace doesn’t move. She knows that if
Campbell wants to do this straight away she has no chance.
But he hesitates.

6 INT. BETTING SHOP, ARTHUR’S OFFICE (1919)- NIGHT, FLASHBACK 1 6

Silence, the coin spins for two seconds more.

7 INT. TRAIN STATION (1919) - NIGHT, FLASHBACK 1 7

Then, loudly, we hear another platform whistle and hear the
hissing of the train as it prepares to depart.
Campbell’s resolve appears to weaken. For a moment there is a
struggle inside his head. Grace sees it. She speaks softly,
almost as a compliment...
GRACE
Vengeance is not your lord.

(CONT'D)
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7 CONT'D: 7

Campbell still has the gun pointed. Then a darker impulse

takes over. He appears to have made a decision. Finally...
CAMPBELL
Grace...
Campbell cocks the trigger and Grace prepares...
CAMPBELL (CONT’D)
You have left me with absolutely
no...
Grace darts her hand into her bag, and pulls the trigger of
her gun. Her bag explodes and the contents fly in slow
motion.
Campbell is hit and falls back, his gun spilling from his
hand. The gun shot kick starts our theme music.
Campbell falls to the ground in slow motion like a giant that
has been felled. He hits the wet ground with a splash and a
crunch of his head against the gravel.
We should not know if Campbell is alive or dead but most will
assume he is dead.

8 INT. BETTING SHOP, ARTHUR’S OFFICE (1919)- NIGHT, FLASHBACK 1 8

The moment Campbell hits the ground the spinning coin lands
on the back of Tommy’s hand. Tommy peers down and sees the
King’s head. He peers at the coin, accepts its verdict and
looks up at the ceiling, preparing for the rest of his life.

8A EXT. STREETS - MORNING 1 8A

TITLE SEQUENCE.

In fractured images, we see two women, dressed in billowing

black dresses, pushing large black prams through the streets
of Small Heath. They follow the same route that Tommy took in
series one title sequences.

9 EXT. GARRISON PUB, GARRISON LANE - MORNING 1 9

We pull wide and see the women with the prams arriving in
Garrison Lane. We see the exterior of the Garrison pub.
The structure is the same as when we last saw it, but the
paint work is finer, the sign more ornate and there is
reference to a ‘chop house upstairs’.
We see a caption...
‘Small Heath, Birmingham’.
Fade out and fade in...

(CONT'D)
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9 CONT'D: 9

‘Two years later’.

We come a little closer to the women, down to ground level.
The women in black bonnets are chatting as they walk. They
arrive at the outside of the pub and stop outside the front
door on the corner. We can’t see faces because of the bonnets
and their black dresses billow.
They both reach into their prams at the same time as if
comforting their babies. Then they put the brakes on the
prams and turn and walk, leaving the prams where they are.
The women speed up and begin to run away, holding onto their
bonnets and their skirts.
We wait a few moments.
Then the two prams explode at the same time. The front of the
pub is blown to pieces. The windows are blown in and a back
draught billows out. We see the explosion in slow motion and
see that, along with the debris, there is also brightly
colored confetti falling to the ground gently through the
black smoke and shattered glass.

10 EXT. GRAVEYARD - DAY 1 10

From on high we see a congregation dressed mostly in black,

standing beside a freshly dug grave. Two red banners are
being held aloft as a Priest incants the ‘ashes to ashes’
graveside prayer.
The red banners read ‘Communist party of Birmingham,
Bordesley’ and ‘Communist party Kentish Town’. Around the
banners we find various members of the Communist party. At
the grave’s edge, we also find Ada, with a boy of two and a
half. This is KARL.

Ada’s look across the grave takes us to the other side.

There we find the extended Shelby family.
The first face we recognize is AUNT POLLY, dressed
immaculately with a black veil lifted and tight black
clothes. (Around her neck she wears a Madonna made from black
jet which will become relevant but we may not notice just
yet).
We move along the side of the grave and take in the faces
(still not knowing who is dead).
We find JOHN SHELBY with his wife ESME. Esme is holding a
sleeping baby, one year old
Then we find JIMMY JESUS with his mixed race son (ISIAH, aged
seventeen). Then we pass CURLY and CHARLIE STRONG. Then
ARTHUR SHELBY.

(CONT'D)
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10 CONT'D: 10

Next to him is FINN SHELBY. Finn has grown and is now

thirteen and looks older than his years, with his hair
slicked back with Brilliantine. He has become quite handsome
in a tough way.
Finn leans forward to peer into the grave as the coffin is
lowered. A hand pulls him back into place.
The hand belongs to TOMMY SHELBY. He is at the end of the
line, dressed sharply in all black with a black tie.
The coffin reaches the bottom of the grave and the priest
nods to Tommy. Who steps up. The communists behind the red
banners give him hard stares. Tommy (of course) couldn’t give
a damn.

TOMMY
I promised my friend Freddy Thorne
that I would say a few words over
his grave if he should pass before
me.
Arthur proclaims loudly...
ARTHUR
Amen.
(Already we might feel Arthur has become quite odd since we
last met him. Tommy ignores.)
TOMMY
I made the promise when we were in
France. Fighting for the King.
The communists give Tommy hard stares which he absorbs.
TOMMY (CONT’D)
But war didn’t take Freddy.
Pestilence took him. But Freddy
passed on his spirit and soul to a
new generation before he was
cruelly taken.
Tommy gestures at Karl Thorne. Ada has no expression. Tommy
takes out a piece of paper and it blows in the wind

TOMMY (CONT’D)
I promised I would read his
favorite poem over his grave. He
told me the poem is about
revolution...
One of the communists calls out irreverently...
COMMUNIST
Amen.

(CONT'D)
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10 CONT'D: 10

We come close to Ada. She has no tears in her eyes. Tommy

begins to read from the sheet....
TOMMY
‘Scatter as from an unextinguished
hearth, ashes and sparks...’

As Tommy reads we re-acquaint ourselves with the ice in

Tommy’s soul. He is a little older, a little wiser, a man
betrayed the last time he gave anything of himself.

TOMMY (CONT’D)
‘Be through my lips to...’

11 EXT. CHURCH, YARD - DAY 1 11

We cut to the front of the church where the burial took
place. The wind blows through the huge cemetery trees as
Tommy’s reading bridges the cut...
TOMMY (OOV)
‘...Be through my lips to
unawakened earth, the trumpets of a
prophecy....’
In wide shot we see the congregation walking up the cemetery
path away from where the grave is being filled in.
TOMMY (OOV) (CONT’D)
‘O wind. If winter comes. Can
Spring be far behind?’
We come close as the congregation begin to gather mill near
to the exit of the church yard. On the road, near to the
graveyard, a fleet of four large black cars are waiting.
There are uniformed chauffeurs who smoke and chat while they
wait but they stand to attention as the family appear.
These are the drivers waiting to take the Shelby family home.
Times are evidently good.
The Shelby family slow and light cigarettes on one side of
the cemetery path. The communists congregate on the other
side, an informal dividing line. Ada stands among the
communists.
Tommy, Arthur and John light cigarettes from Tommy’s match.
The communists smoke too and glare at the family. For a laugh
John suddenly shouts ‘BOO’ at one of the communists and he
jumps. John and Arthur laugh...
Tommy blows smoke and, without a care for the animosity,
crosses the path to Ada.

(CONT'D)
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11 CONT'D: 11

TOMMY (CONT’D)
Ada. I want to talk.
Tommy absorbs the hard stares. Ada leaves Karl in the care of
a comrade and steps beyond a crooked grave stone. The grave
gives them a measure of privacy.
TOMMY (CONT’D)
How is the boy taking it?
ADA (DISMISSIVE)
He’s fine. When he asks I resort to
saying ‘heaven’.
A pause.
TOMMY
We thought now Freddy’s gone, you
might come back to Birmingham.
Ada half smiles, a little incredulous. She stares at the
waiting cars...
ADA
Do you know how funny it is that
you’ve got chauffeurs in uniform
now?
TOMMY
Just for the occasion...
ADA
Do you know how unfair it is you’ve
got four Bugattis when half the
country’s starving...
Tommy gestures at the communists who are folding one of the
banners...
TOMMY
So they’ve made you ashamed of
us...
Ada speaks softly, almost with regret...
ADA
Sometimes when I think how I used
to be, it makes me embarrassed.
The word hangs. Tommy doesn’t show it but deep down he is
profoundly hurt by the word. At that moment Aunt Polly steps
close. She has Karl in her arms and a smile on her face...
AUNT POLLY
I caught him trying to pinch
flowers off a grave.
Ada goes to take him but Aunt Polly holds back and glances at
Tommy.

(CONT'D)
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11 CONT'D: 11

AUNT POLLY (CONT’D)

Is she coming home?
Ada takes Karl from Aunt Polly.
ADA
I’m going home.
Aunt Polly is about to speak but Tommy speaks first and with
authority.
TOMMY
It’s alright Polly. We make Ada
embarrassed.
ADA (QUICKLY)
That’s not what I said...
Ada is perhaps surprised by Tommy’s offence but Tommy
continues...

TOMMY
There’s another reason we want you
home.
Ada is defiant but waits...
TOMMY (CONT’D)
We’re planning an expansion.
Ada knows what this means and is instantly disgusted...
ADA
Oh Tommy...
TOMMY
I’m taking premises in London...
AUNT POLLY (INTERRUPTING)
Tommy, it’s a funeral, business can
wait...
TOMMY (POINTEDLY)
If Ada was sobbing, I’d wait. But
she’s not.
Ada glares at Tommy, reacting to the inference. Again Tommy
absorbs the venom and continues...
TOMMY (CONT’D)
The expansion means it will be
dangerous to be a Shelby in London
for a while...
Ada instantly interrupts...
ADA
Yeah, well, I’m not a Shelby
anymore.

(CONT'D)
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11 CONT'D: 11

She turns to Aunt Polly and speaks the truth softly...

ADA (CONT’D)
And I’m not a Thorne either. I’m
free.
Ada communicates silently with Aunt Polly then speaks to the
boy...
ADA (CONT’D)
Come on Karl, let’s get you home...
Ada turns and walks to rejoin the communists. Tommy calls out
loud enough for the communists to hear...

TOMMY
Oh and Ada, they’re not Bugattis,
they’re Daimlers. Much more
expensive.
Aunt Polly sighs and steps close to Tommy...
AUNT POLLY
I told you to let me do it.
Tommy steps on his cigarette, the grave stone beside him.
TOMMY
It’ll be alright. I’ll have some
men watch her house until the
danger’s passed.
Tommy walks back to join the family. Ada is with the
communists. Aunt Polly repeats softly...
AUNT POLLY
‘Until the danger’s passed’.
A pause.
AUNT POLLY (CONT’D)
That’ll be the bloody day.
Then we hear a roaring engine and a motorbike pulls up
sharply among the chauffeurs. All heads turn. A young
eighteen year old leaps from the bike and runs down the path
of the church. He is dressed in Peaky clothes. He pushes his
way to Tommy and we see Tommy react to the news he imparts.

12 EXT. CHURCH YARD - MORNING 1 12

From wide we see the Peaky’s all hurrying to the waiting cars
and getting in. The chauffeurs are diving into the driving
seats and the family members are racing to get into the cars.
Ada and the communists look on and we might come close to
Ada’s face as she watches. In among the shame is there some
part of her that misses all the excitement?

(CONT'D)
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12 CONT'D: 12

The cars begin to pull away...

13 EXT. GARRISON PUB, GARRISON LANE - DAY 1 13

The debris is spread far and wide. Three police officers are
trying to keep kids away from the damaged structure. Then the
fleet of cars returning from the funeral turn into view. The
cars slow and then stop. Tommy and the others all climb out.
Most stare with disbelief at the destruction but Tommy heads
for the pub.
There is a police rope and we see Inspector MOSS hurry
toward the lead car to help Tommy duck under the rope.

14 EXT. BOMBED GARRISON PUB, GARRISON LANE - DAY 1 14

The pub is wrecked. Tommy walks toward the door with Moss by
his side. They stop outside the door which has been blocked
by rubble.
MOSS
It happened at exactly seven am.
Tommy peers up at the damage.
MOSS (CONT’D)
Nobody saw anything. Our patrols
were not in the area.
Tommy finds the wheel of a pram in the doorway and studies
it...
MOSS (CONT’D)
Mr Shelby, do you have any idea who
might have done it?
Tommy looks up sharply. He reaches into his pocket and
produces a roll of notes. He hands one to Moss.
TOMMY
I would say it was something to do
with the gas. It’s just been
fitted.
Moss almost immediately takes the money. We might sense that
Moss is ashamed of himself. When we last saw Moss he was a
deadly enemy of graft and bribery. Two years later he is
taking Tommy’s money (we don’t yet know why). He puts the
note into his pocket without a word. Aunt Polly arrives,
stepping over broken glass...
MOSS
Madam, the structure is not yet
declared safe...
Aunt Polly totally ignores him (he is on the payroll now).
She walks to Tommy with her hand cupped.

(CONT'D)
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14 CONT'D: 14

AUNT POLLY
This is all over the street.
Tommy glances at Aunt Polly’s hand.
AUNT POLLY (CONT’D)
Confetti.
Tommy takes a pinch of charred confetti. He turns to Moss.
TOMMY
Thank you. We’ll be alright now.
Moss almost touches his cap then turns and heads toward his
car. Tommy and Aunt Polly are left alone. Beyond kids are
playing and laughing in the debris. Tommy considers the
confetti. He dusts his hands.
AUNT POLLY
Tommy, what?
Tommy looks around...
TOMMY
I think this was somebody’s way of
inviting us to a wedding.
Tommy sets off to leave...
AUNT POLLY
Who?
Tommy continues to walk and Aunt Polly calls out.
AUNT POLLY (CONT’D)
Tommy, who did this to us?
Suddenly...

15 INT. PENTONVILLE PRISON, CORRIDOR - HALF LIT - DAY 1 15

As if in answer to the question, we are close on a pair of
immaculately polished black brogues. A man walking down the
corridor with barred light coming from on high. He walks with
the aid of a black cane with a silver wolf-head handle.
For now we don’t see a face. Just a black bowler hat, a heavy
black coat and a set of heavy iron keys on a ring being
rhythmically spun around a large hand. The man uses the cane
as much for authority as support.
We see a hand unlocking a heavy door in the corridor. As the
door opens we hear the sound of a man yelling in despair...

16 INT. PENTONVILLE PRISON, PRISON CELL - DAY 1 16

A flurry of arms and legs, snarling and spitting.

(CONT'D)
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16 CONT'D: 16

Inside a bare cell a CONDEMNED MAN is sobbing and fighting.

A PRIEST in black robes and two prison officers are in
attendance.
There is also a middle aged man in a dark suit (THE GOVERNOR)
who is trying to calm the man and stop him fighting...
GOVERNOR
You must reconcile yourself with
the fate that awaits and make your
peace with God...
The condemned man snatches his arm away and shoves the
priest. The guards step up and the man growls in a Northern
Irish accent...
CONDEMNED MAN
I demand to speak to a
representative of His Majesty the
King!...

17 INT. PENTONVILLE PRISON, CORRIDOR - DAY 1 17

We hear the voice echoing from inside the cell...
CONDEMNED MAN (OOV)
..a representative of His Majesty
the King!!
The man in the black bowler hat approaches. Still we don’t
see his face. He wraps on the cell door with the silver wolf
head on his cane. After a moment the Governor emerges,
looking anxious.
The visitor removes his bowler hat and we see his face for
the first time, lit by barred light from a high window.
It is MAJOR CAMPBELL.
CAMPBELL (A HALF SMILE)
Someone here has business with the
King?
The Governor closes the cell door behind him and looks
Campbell up and down. He glances at the silver headed cane.
GOVERNOR
Major Campbell?
Campbell nods gently.
GOVERNOR (CONT’D)
About fucking time.
Campbell rides the emotion (it seems he was expecting anger)
and busies himself with tapping his pockets, looking for
something.

(CONT'D)
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17 CONT'D: 17

CAMPBELL
Governor, I am a very busy man.
The Governor is furious and checks his pocket watch...
GOVERNOR
In seven and a half minutes the man
in that cell is due to be hanged
for murder.
Campbell finds his pipe in a deep pocket.
GOVERNOR (CONT’D)
The murder of an Irish activist in
Whitechapel. Does the case ring any
bells Major Campbell?
Campbell looks mock dumbfounded as he finds tobacco.
CAMPBELL
No Governor. I hear no bells.
Campbell seems to be amused as he fills his pipe. We hear the
condemned man yelling...
GOVERNOR
Since yesterday morning he has been
claiming that the murder was
ordered by the British Secret
Intelligence Service.
Campbell chuckles as he finds his box of matches.
CAMPBELL
It’s a little late to be coming up
with nonsense like that, don’t you
think?
GOVERNOR
He was told if he kept his mouth
shut there would be a last minute
pardon. Which has not materialized.
CAMPBELL
Forgive me Governor. What business
is this of mine?
The Governor looks Campbell up and down...
GOVERNOR
He says the man who hired him was
an Intelligence Service Chief of
Staff.
Campbell takes out a match...

(CONT'D)
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17 CONT'D: 17

GOVERNOR (CONT’D)
An Ulsterman. Carries a cane with a
wolf head handle. A bullet wound in
his left shoulder.
Campbell lights his match on the wall...
CAMPBELL
Still I hear no bells.
Campbell busies himself sucking the flame of his match into
the tobacco.
GOVERNOR
Oh it was terribly easy to find you
Major Campbell. I consulted
colleagues in Whitehall. He’s ‘the
new broom’ they said. ‘Quite the
firebrand’.
Campbell gets lost behind a plume of smoke.
GOVERNOR (CONT’D)
You don’t even bother trying to
cover your tracks do you.
Campbell suddenly steps one pace forward and practically pins
the Governor physically against the wall.
CAMPBELL
Governor, the Secret Intelligence
Service in this country operates
according to carefully defined
rules. Indeed, there is a charter.
He sucks on his pipe like an academic...
CAMPBELL (CONT’D)
But sometimes, especially when it
comes to the difficult situation we
have presently in Ireland, they are
rules which you might describe more
accurately as...
Campbell puts his face close.
CAMPBELL (CONT’D)
...‘guidelines’.
The Governor meets Campbell’s eye and speaks softly...
GOVERNOR (QUIETLY HORRIFIED)
The British Government. Using
criminals as political assassins.

CAMPBELL (STEAM ROLLER)

Governor, you have a very clearly
defined remit.
(MORE)

(CONT'D)
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17 CONT'D: 17
CAMPBELL (STEAM ROLLER) (CONT'D)
Part of that remit is to oversee
the smooth completion of executions
sanctioned by the Crown. In the
next four and a half minutes it is
your job to escort the man in that
cell...
Campbell uses his free hand to hammer on the cell door with
his fist.
CAMPBELL (CONT’D)
...to the gates of hell. And as a
fellow civil servant I would ask
that you do not interfere in the
work of other Government
departments.
The two men stare at each other, close up.
CAMPBELL (CONT’D)
And should you ever feel the desire
to discuss this matter with anyone
else...
Campbell hisses...
CAMPBELL (CONT’D)
Firebrand I am. And I know where
you live.
The locks on the cell door are being turned in response to
Campbell’s fist and Campbell lets the Governor go. The cell
door creaks open. A guard appears in the doorway. The
Governor is still reacting with shock.
The Governor takes a while to recover but finally nods his
head. The guard turns back into the cell...
GUARD
Let’s go.
There is an ugly scrum inside the cell. The condemned man
begins to yell. Campbell fits his bowler hat back on his
head.
CAMPBELL
Good day to you Governor.
He turns to leave. The Governor calls out...
GOVERNOR
So now you go off to choose another
poor wretch to do your dirty work.
Campbell turns...
CAMPBELL
Trust me. The next poor wretch is
already chosen...
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18 INT. PEAKY BLINDERS HEADQUARTERS/BETTING SHOP - DAY 1 18

Frantic industry.
Smoke, voices, odds being yelled, money changing hands,
ticker tape machines chugging.
It is an echo of the moment when we were first introduced to
the betting shop in 1919 (the echo is deliberate) but now the
shop has been expanded and improved hugely.

A street door opens and Polly enters, shaking an umbrella.

She also has a small black silk bag. She walks through the
shop and we follow her as she leads us through the new world
of the Peakies.

The whole operation looks much slicker than when we left it.
The bare brick has been painted and the walls finished.
There are proper boards for runners and riders and lots of
telephones.
Among the staff we see some of the faces we know and some new
faces. There are more women working here now and they are
young and good looking and in positions of authority. They
wear loose clothes and smoke cigarettes like the men.
Through the smoke and activity, we see John in a large office
with glass partitions and doors. He has a typewriter and a
chalk board (and a gramophone player). He is waiting on the
phone for odds.
Beside John’s office is Arthur’s office but this is smaller
and unoccupied. Beside Arthur’s office there is a men’s
toilet and a women’s toilet.
But we dwell only briefly on the business we already know.
Within a few moments Jimmy Jesus walks through shot carrying
a heavy wooden crate. He is followed by his son, who is also
carrying a crate and then three other boys in their mid-
teens, all laboring under similar wooden boxes. Finn carries
a box too. (In time these mid-teens will become the next
generation and will feature soon).
As the boys march through the chaos of the shop we glimpse
words sprayed on one of the boxes. It reads ‘Rolls Royce-
Paint shop’.

Jimmy Jesus uses his box to open the door and sees Polly
walking by. He calls out...

JIMMY JESUS
Polly? Do we know who did it yet?
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19 INT. DOORWAY TO THE ANNEXE OF PEAKY BLINDERS HEADQUARTERS, 19

SPARES ROOM - DAY 1
We are half in the shop and half in the annexe. Through the
open door we see that the business has expanded into yet
another house. The interior has been knocked through to make
a clear space of floorboards.
Lots of wooden crates are stacked in the empty space. There
are large signs hanging from a wall. ‘Rolls Royce’,
‘Daimler’, ‘Austin’ and the boxes are stacked beneath the
signs in rows.
Polly slows and looks through the open door as she
replies....

AUNT POLLY
Tommy says to say it was gas until
we know.
Jimmy nods and walks on into the room. Polly watches the
procession of crates pass by into the annexe with a sour
look.
AUNT POLLY (CONT’D)
We’re making no bloody money out of
this.
Jimmy calls out from inside the room.
JIMMY
Tommy says automobiles are the
future.
Polly watches Finn, the last in line walk by and she tickles
him under the arm to make him react.
AUNT POLLY
Tommy says a lot of things.
Doesn’t mean they’re true.
Jimmy and his boys now march out the way they came past
Polly. The pace picks up again as Polly follows and
disappears into the betting shop...

20 INT. PEAKY BLINDERS HEADQUARTERS/BETTING SHOP - DAY 1 20

Aunt Polly walks fast through the betting shop. John sees
her and leaps to his feet. He catches her up...
JOHN
Pol. Did he say who did it?
AUNT POLLY
He’s gone to the Black Lion.
Aunt Polly walks toward a heavy door.

(CONT'D)
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20 CONT'D: 20

JOHN
On his own?
AUNT POLLY
He does everything on his own.
Aunt Polly has taken out a key and unlocks the heavy door.
They both go through into...

21 INT. SHELBY HOME, PARLOUR - DAY 1 21

...the parlour of the house. Peace.
The border between the home and the business end of things is
still as abrupt, but there is a solid and secure door now.
We will find that the house has been ‘improved’ too, to the
point where it couldn’t contain another ounce of brass or
gold or horse harness.
Aunt Polly locks the door to the betting shop behind her.
The sound of the chaos disappears. Near to the betting shop
door there are five large safes, all of different makes, with
combination locks. The glossy pain on the safes glistens.
Aunt Polly goes to the largest of the safes. John is anxious.
JOHN
Should I go to the Black Lion?
AUNT POLLY
No.
JOHN
Where’s bloody Arthur?
AUNT POLLY
Protecting the Garrison’s stock of
whisky from the police.
Aunt Polly begins to feed in a combination.
JOHN
Pol, it’s like things are getting
out of hand.
AUNT POLLY
So get ‘em in hand.
Aunt Polly opens the safe and puts the diamonds inside. We
glimpse lots of other silk bags. She closes the door and
spins the combination.
JOHN
This morning, Ada said we all look
like we work in a factory under the
ground. She said we look like
ghosts.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.18
21 CONT'D: 21

Aunt Polly straightens.

AUNT POLLY (CERTAIN)
She’ll be back.
JOHN
When?
AUNT POLLY
When she needs us.
JOHN
And anyway, who the fuck would blow
up our pub?
AUNT POLLY
That’s six.
Aunt Polly’s stare makes John shrink a little...
JOHN
Six what?
AUNT POLLY
Six questions since I walked
through the door.
She moves to the fire to throw on coal and takes a moment to
approach a bigger agenda.
AUNT POLLY (CONT’D)
Soon you’re going to have to start
being the man who gives the
answers.
She wipes her hand of coal on a spare black silk bag.
JOHN
Why?
AUNT POLLY (INSTANTLY)
Seven.
Aunt Polly gives him a hard stare.
AUNT POLLY (CONT’D)
When London happens you’ll have to
hold up your end. Or we’ll find
somebody who can.
Aunt Polly walks.

22 INT. SPARKHILL, BLACK LION PUB - DAY 1 22

The Black Lion is an Irish pub with Irish tricolour flags and
rebel symbols adorning the walls. There is a photo of
Michael Collins above the bar (this will be important much
later).

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.19
22 CONT'D: 22

The street door opens and Tommy enters. The place instantly
falls silent. Tommy approaches the bar briskly...
TOMMY
Irish whisky.
One of the older Irish men gets to his feet, ready to
confront Tommy, but a HEAD BARMAN shakes his head. He has
higher authority and better intelligence about the reason for
Tommy’s visit to what is apparently enemy territory. In
silhouette we see a BARMAN 2 heading into the back corridor
and picking up a phone.
Tommy gets his whisky and sips. The head barman refuses
Tommy’s money.
HEAD BARMAN
I heard there was a bit of a bang
in your part of town.
Tommy sips his whisky.
TOMMY
Gas and electric don’t mix. Who
thought they would?
The Barman 2 on the phone finishes his call and nods once to
the head barman to suggest a message has been sent. Tommy
sees it.
HEAD BARMAN
And how’s business otherwise, Mr
Shelby?
Tommy peers at the faces in the mirror which are staring
murder at him. He turns back to the head barman.
TOMMY
You know something? In these times
of hunger and hardship, business is
surprisingly good.
A boy of ten hurries into the pub. He is barefoot and ragged
and speaks with a broad Dublin accent.
BOY
Which one of you is the Peaky
Blinder devil?
Tommy is at the bar and turns. All eyes are on him.
BOY (CONT’D)
Follow me if you can, but I’m
quick.
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.20

23 EXT. SPARKHILL ALLEY, BACK STREET - DAY 1 23

Tommy follows the boy down a back alley. The boy trots
quickly on his bare feet and Tommy has to walk smartly. The
boy disappears around a corner beside some outhouses. Dogs
bark. Tommy turns the corner and is grabbed by two men. Tommy
was half expecting this and doesn’t struggle.
The two men blindfold him roughly and pull off his expensive
overcoat. They dump it on the ground and search his jacket.
They take his Webley revolver. Then they lead him on.

24 INT. BARE ROOM - DAY 1 24

A woman in her thirties (IRENE) and a younger man (DONAL),
both Southern Irish, are sitting in hard-backed chairs in a
bare room. Irene is handsome and is in charge. Tommy is led
inside and pushed into a chair facing them. The blindfold is
taken off. The escorts walk.
Irene and Donal stare at Tommy for a while. Tommy stares only
at Irene. We might sense that Irene and Donal have planned to
toy with Tommy a little and intimidate him.
There is a loaded revolver on the desk in front of Donal
pointing in Tommy’s direction.
IRENE
Thomas Shelby.
TOMMY (DEAD PAN)
You blew up my pub.
IRENE (TO DONAL)
Anger defeats fear. Good.
TOMMY (REPEATING FLATLY)
You blew up my pub.
Irene and Donal speak only to each other in order to belittle
Tommy...
IRENE
Tommy has a reputation to uphold.
DONAL (AMUSED)
A reputation for not being scared
of anything.
IRENE
In all the world, violent men are
the easiest to deal with.
TOMMY (INTERRUPTING, AMUSED)
So are you IRA or IRB? Army or
Brotherhood? Since you paddies
started fighting amongst yourselves
I get confused.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.21
24 CONT'D: 24

Donal gets up fast, comes around the desk and puts the gun
tight to Tommy’s temple. Tommy is impassive.
IRENE
You are one decision away from
death Mr Shelby.
Donal grins.
DONAL
So stop fucking smiling.
He clicks his fingers in Tommy’s face...
DONAL (CONT’D)
Better.
Donal goes back to his seat. Tommy stares at Irene. He
decides to end their game of intimidation.
TOMMY (TO IRENE)
Your name is Irene O’Donell. You
have a son at the Cherry Wood road
school in Harborne. He has irons on
his legs. His name is Sean...
Irene is shocked at Tommy’s knowledge. Donal is about to
react but Tommy ploughs on, even and deadly.
TOMMY (CONT’D)
He comes last in every race, poor
boy. Poor boy if the race was
important. Do you know what I mean
Irene O’Donell?
A silence. Donal and Irene are completely thrown by the
machine gun fast speech. Donal flickers with fury but speaks
to Irene softly, as if this were routine...
DONAL (SOFTLY)
There are other ways of carrying
out this mission. Please allow me
to put a bullet in his scum tinker
head.
IRENE (SOFTLY)
No. He researches his enemies.
That’s why he’s been chosen.
Tommy laughs and looks away.
TOMMY
I am chosen? Ok. Can the chosen one
smoke?
Tommy reaches for his cigarettes in an inside pocket. Donal
puts his hand on the revolver. Tommy takes out a cigarette
and lights it. His hand doesn’t shake.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.22
24 CONT'D: 24

IRENE
A vacancy has appeared and you are
going to fill it.
TOMMY
Chosen by who?
IRENE
By an informed consensus.
Tommy looks at Irene and his look is deadly.
TOMMY
Look, I have things to do. Perhaps
you would tell the chosen one what
he has been chosen for.
Donal glances at the gun. He wants to shoot Tommy here and
now for his defiance but Irene is in charge. Irene speaks
softly....
IRENE
From now on Mr Shelby you shut your
fucking gypsy mouth and listen to
your instructions.

25 EXT. ALLEYWAY - DAY 1 25

We see Tommy walking back between rickety wooden fences to
the place where he was ambushed and stripped of his gun.
He finds his gun on a fencepost near to his coat. There is a
hand-written sign stuck to the post which reads ‘Ná tadhaill‘
(Do Not Touch) in GAELIC. His coat hangs on a nail beside it.
He retrieves his coat and begins to pull it on.
The arm is inside out and it’s awkward. As he pulls the coat
on, he gets into a tangle then a fury. He hurls the coat at
the fence and kicks the fence hard. Dogs begin to bark.
Tommy is deeply angry at whatever just transpired. He looks
thwarted, thrown off balance, in spite of his coolness in the
confrontation.
He takes a moment to gather his breath. We wait with him
while he regains his composure. He finally pulls on his coat
and uses the tugging of the sleeves and the turning down of
the collar to get himself back together.
He sets off and disappears down an alley.

26 INT. DIGBETH, SHELBY LIMITED, TOMMY’S LEGAL OFFICE - DAY 1 26

We spend some time studying the half lit interior because it
tells a story.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.23
26 CONT'D: 26

The office is heavy with dark oak furniture. The desk is huge
and the Victorian chairs are impressive. The door is frosted
glass and in reverse we read ‘Shelby Company Limited,
Licensed on-track betting’.
There are two typewriters and a telegraph machine. There are
two telephones. On the desk there is a large globe and on the
wall a map of the world.
On both map and globe a quarter of the land surface is
colored pink, indicating it is part of the British Empire.
(On this day and this month in 1922 the British Empire was as
big as it had ever been and as big as it would ever be).
A copy of yesterday’s Times newspaper is placed neatly on the
desk. In a bookcase we see a complete set of every edition of
‘Harmsworth’s Popular Science’, a volume of encyclopedias
which will be remarked on much later.
On the walls there are photographs and we spend some time on
them.
Mostly they are of winning enclosures, with smiling owners
and jockeys. We find a photo with a caption...’Aintree,
second place, 1920’. There is a photograph of the winning
owner and we glimpse Tommy smiling by his side.
On the desk there are more photographs of Tommy with various
minor dignitaries at small race meetings. One of the
photographs shows Tommy in a group of four men with a hand-
written caption... ‘With Lord Croft at Ascot.’
Directly behind the desk, on the wall in pride of place, is a
large certificate from the Gaming and Racing commission, the
Shelby Limited legal license to operate on track betting.
Then, at the frosted glass we see Tommy unlocking the door.
He enters and locks the door behind him.
He goes to the desk and takes off his coat and cap. He runs
his hand through his hair. He is framed by the photos and
certificates of his legal life.
He is deep in thought. The thought process that began in the
alley is continuing.
The telephone is apparently a temptation and he glances at
it. He also glances at a photograph we didn’t see before. It
is a photo of a family of three boys and a girl with their
mother. We might see the family resemblance and get that this
is Tommy, Arthur, John and Ada as children (before Finn was
born) and the smiling dark-haired woman is Tommy’s mother.
Tommy looks at the faces in the photo for a moment. Then he
makes his decision and grabs the phone.
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.24

27 EXT. WATERY LANE (OR SIMILAR) - NIGHT 1 27

Tommy is parked in his Fiat, waiting. The passenger door
opens and Inspector Moss gets in. Moss is out of uniform and
wears a hat pulled down over his eyes. The moment he gets in.
TOMMY
I want the streets round the co-
operative stables clear of coppers
from midnight till four tonight.
Tommy hands him three pounds which he takes. Moss hates this
but it has become routine.
MOSS
Can I ask why?
Tommy doesn’t reply and stares ahead. He is deep in thought
and Moss is a detail. Moss puts the money away.
MOSS (CONT’D)
Well, whatever you’re going to do,
don’t start any fires. The firemen
go on strike at midnight.
Tommy stares ahead.
TOMMY
That’s all. You can go.
Moss is about to get out but stops.
MOSS
Oh, by the way. I’ve got some
information you might be interested
in.
Tommy sighs gently and reaches for his pocket.
MOSS (CONT’D)
No charge.
A pause.
MOSS (CONT’D)
There’s an old friend of ours
coming back to the city.
Tommy turns...
MOSS (CONT’D)
Just passing through he says.
Moss opens the door. He seems pleased by Tommy’s wary
reaction...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.25
27 CONT'D: 27

MOSS (CONT’D)
He’s very grand these days. Head of
some secret department.
Moss pauses for effect.
MOSS (CONT’D)
Irish desk.
We might imagine Moss knows more than he is letting on about
Tommy’s meeting. Moss smiles...
MOSS (CONT’D)
So I doubt he’ll be bothering the
likes of us.
Moss gets out. Tommy reacts, wondering if this piece of news
is related to all the others.

28 INT. BOXING GYM - NIGHT 1 28

The space is just an empty room with a ring set up and
punchbags hanging on chains. A fat Boxing coach (KING MAINE)
is reading the racing pages of a newspaper and making notes.
We hear the fizzing, whipping sound of a skipping rope.
In a shaft of light we find Arthur, stripped to his
underpants. He is skipping with a fixed look in his eyes. He
has a cut on his cheek which is recent. He skips with an
unchanging rhythm.
Stripped, we see that he is more powerful than he was in
1919, his muscles toned by endless exercise. We come close to
his face and see scars and recent cuts. We find a recent
tattoo on his arm which reads ‘Blinder Blade Number 1’.
Finn enters the gym and approaches Arthur.
FINN
Arthur? Tommy’s called a family
meeting.
Arthur continues to skip, staring straight ahead.
FINN (CONT’D)
Arthur!
Finn rolls his eyes. He’s apparently accustomed to Arthur
disappearing into himself like this. King Maine puts his
paper aside and joins Finn...
KING
He just beat the shit out of an
apprentice. I took half the kid
away in buckets.
Arthur keeps skipping, staring ahead. King comes close to
Finn and speaks confidentially...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.26
28 CONT'D: 28

KING (CONT’D)
No disrespect, but can you ask
Tommy to keep him home some days.
He’s scaring everybody away.
Finn ignores King and calls out again...
FINN
Arthur!!
Arthur does a huge double skip and the rope fizzes in the
air. He then finally comes to rest. He’s hardly breathing
hard. He drops the rope with disdain and walks.

29 INT. SHELBY HOME, PARLOUR - NIGHT 1 29

The Shelby family meetings are still held in the same space
but the room has been spruced up. There is a piano now,
though we doubt it is often played. On the wall there are
reproduction paintings of racehorses.
We also find six boxes of spirits stacked near to the
fireplace.
The inner circle of the Shelby family are gathered. Arthur,
John and Aunt Polly are near to the fireplace. Arthur is
chain smoking. Esme is sitting next to Finn who is now
allowed to sit in on meetings.
The only person missing is Tommy. John checks his watch...
JOHN
Where the bloody hell is Tommy?
AUNT POLLY
He’s on his way.
Arthur gets to his feet and sets off across the room.
Everyone looks at him. He is obviously a cause for concern
these days (though John and Finn hide smiles). He walks
heavily, his strength hardly contained by the walls around.
He heads for the boxes of spirits...
ARTHUR
While we’re waiting...
He turns and walks back with a box of whisky and sets it down
heavily on a table.
ARTHUR (CONT’D)
...This is all the stock that’s
left from the explosion. So...
Arthur begins to pass out bottles of whisky. Aunt Polly rolls
her eyes and peers out of the window...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.27
29 CONT'D: 29

AUNT POLLY (SOFTLY)

Come on, Robin Hood, your men are
getting merry.
Bottles are opened. A swig of whisky emboldens John. He looks
at Esme who urges him to speak. He hesitates then gets to his
feet, bottle in hand. He clears his throat anxiously...
JOHN
Before Tommy gets here, I think we
should get some things sorted out
between the rest of us.
Aunt Polly turns from the window. She looks from John to Esme
(we should sense there is already an agenda between Aunt
Polly and Esme)...
AUNT POLLY
You think?
John takes strength from Esme’s look...
JOHN
Yeah. I want to know. When did we
take a vote on this expansion
South?
AUNT POLLY
If you have anything to say, you
wait for Tommy.
ARTHUR
Amen.
John is being ignored because everyone is opening whisky and
drinking but he feeds off the looks from Esme. He announces
loudly...
JOHN
I see all the books. Legal and off
track. Stuff you lot don’t see. In
the past year, the Shelby Company
Limited has been making a hundred
and fifty pounds...a day.
Sudden silence. The room was happy to ignore John before but
the figure shocks them all. All heads turn.
JOHN (CONT’D)
A fucking day.
He has their attention now.
JOHN (CONT’D)
Sometimes more.
Aunt Polly glares...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.28
29 CONT'D: 29

JOHN (CONT’D)
So why are we changing things?
Silence around the room. We might sense that deep down Aunt
Polly shares John’s misgivings.
JOHN (CONT’D)
Polly, look what’s happened
already...
John is liberated and speaks directly to Aunt Polly...
JOHN (CONT’D)
We haven’t even set foot in London
yet and they’ve already blown up
our fucking pub.
Arthur is swigging whisky.
ARTHUR
Who says it was the cockneys?

ESME (FLAT, DEFIANT)

Who else?
Silence around the room. Esme and Aunt Polly face off. After
a moment...
AUNT POLLY
So you know who did it, do you?
Esme is defiant but sits down.
ESME
I’m told only family are allowed to
speak.
Suddenly...
TOMMY
Everybody’s allowed to speak.
All heads turn. Tommy has entered through the back door and
he has been listening for a while. He enters the arena...
TOMMY (CONT’D)
On your feet Esme. Let’s hear what
you have to say.
Esme hesitates and looks to John. John stammers a little...
JOHN
I speak for our household.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.29
29 CONT'D: 29

TOMMY (FIRMLY)
Shelby Limited is a modern
enterprise and believes in equal
rights for women. On your feet
Esme.
Tommy wanders to the heart of the meeting. Esme is only fazed
for a second and then gets to her feet. When she speaks, Esme
has a confident manner...
ESME
I am not a blood member of this
family...
Aunt Polly rolls her eyes. Esme will speak in an ornate,
Edwardian manner which she has picked up from books and
magazines and it sounds odd when spoken in her Romany burr..
ESME (CONT’D)
But perhaps indeed because I am not
a family member I can see things in
a different light...
Tommy and Aunt Polly swap looks. Tommy is amused and
impressed by Esme and Aunt Polly sees it. They have a silent
language and Aunt Polly is exasperated that Tommy is taken by
her. sme dares to speak plainly...
ESME (CONT’D)
So I will get to my point.
AUNT POLLY
That would be nice.
ESME
As my husband said, Shelby Company
Limited is now very successful.
A pause.
ESME (CONT’D)
But London...
She looks to Tommy...
ESME (CONT’D)
I have kin in Shepherds Bush and
Portobello. It’s more like wars
between armies down there. And the
coppers fight side-by-side with
them. And there are foreigners of
every description and the use of
bombs is the least of it.
All eyes turn to Tommy. Esme gives Tommy a gentle look.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.30
29 CONT'D: 29

ESME (CONT’D)
I have a child. Blessed with the
Shelby family good looks. I want
John to see him grow up. I want us
to someday live somewhere with
fresh air and trees. And keep
chickens or something.
Aunt Polly stifles a laugh...
ESME (CONT’D)
But London is just smoke and
trouble Thomas.
Aunt Polly breaths with incredulity...
AUNT POLLY
‘Thomas’?
Esme looks around at the (largely sympathetic) room.
ESME
That’s all I have to say.
Esme sits down elegantly. Her winning looks are saved for
Tommy. John takes her hand and looks at Tommy. Some fear the
worst. Some hide giggles. After a moment...
ARTHUR
That was a lot of words, Tommy.
Have a drink to wash them down.
Arthur offers the bottle of whisky. Tommy takes it to the
window. He unscrews the cork and takes a swig.
TOMMY
First of all, the bang in the pub
was nothing to do with London...
Questions are almost asked from lots of directions but Tommy
raises his hand and continues...
TOMMY (CONT’D)
The bang is something I’m dealing
with on my own.
He straightens a photograph of the King then turns. We might
notice that Tommy has the use of longer words these days and
has the diction of a man who reads...
TOMMY (CONT’D)
And we have nothing to fear from
the proposed business expansion. So
long as we stick together. And
after the first few weeks nine
tenths of what we do down there
will be legal.
Tommy comes to Arthur and squeezes his shoulder...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.31
29 CONT'D: 29

TOMMY (CONT’D)
The other tenth is in good hands.
John looks a little hurt that Tommy went to Arthur (as if
listening to Esme has damaged his cause). Tommy then wanders
close to Aunt Polly. His proximity suggests that his next
statement is meant for her.
TOMMY (CONT’D)
There are many in this room who
have expressed their reservations.
Aunt Polly looks away...
TOMMY (CONT’D)
And any of you who want no part of
the future of this company are free
to walk out the door. Right now.
He smiles at John and Esme...
TOMMY (CONT’D)
Go and raise your chickens.
Tommy looks to the rest of the room...
TOMMY (CONT’D)
But those of you with ambition?
The expansion process begins
tomorrow.

30 INT. SHELBY HOME, PARLOUR/SAFES - NIGHT 1 30

We are close on the heavy iron doors of the various safes in
the area near the betting shop door. We see Tommy and Aunt
Polly approaching from the parlour. Aunt Polly is already on
his case...
AUNT POLLY
Tomorrow?
Tommy walks on...
AUNT POLLY (CONT’D)
I’m company treasurer. You should
speak to me first.
Tommy goes to the cash safe and begins to enter a
combination.
AUNT POLLY (CONT’D)
It’s Newmarket tomorrow.
TOMMY
Yeah.
AUNT POLLY
Third busiest day of the year...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.32
30 CONT'D: 30

Tommy is busy with the combination, which he knows from

memory...
TOMMY
We’ve got eighteen staff.
AUNT POLLY
Who you trust with two hundred quid
takings?
Tommy pulls the safe door but it doesn’t open. Unconcerned he
begins to enter the combination again. Aunt Polly speaks
flatly...
AUNT POLLY (CONT’D)
I changed the combination.
Tommy takes a moment and looks skyward.
AUNT POLLY (CONT’D)
What’s going on Tommy? Who did you
meet at the Black Lion?
A stand off. Tommy looks directly at the safe door.
TOMMY
Give me the combination Polly.
Aunt Polly’s silence is her reply. Tommy speaks clearly as if
at a business meeting.
TOMMY (CONT’D)
What happened to the pub is Irish
business.
Still Aunt Polly doesn’t budge.
TOMMY (CONT’D)
We are in a situation where for
everyone’s safety it is best if
some things remain undisclosed.
Aunt Polly softens a little but holds out.
AUNT POLLY
Why tomorrow?
Tommy realizes some things will need to be divulged if he is
to get the safe open. He lights a cigarette...
TOMMY
Like you said, tomorrow is
Newmarket. So all the London bosses
will be at the races...
AUNT POLLY
And you just roll up and take the
city...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.33
30 CONT'D: 30

TOMMY
We take the opportunity to show our
hand.
Aunt Polly waits.
TOMMY (CONT’D)
The Italian gangs and the Jewish
gangs have been at war for six
months in London.
AUNT POLLY
Not our war.
TOMMY
The Jews have been having the worst
of it. They need allies.
AUNT POLLY
We don’t.
TOMMY
But we need a foothold. At the
Southern end of the Grand Union.
The Jewish gangs control Camden
Town.
Tommy turns to Aunt Polly as if his case has been made but
she shakes her head...
AUNT POLLY
Your mother used to say ‘it’s his
cleverness that’ll kill him’.
TOMMY
No one gets killed. We go down
tomorrow when the town is quiet and
leave our message. If Alfie
Solomons and his Camden boys come
to us, we’ll negotiate the use of a
secure bonded warehouse. Then we
can begin our legal operation in
London.
A pause.
TOMMY (CONT’D)
Without a shot being fired.
He turns to Aunt Polly...
TOMMY (CONT’D)
Now Polly, please. Open the fucking
safe.
Aunt Polly holds his look for a moment. She studies him.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.34
30 CONT'D: 30

AUNT POLLY
That was a fine speech you made in
there about this company believing
in equal rights for women.
A pause.
AUNT POLLY (CONT’D)
But when it comes to it, you don’t
listen to a word we say.
Tommy looks away.
AUNT POLLY (CONT’D)
Maybe you don’t trust us.
A pause. Aunt Polly smiles...
AUNT POLLY (CONT’D)
She was just one woman Tommy. It’s
time you forgot about her.
Tommy is dead pan....
TOMMY
Forgot about who?
Aunt Polly despairs. She quickly opens the safe door....
AUNT POLLY
You and the boys go and get
yourselves killed.
The door swings open and Aunt Polly leaves. Tommy peers at
the stack of cash.

31 INT. GARRISON PUB, OFFICE - NIGHT 1 31

We find Tommy having sex in the back room.

The sex is functional and Tommy has his eyes closed. There is
a whisky bottle on the table. The sex reaches climax...
Tommy rolls away and reaches for a cigarette. After a moment
the St.Andrews clock begins to chime midnight (memories for
Tommy perhaps). Tommy lights his cigarette. The woman is
revealed and we see that it is LIZZIE STARK (and we see she
has feelings now for Tommy).
Tommy begins to button his shirt.
LIZZIE (CHECKING THE TIME)
You’re going to London now?
TOMMY
No. I have something to do first.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.35
31 CONT'D: 31

She sits up. Tommy grabs his shirt, discarded on a table, and
reveals a brand new typewriter underneath it. Lizzie smiles,
trying to make conversation...
LIZZIE
I’ve got a typewriter like that. I
got it out of a catalogue. I’m
doing a correspondence course.
Tommy holds his revolver to the window light and checks the
bullets in the chamber. Lizzie reacts but continues
brightly.
LIZZIE (CONT’D)
I’m learning to do it with my eyes
shut. It’s a test you have to do.
Tommy puts his revolver into his holster, not hearing. He
grabs his jacket.
LIZZIE (CONT’D)
Will you come back before you go?
TOMMY
No.
He reaches into his jacket pocket and puts two ten shilling
notes on the table beside the typewriter. Lizzie reacts...
LIZZIE
Tommy, I wish just once you
wouldn’t pay me. As if we were
ordinary people.
TOMMY
Yeah.
Tommy walks. We stay with Lizzie’s reaction as a car engine
fires up outside.

32 INT. BLACKSMITHS SHOP - NIGHT 1 32

The images are uncertain. Forges burn. There is one large
dray horses tethered. Long lines of stables are lit by
flashing light from hammered metal.
We are in the Birmingham Co-operative dray-shop, where the
horses, used to pull deliveries, are shod on an industrial
scale through the night, ready for morning deliveries.
We see this through the slats in a wooden divide that
separates the workshop from a straw-strewn walkway.
We find Tommy walking down the walkway with grim purpose, his
long black coat buttoned, his right hand in the inside
pocket.
We are close to his impassive face with flames flickering.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.36
32 CONT'D: 32

Tommy stops and peers through a split in the wooden divide.

We see an image of a forge with ‘Bay 7’ above it. A red
haired man is pumping the bellows, turning his face from the
sparks.
The images become more uncertain in a heat haze. Tommy walks
and we walk with him. A big dray horse clatters in his path.
Then Tommy sees the red haired man drawing a pint from a beer
barrel up on planks.
Tommy approaches the beer barrel and waits. The target guy is
wiping his mouth after downing a pint. He glances at Tommy
and Tommy raises the brim of his cap just a little to reveal
his eyes.
The red haired guy draws himself another half pint and
drinks. Tommy allows him to drink his last pint on earth.
As the man turns to go back to work, Tommy steps up, pulls
his Webley revolver and puts a single bullet into the man’s
head...
Tommy reacts for a moment. The noise of hammering hid the
sound of the bullet. Tommy grabs the body and begins to drag
it into the shadows. Then he is gone in a shower of sparks...

33 EXT. WATERY LANE - NEXT MORNING 2 33

The street looks peaceful and deserted. Tommy turns the
corner in his Fiat and parks. Arthur is already waiting on
the pavement. Tommy checks his watch as he gets out of the
car. They are both on time but someone is missing.
They both turn to look up at the house beside where they’ve
met. Tommy leans into the car and hoots the horn. A window
flies open and John appears, still in his vest.
JOHN
I’m coming!
They both react with amused irritation. As they wait Arthur
takes a small bottle of medicine from his inside pocket and
takes a swig.
He screws the top back on and sees a question in Tommy’s
eyes.
ARTHUR
Seven o’clock, twelve o’clock and
ten if I’m still sober. It’s to
calm me down.
Tommy takes the bottle and studies the label.
ARTHUR (CONT’D)
Polly took me to the doctor.
Tommy unscrews the top and sniffs.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.37
33 CONT'D: 33

TOMMY
Same stuff they used to give us in
the trenches to stop us wanking.
ARTHUR
Polly said I need it for my temper.
It slows me down.
Tommy nods gently, then very deliberately pours the contents
into the gutter. The liquid is thick and syrupy and takes
time. As Arthur reacts..
TOMMY
Some things Polly doesn’t
understand. I need you fast not
slow.
Arthur accepts and looks a little ashamed of himself. At that
moment the door flies open and John joins, buttoning his
shirt.
JOHN
She wouldn’t let go of my fucking
leg.
ARTHUR
You’re sure it was your leg.
JOHN
She’s against this Tom. She’s got
opinions.
The medicine has now all gone.
TOMMY
Nothing wrong with opinions.
Tommy tosses the medicine bottle away into a metal trash can
and it smashes. He gets into the car and slams the door. John
and Arthur follow...

34 EXT. WATERY LANE - EARLY MORNING 2 34

We see Tommy’s Fiat drive down the street with the top pulled
down. Tommy is driving and Arthur is in the passenger seat.
John is in the back...
As the car passes by, Arthur stands up in his seat and whoops
with joy and swigs from a bottle of beer.
ARTHUR
The Peaky boys are going on fucking
holiday!!!!
Tommy and John drag him down.
TOMMY (LAUGHING)
Sit down you mad bastard.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.38
34 CONT'D: 34

The boys all hoot with laughter.

35 EXT. ENGLISH COUNTRYSIDE, ROADSIDE - DAY 2 35

The Fiat is parked in a two lane road by a field of rustling
wheat. Tommy, Arthur and John are silhouettes. They have
their backs to us. They are pissing.
We hear Arthur take a deep breath of country air...
ARTHUR (WITH HIS BACK TO US)
You know what Tommy? Esme’s bloody
right. You can’t beat the country.
We come closer to them, with their backs still turned. The
wheat field stretches out beyond them...
ARTHUR (WITH HIS BACK TO US) (CONT’D)
I want to live in the country as
well.
They button up in unison and turn to walk back to the car.
ARTHUR (CONT’D)
And I want to keep chickens.
TOMMY (SOFTLY)
Fucking chickens...
John approaches the passenger door.
JOHN
My turn in the front.
ARTHUR
Bloody kid.
Tommy has walked to the boot. He twists the handle and it
creaks open.
TOMMY
Arthur, John, come here.
Arthur and John hesitate. They hear business in Tommy’s
voice. Crows and seagulls call out. Tommy produces three
shovels and he offers one to Arthur. Arthur reacts and
approaches. He looks inside the boot and John joins him...
They see the body of the man Tommy shot, a single bullet hole
in his head.
His clothed upper torso is visible but his legs are tied in a
sack. Arthur staggers back. John reacts. Tommy leans the
shovels against the car and takes off his jacket.
ARTHUR
Holy shit, Tommy.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.39
35 CONT'D: 35

Arthur crosses himself...

TOMMY
We need to bury him.
JOHN
Who the fuck is that?
TOMMY (MATTER-OF-FACT)
I don’t know. I didn’t ask.
Tommy checks the road to see it is clear. Arthur and John are
still recovering.

TOMMY (CONT’D)
It’s Irish business. I thought it
best if I dealt with it on my own.
Tommy shoulders his shovel.
TOMMY (CONT’D)
Come on, we did a thousand of these
in France.
The boys hesitate...
TOMMY (CONT’D)
Grab his legs Arthur. John, grab
his arms. That’s an order.
Arthur immediately grabs the dead man’s legs and Tommy grabs
his arms. John grabs a stray arm and drops his cigarette.

JOHN
So we’re not really going to
London.

TOMMY
Once we’ve buried him....

The man’s head flops back....

TOMMY (CONT’D)
The holiday begins.

36 EXT. FITZROVIA BACK STREET, LONDON WEST END - NIGHT 2 36

In a foggy side street off Charlotte Street a line of

expensive cars are parked with the uniformed drivers smoking,
chatting, engaging with prostitutes who wait for customers
from the Eden to leave.

Then Tommy, Arthur and John appear, walking down the street
between gas lamps like trouble on six legs. They are
approaching the hidden Eden club doorway where there are two
doormen.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.40
36 CONT'D: 36

TOMMY
You left your guns in the car,
right?

John and Arthur nod. They present themselves at the door and
doormen begin to frisk them. We can hear the thud and pulse
of the music from inside. At one point the doorman squeezes
Arthur a little hard and he reacts with a snarl. Tommy looks
at Arthur to quieten him. The frisking stops.

DOORMAN
Where you boys from?

TOMMY
From out of town.

DOORMAN
Say again?

The doormen want to catch their accents. Tommy smiles and

offers a rolled up pound note, making no attempt to hide his
accent...

TOMMY
We’ve come from out of town. We
heard this is the place to get
‘Tokyo’ and pick up women.

The doormen are unsure but let them pass. As they go, we
hear John ask...

JOHN
What the fuck is ‘Tokyo’?

After they have entered, one of the doormen ducks inside to

follow them...

37 INT. ‘THE EDEN’ NIGHT CLUB, LONDON WEST END - NIGHT 2 37

A whole new world.
We are inside a gigantic central London night club of the
type that blossomed in the early twenties. The girls are
dressed in shockingly short dresses and have their hair in
boyish styles. The men are sharp and dressed to kill.
Caption: ‘The Eden Club, Fitzrovia, London.’
The dance floor is alive with Lindy hoppers and the
Charleston. In the light of frilly lamps, skinny, pretty
girls are openly snorting cocaine which they pour from blue
glass bottles.
The jazz band is made up exclusively of black American
musicians, pumping out frantic dance jazz. The waiters are
rushed off their feet. The booze is flowing like a waterfall.
The air is thick with smoke.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.41
37 CONT'D: 37

White girls and black men, white girls and Chinese men,
Chinese girls and black men, black girls and white men.
Everyone is dancing, kissing, sneaking into corners for sex.

38 INT. ‘THE EDEN’ NIGHT CLUB, LONDON WEST END - NIGHT 2 38

Tommy, John and Arthur enter this dazzling new world and
stand on the threshold for a moment. Tommy looks down with a
professional eye. Arthur is jumpy as a skittish horse. John
looks instantly smitten.
Word of unease has spread from the suspicious doorman and we
see it reaching a good looking guy in his thirties behind the
bar (MARIO) who we will learn runs the Eden Club on behalf of
organized criminals we will meet in time.
Through smoke we see him getting a whispered message as
Tommy, John and Arthur take in the place for a moment and
then walk down the steps to the dining tables.
Arthur is terrified of the noise coming from the jazz band
and clutches Tommy’s arm....
ARTHUR
What the bloody hell is that row?
Tommy is heading for an empty table.
TOMMY
It’s what they call music these
days.
As Tommy makes his way toward the table, we see people
recognizing him and the brothers and reacting instantly.
Arthur and John are unsure but also appear to be recognizing
faces all around. Tommy sits and gestures to a waiter and
calls out loudly...
TOMMY (CONT’D)
Irish whisky. Bottle.
It is plain (not least to Arthur and John) that they are now
getting evil looks from many sources around the room, all of
them hard men. Word is going round fast beneath the drum of
the jazz.
Tommy appears oblivious (he’s not) and his loud order of
drinks causes more reaction. Their bottle arrives. John and
Arthur look around as Tommy pours...
JOHN
Fuck, half the Titanic are in here.
ARTHUR
That’s Darby Sabini’s cousins.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.42
38 CONT'D: 38

JOHN
Jesus Tommy, everybody in here is
somebody...
TOMMY
Just the lieutenants. Not the
officers....
In the background we see Mario and a big bouncer pushing
through the crowds toward Tommy and Arthur, being given angry
messages as they walk. Arthur has understood what is going on
before us. Tommy swigs down his whisky and prepares.
Mario and the bouncer arrive at the table...
MARIO
Gentlemen, there has been a
mistake. I am afraid you will have
to leave.
JOHN
We just bought a fucking bottle...
MARIO
Some of the men here say they
recognize you. From the racetracks
in the north.
Tommy drinks his drink in one...
MARIO (CONT’D)
They say you have no business
coming south of the line without
prior agreement...
TOMMY
And what line would that be?
A pause. Mario looks around in fear...
MARIO
They say this is provocation.
TOMMY
Tell them we’re on holiday.
Mario hesitates then comes close to Tommy’s ear...
MARIO
They say you are breaking the
rules.
A pause. Tommy and Arthur lock eyes, knowing it is all about
to kick off. Mario hisses...
MARIO (CONT’D)
They say you are the Peaky
Blinders...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.43
38 CONT'D: 38

As the words ‘Peaky Blinders’ are spoken, a full red wine

bottle comes spinning toward Tommy’s head (in slow motion).
He ducks out of the way and there is chaos.
Arthur is on his feet and Tommy and John join him. They have
been searched but their caps weren’t taken so they are the
only men in the place with weapons (as Tommy knew they would
be).
Hard men come for Tommy and Arthur with bottles and glasses,
but Arthur accesses an incredible strength and power which he
has worked up over the past couple of years.
Tommy and John hold their own but Arthur puts on a display of
snarling fighting fury which clears a space and scatters the
jazz band.
Before the fight can continue, Mario has pulled a gun and
fires a single shot. Everyone freezes.
MARIO (CONT’D)
Stop! Step back.
Tommy, John and Arthur are in a clear space beside the dance
floor. The mob of hard men are staring murder. There is blood
and two men have been cut.
Mario points his gun at Tommy.
MARIO (CONT’D)
Get out.
Tommy snatches the bottle he bought and swigs from it. Then
he, John and Arthur walk toward the door as people make way.
There is furious silence and gestures of revenge. Tommy
stops at the top of the stairs and calls out...
TOMMY
We came down here not to make
enemies but to make new friends.
He looks around the room...
TOMMY (CONT’D)
Those of you who are last will soon
be first. Those who are
downtrodden will rise up. You know
where to find us.
As Tommy and the boys leave there are looks across the
scattered tables...

39 EXT. GAS LIT BACK STREET, LONDON WEST END - NIGHT 2 39

In a dark alley we see long shadows from a gas light then
Tommy, John and Arthur turn a corner. Arthur doubles up and
splutters out some blood...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.44
39 CONT'D: 39

ARTHUR
I’ve lost another tooth Tommy. I’m
going to have none left.
He grabs the bottle of whisky to wash out his mouth...
ARTHUR (CONT’D)
Some fucking holiday this is.
John hoots with laughter and Tommy finally laughs too. The
three brothers lean against a wall under the gas light. Tommy
slaps Arthur on the shoulders and he stands to attention.
TOMMY
So. Are you alright without your
fucking medicine Arthur?
Arthur grins and nods firmly.
TOMMY (CONT’D)
John? You alright? Or should I be
asking that question to your wife?
Arthur hoots and grabs John. John laughs...
TOMMY (CONT’D)
No more talk of keeping chickens,
alright?
John and Arthur laugh and Tommy walks away. He calls back...
TOMMY (CONT’D)
I’ve got fifty quid here.
Tommy walks...
TOMMY (CONT’D)
Let’s go and paint the town.
Tommy walks away into the gas light. Arthur straightens his
hat on his head. John straightens his collar and whoops as
the brothers become silhouettes disappearing into the
night...

40 EXT. TERRACED HOUSE - NIGHT 2 40

A different silhouette walks under different gas lamps
through swirling mist.
We are in front of a line of terraced houses. The figure is a
woman in a broad brimmed hat. She approaches a sickly yellow
light which burns behind a net curtain. The woman in the
broad brimmed hat approaches the front door. We sense this is
a place she doesn’t want to be seen.
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.45

41 INT. TERRACED HOUSE, LIVING ROOM/SEANCE - NIGHT 2 41

The room has been set up for a Seance.
There is a round table with hand-written letters spread
around it in alphabetical order and there is an upturned
glass. In the center of the table a paraffin lamp burns.
There are statues and paintings of Christ all around and
candles drip.
A woman in her fifties (the MEDIUM) presides. The clients are
mostly women in their early thirties (widows of soldiers),
all dressed in black, with one man in his fifties in a smart
suit and tie among them.
The woman in the broad brimmed hat sits and removes the hat.
We see it is Aunt Polly.
She perches half in and half out of the circle, not sure she
should have even come here at all.
MEDIUM
Let’s begin. Hands on the table.
Everyone places both hands palm down on the table. Aunt
Polly watches and follows suit. The medium peers through the
lamp light...
MEDIUM (CONT’D)
Tonight we have two new pilgrims
joining us. So let us welcome
them...
Aunt Polly is unusually nervous as she nods greetings. The
medium speaks to the skinny, frail woman sitting next to Aunt
Polly....
MEDIUM (CONT’D)
Starting with you. Who is it that
you are seeking to reach?
The woman looks around the table...
WOMAN
My husband. He was taken six months
ago by the influenza...
A frail woman in black crosses herself...
WOMAN (CONT’D)
I tried to reach him through Mrs
Breach in Sparkhill but she kept
getting his middle name wrong...
MEDIUM
Don’t talk about Mrs Breach in this
house. She is an un-sanctified
charlatan.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.46
41 CONT'D: 41

She turns to Aunt Polly...

MEDIUM (CONT’D)
And you? Who do you seek?
Aunt Polly gathers her courage.
AUNT POLLY
A daughter. My daughter.
MEDIUM
And when did your daughter pass to
the other side?
Aunt Polly offers a nervous apologetic look...
AUNT POLLY
The truth is, I’m not sure she’s
even dead. That’s why I came here.
To find out.
Silence as people wait for Aunt Polly to get the words...
AUNT POLLY (CONT’D)
You see, my son and my daughter
were taken from me when they were
very small. Taken by the Parish
authorities.
She holds back then continues...
AUNT POLLY (CONT’D)
I never knew what happened to
them...
A pause.
AUNT POLLY (CONT’D)
But lately...
A pause....
AUNT POLLY (CONT’D)
I have had a feeling. Like
a...feeling I can’t put into words.
She struggles for the words...
AUNT POLLY (CONT’D)
And there’s a dream I keep having.
I see a pretty girl about eighteen
years old. And she is on the other
side of a street and she tells me
she has crossed over. My daughter
would be eighteen this year. In
May. The fifteenth. And this girl
has dark eyes like mine and she
shouts and shouts.
(MORE)

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.47
41 CONT'D: 41
AUNT POLLY (CONT’D)
She says she wants to speak to me
to say goodbye because I am her
mother.
Aunt Polly fights her emotion and wins...
AUNT POLLY (CONT’D)
I don’t even know what name they
gave her after they stole her from
me. So I can’t find out if the
dream is true.
A pause...
AUNT POLLY (CONT’D)
If she has passed away and she
wants to talk to me...I thought
this would be the place.
The medium studies Aunt Polly. Then she glances at the chain
around her neck. There is a flicker of recognition...
MEDIUM
You’re wearing the Black Madonna.
You’re Gypsy?
Aunt Polly glances around the room.
AUNT POLLY
The part of me that dreams is
gypsy.
The medium nods and speaks in Romany...
MEDIUM
(I am Gypsy too. May I ask your
name).
Aunt Polly makes a decision. She speaks delicately...
AUNT POLLY
My maiden name is Shelby.
Everyone reacts to the name. Everyone knows the name. The
Medium adjusts. Aunt Polly decides (why not?) to use the
reaction. She glances at the frail widow beside her...
AUNT POLLY (CONT’D)
So perhaps you could do me first.

41A INT. LONDON, RITZ, RESTAURANT - NIGHT 2 41A

The small restaurant has a dozen customers attended by almost

as many uniformed waiters. We see the Ritz livery around the
room and on a menu which is being placed at a table.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.48
41A CONT'D: 41A

Some heads turn as figures appear at the maitre d’s table.

It’s Tommy and the boys. They bundle into the genteel
silence with John and Arthur stifling giggles. They have
cleaned their cuts as best they can and in the candle light
they still look sharp.

TOMMY
Table for three.

MAITRE D’
Do you have a reservation Sir?

The Maitre d’ has smelt the whisky on their breath and made a
fast assessment.

TOMMY
No we don’t. But we are staying in
the hotel.

JOHN (SHOCKED, LOUD)

Are we?

ARTHUR
Holy fuck...

The maitre d’ reacts but before he can speak...

TOMMY
Also...

Tommy slips the maitre d’ a five pound note...

TOMMY (CONT’D)
We’re very hungry.

The maitre d’ slides the five pound back across the open page
of the reservation book (we might notice a few Lords and
ladies listed)...

MAITRE D’
I’m afraid without a
reservation....

Tommy interrupts softly...

TOMMY
Look. You know what we are because
it’s your job to know. We’re not
gentlemen. We’re racing men.

Before the maitre d’ can speak...

TOMMY (CONT’D)
Tomorrow, at Newmarket, a horse is
going to come in at twenty to one.
We know because the race is fixed.
(MORE)

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.49
41A CONT'D: 41A
TOMMY (CONT’D)
Now you get us the table, bring us
some food and wine and after we’ve
had our brandies I’ll write down
the name of the horse on the back
of the bill.

A curtain billows. The maitre d looks around...

MAITRE D’
How do I know I can trust you?

TOMMY (SOFTLY)
Because we’re going to be coming
back here. We’re going to be coming
back here a lot. And we’d like to
make this a regular arrangement.

The Maitre d’ looks at the five pounds and multiplies it by

twenty in his head. And imagines many more to come.

MAITRE D’
By the window or by the fire Sir?

Tommy half smiles then turns to straighten Arthur’s tie.

TOMMY
No elbows on the table, ok?

42 EXT. TERRACED HOUSE, DARKENED STREET OUTSIDE - NIGHT 2 42

The front door flies open.
The sickly yellow light still burns. Aunt Polly is pulling on
her broad brimmed hat as she leaves the seance in a hurry.
She walks a little way then stops and leans on a lamp post.
She is sobbing, her face hidden by her dark hat. Her body is
wracked with sobs but we don’t come close.
We walk with Aunt Polly through the mist and gas light as she
makes her way home...

43 INT. PEAKY BLINDERS HEADQUARTERS/BETTING SHOP - EARLY NEXT 43

MORNING 3
Aunt Polly is alone, sitting at a typewriter, still wearing
the same clothes from last night. She evidently hasn’t slept.
Then a key in the door and Esme arrives for work. Aunt Polly
begins to hit keys on the typewriter. Esme lays down
paperwork.
Esme and Aunt Polly have a strained relationship and they
both clatter around for a few moments. We should sense that
Esme is pretty fearless but she is afraid of Aunt Polly.
Finally...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.50
43 CONT'D: 43

ESME
Have you heard from the boys?
AUNT POLLY
They’re on their way back.
Esme gathers courage and wants to build a bridge...
ESME
You’re against this the same as me
aren’t you.
Aunt Polly speaks as if she didn’t even hear...
AUNT POLLY
Look out for anyone laying big
money on Divine Star in the three
thirty at Newmarket. She’s one of
ours. Twenty to one. Anything over
a pound tell me.
Aunt Polly rolls a sheet from the typewriter. Esme withdraws
for now and gets busy too. Esme sits down. After a moment of
pointless work...
ESME
Polly?
Aunt Polly sighs but works on...
ESME (CONT’D)
I don’t wish to pry into your
business.
Aunt Polly looks up. Esme finds courage again...
ESME (CONT’D)
But you should know something.
A pause.
ESME (CONT’D)
That woman is a trickster.
A pause.
AUNT POLLY
What woman?
ESME
Her sister was in the wash house
early and she was boasting there’d
been a Shelby at the table...
AUNT POLLY
What woman?
ESME
Gypsies talk to each other...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.51
43 CONT'D: 43

AUNT POLLY (FIRM)

What woman?
Aunt Polly waits. Finally...
ESME
You went to see Mrs Price in the
Patch last night.
Esme sees a furious reaction and withdraws...
ESME (CONT’D)
I’m sorry, I....
Esme gets to her feet fast. Aunt Polly flies at Esme and
grabs her and pushes her against a wall...
AUNT POLLY
What do you know?
Aunt Polly is strung out, sleepless...
ESME
I know they push the glass. The
man. He’s her cousin. He pushes the
glass. It’s a trick. They tell you
what you already believe.
A silence between them.
ESME (CONT’D)
She set up after the war because of
all the widows.
Aunt Polly lets Esme go.
ESME (CONT’D)
Polly, I just thought you should
know...
AUNT POLLY (INTERRUPTING)
So in this fucking wash house did
they say why I went there?
Esme hesitates. Then she nods gently. Aunt Polly suddenly
pulls a stiletto, strides forward and puts it to Esme’s
face...
AUNT POLLY (CONT’D)
You ever tell a soul in this family
I swear I will cut you open.
Esme’s face hardens and she provokes the knife by jutting out
her chin. Esme is a fighter too...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.52
43 CONT'D: 43

ESME
I don’t need a knife to stop me
telling secrets given in
confidence. It is a matter of
honor.
The two women face off, the knife between them. At this
crucial moment there would be war or reconciliation. Aunt
Polly wants neither. She drops the knife and walks...

44 EXT. CANAL SIDE - MORNING 3 44

Aunt Polly stands alone. She lights a cigarette and looks
into the dark water. Her hand shakes as she smokes.
AUNT POLLY
Everybody’s pushing the fucking
glass.
Suddenly...

45 INT. CHURCHILL’S OFFICE - DAY 3 45

Against a bare wall we see a naked woman.
She is generously proportioned and middle aged. She has a
white sheet fluffed up around her.
We pull wide to reveal an easel and an artist. It is WINSTON
CHURCHILL who is making a rough sketch of the naked woman in
charcoal.
His office is an oak panelled inner sanctum within Whitehall.
A portrait of the King looks down sternly. Churchill sketches
with intensity for a few moments.
The door is knocked and Churchill absent-mindedly calls out
‘come’. The door opens and Campbell walks in. He sees the
naked woman and immediately turns his back, blushing wildly.
CAMPBELL
Dear God...
Churchill reacts...
CHURCHILL
Good lord. I assumed it was Betty
with tea.
CAMPBELL (DEEPLY FLUSTERED)
Sir, I’m sorry...
CHURCHILL
Have you never heard of lunch hour?
Campbell is horribly embarrassed, his hat in his hand, his
back turned.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.53
45 CONT'D: 45

CAMPBELL
Forgive me. Your secretary was not
at her desk.
Churchill and the naked lady are now both privately amused...
CHURCHILL
No. Because she takes lunch. Like
normal people. And you can turn
around, the lady is a professional
life-model. She does this for a
living.
Campbell doesn’t turn.
CAMPBELL
I’m more than happy to come back
later Sir.
CHURCHILL (DESPAIRING)
No, no, no. Later, I’m in the
house. Just...
He gestures at his amused life model...
CHURCHILL (CONT’D)
Keep your back turned if you must.
Churchill goes back to his sketch...
CHURCHILL (CONT’D)
I would guess you haven’t been
exposed to London’s Bohemian
society, Major?
CAMPBELL
I...play cards on occasion.
Churchill is more amused...
CHURCHILL
You know I do believe middle class
men like you are behaving far more
decently in these decadent times
than we who are your social
superiors. You are a stranger to
cocaine and exotic dancing too I
imagine.
Campbell is two yards away with his back half turned.
CAMPBELL
I visit the pictures on occasion
Sir.
Churchill and the model swap smiles. Churchill continues to
draw...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.54
45 CONT'D: 45

CHURCHILL
So what business is so urgent, it
trumps lunch?
Campbell is uneasy and half glances at the naked lady...
CAMPBELL
Our man in Birmingham has passed
his first test with flying colours.
Churchill is distracted in his drawing...
CHURCHILL
What man?
CAMPBELL
The man we have chosen for...
Churchill waits...
CAMPBELL (CONT’D)
Sir, I am loathe to discuss this
confidential business in front of
the lady.
Churchill smudges a line...
CHURCHILL
Then just continue to speak in
code.
Campbell is horribly uncomfortable. Churchill is Campbell’s
opposite, erratic and light and fun. Campbell clears his
throat...
CAMPBELL
Our man is now on the hook. Our
friends in Birmingham are satisfied
with the outcome of his first
mission...
CHURCHILL (DISTRACTED, MUMBLING)
I am horrible at faces...
CAMPBELL
So we can begin to prepare him for
the bigger task in hand...
CHURCHILL (MUMBLING)
Expressions elude me. I think too
much.
A puzzled impasse as Campbell half turns. He speaks
delicately...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.55
45 CONT'D: 45

CAMPBELL
Sir? I need your authority to
proceed with all urgency in
preparing the new man for
the...bigger task.
Churchill traces a line.
CHURCHILL
You’re talking about your
bookmaker.
CAMPBELL (SOFTLY)
Yes Sir.
Churchill is distracted but is no fool.
CHURCHILL
You have a history with this man.
Why did you choose him? Love or
hate?
CAMPBELL
Not love Sir.
CHURCHILL
Then be careful of hate. It is not
a good master.
CAMPBELL
To apply pressure on man for this
kind of work you must know his
weaknesses. I know this man’s
weaknesses intimately. And he is
very efficient at this kind of
work.
Campbell decides to add...
CAMPBELL (CONT’D)
But vengeance is not my lord, Sir.
It’s an odd comment and Churchill stops sketching and peers
at Campbell. Campbell sweats a little under his gaze.
CHURCHILL
And after ‘mission accomplished’ do
we trust him to keep his mouth
shut?
Campbell looks to his feet.
CAMPBELL
Absolutely not Sir.
A pause.
CAMPBELL (CONT’D)
When he has served his purpose...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.56
45 CONT'D: 45

Campbell half turns to the naked lady...

CAMPBELL (CONT’D)
...he will be consigned to history
in the same way as his predecessor.
Churchill studies the dark, slightly sinister sketch he has
drawn.
CHURCHILL
You mean at the end of a rope.
A pause. Campbell worries about the lady and steps closer to
Churchill and whispers...
CAMPBELL
The end of a rope has been this
man’s destination since the night
he was born.

46 EXT. WATERY LANE - EVENING 3 46

Tommy walks toward his legal office. We walk with him for a
while...

47 EXT. TOMMY’S LEGAL OFFICE - EVENING 3 47

Tommy approaches the fire escape that leads to his office and
finds Polly waiting. She has an agenda. They talk as they
climb the fire escape.
TOMMY
Newmarket was profitable.

AUNT POLLY (ANGRY)

Arthur told me how you left your
message...

Tommy walks on...

AUNT POLLY (CONT’D)

And when I asked him where his
medicine was, he said you poured it
away.
Tommy continues to climb...
AUNT POLLY (CONT’D)
That’s how it works in London isn’t
it. Every boss has to have a mad
dog at his side.
Tommy controls his reaction...
AUNT POLLY (CONT’D)
Somebody who can’t be predicted.
Somebody wrong in the head.
(MORE)

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.57
47 CONT'D: 47
AUNT POLLY (CONT’D)
Darby Sabini’s got Georgie Sewell.
Alfie Solomons has got some
Portuguese boxer.
A pause.
AUNT POLLY (CONT’D)
But Tommy Shelby. He uses his own
brother.
Tommy fights not to react. Aunt Polly pushes it...
AUNT POLLY (CONT’D)
You pour away his medicine and take
him into their back yard and set
him loose.
Suddenly, and unexpectedly, Tommy turns.
TOMMY
Opium and bromide is all I poured
away.
Aunt Polly confronts Tommy. Tommy yells...
TOMMY (CONT’D)
Stop fucking fighting me!
Aunt Polly yells back...
AUNT POLLY
No!
A pause as Tommy gathers himself.
AUNT POLLY (CONT’D)
Somebody has to.
Aunt Polly turns and reaches into her pocket. She pulls out a
telegram in a yellow envelope marked ‘urgent’. She hands
Tommy the telegram.
AUNT POLLY (CONT’D)
This came an hour ago.
Tommy reads the telegram. The message is spelt out in bold
capitals. It says ‘LET US BREAK BREAD TOGETHER’.
AUNT POLLY (CONT’D)
There was no name on it.
Tommy looks up.
AUNT POLLY (CONT’D)
But the address is Camden Town.
A pause as they peer at each other.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.58
47 CONT'D: 47

AUNT POLLY (CONT’D)

I was going to burn it. I should
have.
Tommy puts the telegram in his pocket and unlocks the door to
his offices. Aunt Polly stares at him and speaks evenly.
AUNT POLLY (CONT’D)
Well done Tommy. One foot already
in the grave.

48 INT. GARRISON PUB, OFFICE - NIGHT 3 48

Lizzie is waiting, preparing herself. The typewriter is on
the desk. Tommy enters and Lizzie gets to her feet. Tommy is
upbeat on the back of the telegram...
LIZZIE
You’re early.
TOMMY
Shut your eyes.
LIZZIE
What?
TOMMY
Shut your eyes, sit down.
He takes her shoulders and guides her into the chair in front
of the typewriter.
LIZZIE
What are you doing, Tom?
He puts his hand over her eyes and she closes them.
TOMMY
Alright, type this...
Tommy thinks of something quickly...
TOMMY (CONT’D)
‘If winter comes, then can Spring
be far behind?’
LIZZIE
Why?
TOMMY
Just do it.
She types with her eyes closed, laughing.
LIZZIE
Did you say ‘Spring’?

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.59
48 CONT'D: 48

TOMMY
What comes after winter?
She types. He leans in and reads. He is impressed but
remarks...
TOMMY (CONT’D)
Where’s the question mark at the
end? It’s a question.
She hits the question mark key with a thud and laughs. She
opens her eyes but Tommy orders...
TOMMY (CONT’D)
Shut your eyes. Take this down.
He strolls to the window and peers out...
TOMMY (CONT’D)
‘Wanted. Secretary for an
expanding business...
LIZZIE
Slow down...
TOMMY
...must be able to take dictation
and touch type. Five days a
week...’
Lizzie opens her eyes and stops typing as Tommy rolls on...
TOMMY (CONT’D)
...Eight pounds and four shillings
a month.
He turns to her from the window.
TOMMY (CONT’D)
Must be able to start immediately.
Lizzie reacts. A pause...
LIZZIE
Are you serious?
He strolls away from the window.
TOMMY
Things are starting to happen. I’m
going to have to find what I need
from among our own.
He goes to the typewriter and casually peers at the page...
TOMMY (CONT’D)
I need somebody who will look the
other way sometimes.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.60
48 CONT'D: 48

Lizzie is filled with wonder, astonishment. She slowly gets

to her feet. He peers at her...
TOMMY (CONT’D)
And I bet you can brush up pretty
well.
Lizzie has tears in her eyes and nods...
LIZZIE
I can look like a saint if I want.
Tommy nods.
TOMMY
You can stop the other work.
She nods gently. She reaches for his arm but he takes her
hand away and looks at her without expression...
TOMMY (CONT’D)
All of it this time.
Lizzie reacts.
TOMMY (CONT’D)
No exceptions.
Lizzie deflates a little, realizing that Tommy is including
himself. After a moment he heads for the door.
LIZZIE
What will John say?
TOMMY
John’s in love.
He stops in the doorway...
TOMMY (CONT’D)
Monday morning, eight fifteen.
Don’t be late.

49 EXT. SIDE STREET - NEAR THE GARRISON - NIGHT 3 49

Tommy emerges into the misty street and heads toward his car.
He looks like a man making progress, pleased with his work.
He approaches his car which is parked in shadows. He has the
keys in his hand.

He has a sixth sense and slows. He thinks he hears footsteps.

He walks on...

50 INT. STAIRWELL. MEETING HALL - NIGHT 3 50

A sinister mood bridges the cut.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.61
50 CONT'D: 50

We see men emerging from a meeting hall on the top floor of a

workers college. Among them we recognize some of the
communists who attended Freddie Thorpe’s funeral. We also see
Ada. A comrade calls out to Ada...

COMRADE
Ada? Are you coming for a drink?

ADA
No. The woman upstairs is looking
after Karl. She goes mad if I’m
late.

Ada sets off down the street spiral stairs in a hurry. We

watch her descend from above.

50A EXT. STREET - NEAR THE GARRISON - NIGHT 3 50A

Tommy arrives at his car. He looks around, sure someone is

watching him. He is about to unlock the car door but the door
suddenly flies open.

A figure jumps out, pointing a gun. Suddenly alleys spill out

men in long dark coats. Tommy reaches for his gun but
already there are a dozen hands on him.
It is as if the night has come alive around him. The men are
Italians, fast and professional. Tommy is shoved against a
wall and the beating begins. His hat and coat are torn from
his body and the beating becomes forensic.
Boots break his ribs and fists beat his kidneys. Then there
is a polished boot grinding into his face. He is pulled
upright.
In the gas light a face comes close to Tommy’s face. A deadly
handsome Italian man in his late thirties is eye-to-eye with
Tommy. He hisses...

ITALIAN
Tommy Shelby.

Tommy is punched in the guts...

51 INT. STAIRWELL, LANDING - NIGHT 3 51

Ada is ahead of everyone and is now alone. She reaches a

landing and suddenly two men emerge from the shadows. They
are heavy guys with Italian accents. One of them pushes Ada
against the wall.

HEAVY 1
Ada Shelby?

She tries to laugh...

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.62
51 CONT'D: 51

ADA
No.

He slaps her face.

HEAVY 1
Your brother broke the rules.

ADA (STRUGGLING)
I haven’t got a brother.

The heavy holds her tight.

DRIVER
Me and my friend need a bit of
female company. Let’s go for a
drive.

Ada tries to make a break for it but she is held firmly and
then bundled toward the exit. We hear her scream as she is
muffled and pushed into the street.

The door slams closed.

51A EXT. STREET - NEAR THE GARRISON - NIGHT 3 51A

Tommy has been beaten some more and the big Italian is in his
face again.
We will learn that this man is DARBY SABINI. In this sequence
we hardly ever see him clearly. His chief enforcer is a hard
looking English man called GEORGIE SEWELL. We see them both
through the mist of blood or through the tremors of a punch.
We see one eye or the side of his face.
Sabini speaks with a soft London accent...
SABINI
I missed you. I was away at the
races.
Tommy is at an angle, spewing blood. He catches a glimpse of
Sabini’s eyes.
TOMMY
Mr Sabini...
Sabini grabs Tommy’s face hard and squeezes his cheeks...
SABINI (INCREDULOUS)
Don’t say my name. Jesus...
He turns to Georgie Sewell.
SABINI (CONT’D)
Georgie? Get my name out of his
mouth.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.63
51A CONT'D: 51A

Two of the men holding Tommy squeeze his throat and nose and
force his mouth open. Sewell pulls a stiletto and sticks it
into Tommy’s mouth.
SABINI (CONT’D)
While you’re there, do a bit of
gold mining. Pay for the petrol.
Tommy is almost choking on blood. Sewell finds a gold tooth
and flicks it loose with the tip of the knife. He then sticks
his fingers into Tommy’s mouth and retrieves it. He hands
the bloody tooth to Sabini, who puts it into his pocket.
SABINI (CONT’D)
You see how much I know about you?
I know what’s in your fucking
mouth.
Sewell jabs Tommy three times hard in the guts and Tommy
throws up a little. The men holding him growl with disgust.
Sabini wipes vomit into Tommy’s eyes using his sleeve.
SABINI (CONT’D)
Look at me. Look at me.
Tommy is barely conscious and takes some more blows...
SABINI (CONT’D)
You take up with the Jews. You
think London works like that. You
just come down and pick a side. You
fucking clown. Now your life is
over.
Tommy is half choking, almost unconscious. Sabini forces
Tommy’s eye open...
SABINI (CONT’D)
My face is the last thing you will
see on earth. Your mistake.
Remember that when you get to hell.
I was happy with peace. You broke
the rules...
Sabini steps back and Georgie Sewell is left holding Tommy up
by the throat. Sabini gestures...
SABINI (CONT’D)
Finish him.
Sewell pulls a revolver and puts it to Tommy’s head. Tommy is
just conscious enough to see the barrel. He appears to be at
peace. The trigger is cocked.
This appears to be the end of Tommy Shelby.
Then, a gun shot. Sewell’s arm is broken at the elbow and the
pistol falls from his hand.

(CONT'D)
 PBII - Ep 1 - Steven Knight - SHOOTING SCRIPT - 20/02/14 p.64
51A CONT'D: 51A

We cut away to find a uniformed police officer, down on one

knee, aiming a sniper rifle. He discharges his spent bullet
and fires again.
Sabini and his men turn. They see a half dozen uniformed
officers spilling out of a police van. Police whistles blow.
The Sabini men race toward a waiting car as Tommy slumps to
the floor. As the police sniper gets to his feet, he rises
into shot with his plain clothes boss.
We see that the man in charge of the group of officers is
Major Campbell.
CAMPBELL (DISMISSIVE)
Go and check the bastard’s still
alive.
The police hurry to the body. Sabini and his men are already
in their car and the engine fires.
Campbell arrives at Tommy’s body as a policeman cradles him
on the pavement. Tommy is horribly beaten, blood pumping from
many wounds. Campbell looks down on his face. Tommy is
unconscious...

CAMPBELL (CONT’D)
Get him to a hospital...
The officers gently lift Tommy between them. Campbell gives
one of the officers a business card...
CAMPBELL (CONT’D)
Tell the doctors that saving his
life is a matter of national
security.
Tommy is carried away to the police van. Campbell is left
alone to watch him being loaded into the back. As the van
roars away Campbell walks toward his car and becomes another
shadow under the gas light.

THE END