PEAKY BLINDERS II Page #13

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)

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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 f***ing 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)

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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)

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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)

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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.

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...

INT. STAIRWELL. MEETING HALL - NIGHT 3 50

A sinister mood bridges the cut.

(CONT'D)

50A

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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.

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.

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