PEAKY BLINDERS II Page #8
Season #3 Episode #18- Year:
- 2013
- 4,596 Views
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:
30TOMMY:
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 f***ing
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:
30AUNT POLLY:
That was a fine speech you made in
there about this company believing
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
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)
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:
31She 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:
32Tommy 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.
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