Original subtitles

(melodic music)

(Widows Theme Music)

- You'll be alright.

We're off then.

- Do you have to go?

I mean' now?

- Yes, we can't leave it any longer,

we've got to get there before Rawlins.

- [Dolly] We can't risk being seen,

- You'll get the police to the club?

— Course i will.

Take (3376V

soon be over.

- Yeah, it will be, if we don't get a move on.

- Good luck!

(light haunting music)

- That's gonna go cold.

Just a few last minute details to sort out,

you get the stuff, move off on the bike with Brian,

when you've got a good distance,

give him some crap about stopping, then dump him.

- Hang about.

dump him?

- Hm, get rid of him.

- Just a minute.

what about the lads at the lockup?

— What about 'em?

Have you got 50 grand for any one of 'em?

They're gonna come back here, hands out for £250,000,

have you got it?

Where the hell do you think that cash is coming from?

- You're not paying 'em?

-Aboui time you grew up. son.

We're broke, just enough to get away on.

- Do you think they'll just take it?

Pull a job like this and get landed

and not do anything about it?

They'll come after us, every one of 'em

and i wouldn‘t blame 'em.

- Well. we'll probably get them a little something.

when we change the gear.

— A few last minute details?

Christ.

And what about Jimmy in Rio?

You cutting him out an' all?

- Who?

- I'd better watch my backthen, hadn't I?

- Not hungry, Micky? - Leave it!

- You do the washing up then, ey?

(suspenseful music)

- Time you moved off. son.

- Plenty oltime, it's not nine o'clock yet.

- Just do as i say, get the van.

get into position like I told ya and no mouth.

- Here, you see this?

Got a pairon her, hasn't she?

- Look, you want that 500, then earn it.

- What you all doing up at this hour?

It's Sunday.

- I wanted down the garage, bit of business.

You go back to bed, love.

- Ta'ra, then.

See ya later.

- Hope so, son, take care of yourself.

- You alright, love?

Been up and down all night.

Anyone would think you was expecting, not me.

(ringing phone)

That'll be the woman about the carrycot.

Do us a bit oftoast. love?

Yes?

How much do you want for it?

Eddie?

She wants 50 quid for it.

Just a minute.

Eddie?

She wants 50 quid, it's a pram and carrycot combined,

mulberry with pink lining.

What do you think?

Sounds nice.

There's another woman after it.

so I've got to say yes or no now.

- Look, I've got to go, love.

- That's alright, I'll bring it round myself.

Here, kicked again last night.

- [Eddie] Look after yourself.

- Get off, you big softie.

Yes, well I am interested,

Could I come round and see?

When?

Oh yes, that'll be lovely.

(suspenseful music)

- So that's the last.

The guard outside's got instructions

to tel no one through or passed,

double check it here.

Have you got all the names?

- Yep. all the girls arrived.

— Good chap.

I'll just go and get the monkey suit,

see you later. - Right, sir.

(suspenseful music)

- Okay, Brian? - Yeah, yeah, fine.

- How's it going, alright? - Yeah.

(revving motorbike)

- They're getting ready a bit early, ain't they?

What time is it?

- Nearly one.

- They're talking about Shirley.

- There's a chance she might recognise me, my voice.

- Thanks,

now you tell me.

Got the rest of his family in it, have ya?

Eddie,

you know we've got a girl on the inside?

- Yeah.

- Well, it's your old lady's daughter.

now don't worry. there's no harm gonna come to her,

she doesn't know anything,

but she may recognise Micky Tesco.

Now, if she opens her mouth,

it's down to you to deal with it,

warn her off,

'cause if she talks.

you go down With the rest of us.

- You bastard.

- Just the way it turned out, Eddie.

- I'll have you.

- Have to catch me first,

chubby.

- Right, that's it, we go in 15 minutes.

(dramatic suspenseful music)

(chattering women)

- Listen, the press are here, 50 ES 500“ as you can.

— Could I have a word?

Could I have,

excuse me?

Girls?

Now, I'm going to call each girl out in turn,

so Will you please go to the managers office

and we can sort out who is wearing what.

So if you could be wearing the clothes

as per photo call one at a time.

Oh, and I'm going to ask you again,

do wear the plastic protection sheets for the gowns.

No coffee,

please.

NOW,

Myra?

Myra, would you like to come first?

Followed by Shirley, then I'll come back.

- This must have been made for an elephant.

- Myra? -A|right, I'm coming.

- You're next, Shirley.

(dramatic suspenseful music)

- Sodding thing's out of order!

Is it working? - Yeah, here we go.

- Come in, Shirley.

(light melodic music)

Diamond bracelet. necklace, brooch, earrings, rings.

Comfortable?

- Feels fine. - Hm,

very nice.

Next change. you'll wear the emeralds,

they sit between the diamonds, should look lovely.

Next girl, Hester.

Shirley?

Stand by Myra, don't go back to the dressing room

and when you come offthe ramp,

come straight back to the office.

It's a question of security,

we have to keep our eye on you all.

(suspenseful music)

— What's the matter?

-Asking my name and address. - Give it here.

(dynamic upbeat music)

J' In the midst of all this madness I

J. Let's take a little break. let's dance I

I Get up and dance I

J' Remove that arrow from your heart I

I Now is your chance I

I That ain't no pistol in my pocket I

J‘ That's romance J'

I Get up and dance I

- Nevermind who I am. listen, )ust bloody listen,

Harry Rawlins,

Rawlinsl

Christ almighty, there's a bloody robbery, you hear me,

I'm telling you!

- Okay Bella, come on.

(suspenseful music)

- Now take it easy, Brian. - Yeah.

— They need at least 10 minutes ahead of you.

(dramatic suspenseful music)

- We've got time to warn Shirley.

(suspenseful music)

— All set? - Yeah,

there won't be a phone ringing around here.

— You sure?

- You do yourjob, Sambo, I'll do mine.

- We're too late, they're here.

Get down.

(suspenseful music)

- All clear.

You wait for the signal.

- [Micky] Where's Brian got to?

Got to check out those motors.

— [Eddie] Give him a couple ofminufes.

- [Micky] Here he comes.

(light suspenseful music)

- Woman?

You get a name and address?

I should be on the golf course, it's Sunday,

nobody pulls a job on Sunday.

J‘ Let's dance with the moonlight in our eyes I

I See the moon, see the sky I

J. Let's dance. let's dance I

I Get up and dance I

I In the wake of tragic review shows I

I About all that will come to pass I

I This is no class celebration, but be the last I

I Get up and dance I

(light suspenseful music)

— Contact Fulham, Chelsea, see if they can get me something.

and Notting Hill Gate an' all,

how many did she say were on it?

- Seven, I've got names. - Never mind the sodding name.

get Fred Hoover on the radio.

- Still trying to make contact With the club.

(dramatic suspenseful music)

I See the moon, see the sky I

-Alright, alright, last show definitely.

I'll give the lighting a break.

- Thinks he's Darryl Zanuck, doesn't he?

- I'll get a shot round the back.

(light suspenseful music)

- This is it, he's on his way out now.

- [Bella] Their man's just come out.

They're getting ready to move in, Dolly.

- Where the bleeding hell's the law?

(suspenseful music)

- Go do it, son,

- Good luck, Sambo, we're behind you.

(screeching car brakes)

— [Officer] Released Wormwood Scrubs, January 1980,

served 10 for armed robbery. - Alpha Bravo,

five-four-six. - Any word from the governor?

- On a Sunday, you must be ]oking.

Be qUiet.

- [Officer] H for Harry, Harry Rawllns, age 44.

- Anyone to back us up yet?

We're gonna need it. this is the heavy mob.

— There's nothing yet, Guv. - Try Notting Hill again,

try 'em all, for Christ's sake.

This is Alpha Bravo five-four-six

requesting immediate backup, please make contact.

- Come on, come on, what's he doing?

Jesus Christ!

- Hold it, not yet, one more to go.

- Over out. - Alpha Bravo--

- Oi, I don't want any sodding heroes, alright?

Watch out for Summers, he's a bloody nutter.

- Hey man, give us a hand out here.

- Arghl

Uh, Uh, uh!

- Okay, all clear my side, standing by.

- Okay, this is it.

(light suspenseful music)

(light suspenseful music)

- They're not coming,

they're not bleeding coming!

(suspenseful music)

- YOU wanna check out this Van. mate,

there's something wrong with it.

- Oohl

Uh, Uh, uh!

— If you want a goddamn face left, shut it!

(dramatic suspenseful music)

- All clear to move in.

- Oohl

Uh!

I Remove that arrow from your heart I

I Now is your chance I

I That ain't no pistol in my pocket I

I That's romance I

I Get up and dance I

I Let's dance with the moonlight in our eyes I

(music stopping abruptly)

(screaming)

— Get down on the floor!

Get down, stay down!

Down on the floor, bastard.

Now stay down, the lot of you and shut it!

(dramatic suspenseful music)

— Get out!

- Uhl

- Heading towards Amanda's Nightclub, A for apple,

Amanda's Nightclub. just passing Hobbington Street.

-0h. oh!

Ohl

- Uhl

- Uhl

- Keep still, keep stilll

- Ah. you bastard!

You cut my ear. - Shut itl

- Come on, come on!

- Car approaching, two officers,

where do you want 'em?

- Tell 'em to stay back, tell 'em in around

and no bleeding heroics, wait for us, no sirens!

- Wait for signal, no sirens, over.

(suspenseful music)

- Don't try it, sonl

Get down!

In the front!

- [Micky] In the bag!

All of it!

- Oh, no, uh!

Get off!

- Micky, no!

Oh, Micky!

- Get out, out, out, go!

(suspenseful music)

- Stay down.

- Micky. no. Micky! - Stay down!

-Ohh!

(gun firing)

(screeching car brakes)

(light haunting music)

- Dolly?

Dolly!

- Uh!

Uh, arghl

augeé

—Ohl

- You're nicked!

- Uh!

-Come on, go, go!

-The bike!

Dolly, the bike!

- What about Shirley? - Come on, we'll lose them!

- Uh, uh! - Uh!

- Uh. Uh!

- Uh. Uh!

- Uh!

Uh! — You're nicked!

- Uh! - Stand still!

- [Bella] What the hell are you doing?

- The lights are red! - Well, go through them!

(dramatic suspenseful music)

(screeching car brakes)

(honking horn)

They're up ahead, Dolly!

Come on. faster!

- i can't, there's two lanes!

- [Bella] Well go up the sodding middle then!

Come on!

(honking horns)

- DC Andrews has arrived, sir,

bUt we can't move the transit,

they must have chucked away the keys.

- T00 late. she's dead,

(dramatic suspenseful music)

(screeching car brakes)

- [Micky] Look out!

Argh!

(screaming woman)

- Argh!

- We've got 'em, Dolly!

(screeching car brakes)

(light suspenseful music)

(blaring siren)

- Still no answer.

You think she's alright?

- Shirley will be fine,

they're probably holding 'em at the club or something,

you know, asking 'em questions and things.

What are we gonna do With these?

- Hand ‘em back.

I didn't even want 'em in the first place.

— There's no need for that.

- I didn't see Harry there.

- It's bleeding.

- We go round and wait till she comes home.

— What about these?

- JUSt leave 'em,

leave ‘em.

- A girl's dead, Kevin.

Gonna throw the bleeding book at you, you know that?

You hear me?

You were setup, you soft bugger, tip off, gave us names,

Terry Summers, Colin Soal, Harvey Rintle.

Who was on the bike, Kevin?

- I didn't shoot her, it wasn't me.

- Who did?

- I need an aspirin.

- Sod ya, I have you this time,

bloody have you this time.

— What's in it for me?

—18 minimum.

- I didn't shoot her!

- But you know who did?

Tesco, Michael, Micky, he's got form,

see if you can trace him and get a warrant out for him.

He shot the girl, soon as you can.

Oh, coffee and aspirin in here, ta.

- Huh, need one myself.

(light suspenseful music)

(light suspenseful music)

- [Micky] Get in the car, Harry.

— What happened?

- l recognised her, that's what, from the airport.

You planned it all along, didn't ya?

Cut Jimmy out,

cut the lads out.

What were you gonna do with me, eh?

- I don't know what you're talking about, son.

What happened?

What's the matter With your arm?

(dramatic suspenseful music)

- Uh. Uh!

(gun firing)

- I came in about an hour ago, just by chance really,

I wanted to sort through some reports.

They used Carshalton Station as backup,

they got Harvey Rintle, Kevin White,

girl was shot, Shirley Miller, she was at the club,

do you remember? - Yeah.

- She's dead.

- Rawlins, they got Rawlins?

- Freddy's having a field day.

- Sod him. what about Rawlins?

- Last i heard, there was a warrant out for Micky Tesco,

it was him shot the girl.

— They haven't got Rawlins? - Not yet.

- Thanks for bringing me in.

Let's go and see what Freddy's up to.

- He won’t like it.

(screeching car)

— Oi, nobody down here, how many more frigging times?

Well. well. well,

if it isn't the Jimmy Connors of the squash court.

Out, stay out!

And wait for the dabs to be done.

Hop it, right. l've got enough spare mitts down here,

without you adding yours, go on, shove off.

- Who is it? - I'm waiting to find out,

now go on and take your bloody Toyota with you,

the ambulance won't be able to get down.

- If it's Tesco, I can identify him.

- I don't give a sod, piss off.

Oi, you!

- Oh, it's the doctor, I'll see if he's got some aspirin.

Terrible headache.

- I'II bloody have you for that.

- It‘s Tesco.

- Looked like they were searching the house.

- Do you think they've arrested Shirley, Dolly?

My God, my clothes, everything I‘ve got‘s in that place.

- Anything about me, where I'm living, my address?

- I don't know, she won't hold out, Dolly,

if they start asking questions.

- Shirley won't talk.

- How the bloody hell do you know what she'll do?

They've got us this time, they've bloody got us.

- Not yet, they haven't.

(suspenseful music)

- In there.

Right,

]ust hang on a minute.

Well, first time l've ever known you lot be helpful.

What is it?

Something Wrong, is there?

You weren't corning round here to see me?

Greg, is it Greg?

In trouble again, been thieving again?

lwarned him. itoid him.

What's he done this time?

- I'm afraid I've got some very bad news

for you, Mrs. Miller.

Greg's fine, I don't want you to worry about him,

but it's your daughter, Shirley.

- It's all up, you know, Vic,

she let down my Shirl?

Come on, you can't still think she's on the level?

You heard what he said,

the Miller girl called out her name, before she died,

Rawllhs instigated the robbery,

it stands to reason she's in on it,

Vic.

He knows where she is.

— Rawlins' wife?

Is this true?

- Yes.

Goodbye, George.

- Vic.

Vic.

— You want her?

- Thanks, George.

- You'd better get out of here

and you look after him, - Sure.

- 'cause he's my mate.

(light haunting music)

- Are you sure?

- Take it.

It's the cash from the sale of my house.

- But What about Shirley?

- There's plenty more where that came from.

You ]ust get yourself to the airport,

go round to that friend of yours, use her passport.

- What about you, What are you gonna do?

- I'll be alright.

Go on, darling, pull yourself together.

Come on, go.

- Come with me, Dolly.

- What about Shirley?

She might need lawyers, money,

she’ll need me.

- You're the best, Dolly.

Tell Shirley I'll head for LA,

that posh hotel, tell her maybe I'll see her there.

- I'll tell her.

You never know, you might see me there an' all.

Go on, girl, before I change my mind.

- Thanks again.

(car door shutting)

(light suspenseful music)

(light suspenseful music)

(light suspenseful music)

(doorbell ringing)

- It's a boy,

I know.

Had to have a scan, 'cause of me age,

gonna be a boy.

- They've brought Greg to see you, Audrey.

— Eddie?

Is he alright, is he?

Why?

- I'm sorry, Mum.

(ringing doorbell)

(light suspenseful music)

— Thanks for the lift.

- You hear from her, you let me know

and iii be at the station, all night if need be.

- Night.

They picked them all, every single one,

except Rawlins.

- Where've they taken Shirley?

- Morgue.

- Uh! - Hey,

come on, come on. - Uh!

- Come on, take it easy,

come on, take it easy. - Uh,

uh!

(suspenseful music)

- Thanks.

- What's this all about, Harry?

You told me it was something to do with Harvey.

- I lied. -Oh.

- I need to get to the airport and lwanna get cleaned up.

- What's going on?

- Nothing's going on, come on, let's go.

- I don't want any trouble, Harry, I've got kids.

She's called twice, I told her I was picking you up.

— What? - Dolly!

— Where is she?

- I don't know, she's calling again,

but she's looking for you, Harry.

- Shirley called out your name, just before she died.

- You need me now.

- What do you want with me, Mrs. Rawlins?

- You said if! ever needed you.

— Where is he?

—Oh!

- What do you want?

- I want him caught, Vic.

it was me that put in that call to the law.

- Do you know where he is?

Do you think he'd come to you?

- Yes, I sold him out. Vic, I took everything,

he won't come for me, but he'll come for his money.

Will you help me?

(light suspenseful music)

- Here, these should fit,

they were your cast offs to begin with.

Good God, how did you do that?

- Dog.

(ringing phone)

Answer it.

— Hello?

It's Dolly.

- Hello, Doll,

How's my girl then?

Can we meet?

I wanna see you, Doll.

I'll choose the place.

Got my cash, have ya?

I've missed you, you know that?

You remember where I asked you to marry me?

- Kenwood House, by the lake.

What time?

- Four o'clock.

— Four o'clock tomorrow afternoon?

- No, tonight.

Can you make it?

- Four o'clock. I'll be there.

He can't wait.

Didn't even say goodbye.

- I need a shave.

Eddie's kit handy?

- God, she must be out of her mind.

- NoW]ust stay put. until i know they'll play ball

and don't leave here, promise me that.

- I'll be here.

Looks great, fits well.

(light haunting music)

— KenWood House?

Hell of a place to choose.

- He's got a funny sense of humour, proposed to me there.

- We'll get him this time, ey?

I don't wanna lose you, know that, do you?

- Yes,

I'll be here, I'll wait for you.

- Right.

(light haunting music)

(light suspenseful music)

' YePi yep. (ringing phone)

Okay.

Yep,

right.

- Look, she wants him caught.

Now is it on or not?

i don't want to be there, when she calls.

-And I want her here, Vic. bring her in.

We'll set the whole thing up for tomorrow afternoon,

but I want her here.

-Alright, I'm on my way then.

— What time do you make it? - Just gone four.

(light suspenseful music)

(ringing phone)

- Let me look at you.

You got the cash?

This is where it all happened,

remember?

Marry me?

Are you turning me down?

Come here.

Come on.

We can go again, Doll.

you and me,

I mean it,

it's what you want,

isn't it?

(light haunting music)

(crashing gate)

- He's a lunatic!

(screeching car brakes)

- She's got a gun.

Keep back.

- I'll take it from here, VIC,

- Give me the gun, Dolly.

Where is he, Dolly?

Where is he?

- I'm sorry.

- Why?

Why?

(light haunting music)

- I didn't love him anymore.

thated him,

but I couldn't let him go.

Thank you.

(light suspenseful music)

(melancholic opera music)