Tuesday, February 07, 2012
Bicentennial Tributes: Charles Dickens
By Damian Arlyn
While perhaps it does seem unimaginative and a downright cliché to say so, nevertheless I must admit that Charles Dickens is one of my favorite writers. And yet the reason I cannot recall when I first was introduced to this wonderfully witty wordsmith is the same reason that it feels vaguely silly to be writing today about the bicentennial of his birth: namely, that it seems as if Dickens has been there always, from the very beginning, right beside me, amusing me with his colorfully unique and eccentric characters, shocking or moving me with his deliciously complex stories and captivating me with his musical and, of course, plentiful prose. Indeed, Dickens is one of the most verbose writers I've ever encountered in my many readings, relaying such intimately atmospheric details (including the location of the pitiful pawn shop where the kettle, out of which the maid just poured the steaming hot green tea for the nervous little boy, was purchased for the beggarly sum of twopence) that he was able to weave a rich, textured and thoroughly engaging world with his words. Arguably, the greatest author of the Victorian era, his influence can be felt in all forms of fictional storytelling even today and a proper tribute to him and his art could not possibly be done satisfactorily without some sort of pathetic attempt to emulate his distinctively loquacious style in the opening paragraph of said tribute. Since I already have embarrassed myself sufficiently with such an endeavor, I shall cease to imitate this great genius and write of his life in my own humble style from this point forward.
Charles John Huffam Dickens was born Feb. 7, 1812, the second of eight children, to John and Elizabeth Dickens. Though his fledgling imagination was stimulated by avid reading, he was forced to leave school at 12 to work at a Boot Polish Factory to help support his family while his father sat in debtor's prison. In his teenage years, Dickens worked as a junior clerk at a law office, but it was his experience as a journalist in his early-mid 20s that led more directly to his ultimate calling. Under the pseudonym of "Boz," Dickens' first novel, The Pickwick Papers, was published in 20 parts over 19 months (beginning in March 1836 and ending in October the following year) after which it was put out in a single volume. This unfolding of the narrative serially and subsequent printing in book form (a common literary practice at that time) was how most of Dickens' novels also would be released to the public and it allowed for a certain freedom and spontaneity in his writing since he did not (as many authors did) write out the entire story beforehand but rather more or less created it as he went along. Pickwick was a huge success, providing Dickens with the money he needed to marry his then sweetheart (Catherine Hogarth with whom he had 10 children), and soon was followed by Oliver Twist (1837-39) and Nicholas Nickleby (1838-39). As with all Dickens' works, it did, however, have its detractors, who criticized the long-winded writing style by suggesting that Dickens was paid by the word…a myth which has, unfortunately, followed the great raconteur to this very day.
One of the major themes found in Dickens' stories was the plight of the poor. Dickens' sensitivity to the subject of poverty was perhaps first inspired by his own experiences in his early life. In particular, the dirty, cruel and oppressive working conditions at the Blacking Warehouse where he worked as a young man disgusted him and opened his eyes to the inhuman manner in which the poorer classes were handled by society at large. This anger at the severe inequality of the day manifested itself in his personal life as well through his philanthropic efforts. He helped found the Urania Cottage (an institution characterized as a "home for the redemption of fallen women"), gave generously to those less fortunate whom he encountered on the street and became, as G.K. Chesterton called him, "the spokesman for the poor." Dickens' commitment to, in the words of Jesus, "do unto the least of these," was tied closely to another major theme in his writing (and one of the first elements I personally connected to as a reader): his faith. Raised as an Anglican and later leaning toward a more Unitarian worldview, Christianity was clearly an important reality in his life and his work. Nowhere is this more apparent than in what is perhaps his most beloved and iconic tale, "A Christmas Carol": a story of repentance, forgiveness and redemption. Though it is true that Dickens didn't always practice what he preached (he had, for example, a decades-long affair with an actress named Ellen Ternan while still married to his wife and his anti-Semitism was demonstrated clearly in his depiction of the Fagin character in Oliver Twist), that does not create doubts in the mind of this reader as to the authenticity of his belief.
In his later years, Dickens' writing became more mature and more carefully planned out (though certainly no less successful) than his earlier works. Stories such as David Copperfield (1849-50), Bleak House (1852-53), Hard Times (1854), A Tale of Two Cities (1859) and my personal favorite, Great Expectations (1860-61) were decidedly more serious, darker, less humorous and less fantastic than his earlier works. Dickens also, despite his clearly failing health, began doing public readings of his own stories. His readings were very profitable (though in his typically liberal style, much of it was donated to worthy causes) and quite compelling since he was apparently a very effective reader. It is said that while enacting the passage from Oliver Twist that describes the murder of Nancy, women would faint in the aisles. Dickens died at home on June 9, 1870 from a massive stroke he had the previous day. He was buried in Westminster Abbey. The nation and the world joined in their mourning of the loss of one of the 19th century's most beloved and prolific writers. Today, the stories he told and the interesting characters he created (many of them inspired by real people whom he actually knew) are virtually immortal. Who doesn't know Ebeneezer Scrooge, Bill Sykes, Madame Defarge, Miss Havisham and many others? Furthermore, the stylized Victorian world that flowed forth from his untiring pen was so unique that, like other visionary artists who would follow him (including Alfred Hitchcock), he was given his own adjective to describe them, "Dickensian." As British biographer Lord David Cecil said of Dickens in 1935: "It does not matter that Dickens' world is not lifelike; it is alive." Today, two centuries after his birth (and more than 140 years since his death) his world still lives.
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Labels: Books, Dickens, Fiction, Hitchcock
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Wednesday, December 07, 2011
The Master Celtic Interpretation of A Christmas Carol
By M.A. Peel
Wiki lists more than 100 adaptations of Charles Dickens’ A Christmas Carol, for theater, radio, opera, graphic novel, TV, including at least 21 films, starting with a 1901 British silent (and that number doesn’t include the parodies and homages such as the numerous TV series that have a Christmas Carol episode). Everyone has their favorites: mine are Scrooged (yes, Bill Murray), and the Alastair Sim version, which tops the list for many generations of holiday viewers. What is it that sets the Alastair Sim version produced and directed by Brian Desmond Hurst — celebrating its 60th anniversary today — apart from the rest? Well, I’d say it’s because it is the result of the perfect Celtic marriage: a Scottish actor and an Irish director. Seriously. The Celtic DNA knows how to deal with ghosts, tormented souls and redemption like no other race and they would have a particular affinity with the creative genius of their Anglo-Saxon cousin Dickens.
Brian Desmond Hurst was born in East Belfast in 1895 into a working-class family of iron workers. In 1914, he enlisted in the British Army and survived the slaughter at Gallipoli with the Royal Irish Rifles. He went to Hollywood in the late 1920s and it’s not surprising that he became friends with John Ford — some accounts said he was one of Ford’s assistants — and had a cameo alongside John Wayne in Hangman’s House (1928). In 1933, he moved back to England, and the films he directed were seeped deeply in the Irish and English literary tradition: a version of John Millington Synge’s great play Riders to the Sea (1935), which he shot in Connemara with actors from the Abbey Theatre; Ourselves Alone (1936), a love story set against the Irish War of Independence (and the translation of Sinn Fein, a factoid I first learned from a Columbo episode!); and The Tenth Man (1936) based on the play by Somerset Maugham. In the 1940s, he directed several war films/re-creations, some would say propaganda, working with the Ministry of Information. One is A Letter from Ulster (1943), where "Hurst was able to persuade one Catholic and one Protestant soldier to write letters home, explaining their impressions of their stay." Another, Theirs Is the Glory (1946), was about the British forces in Operation Market Garden.
I don’t know how the job of directing and producing Scrooge, as it was released in Britain, fell to Hurst, but it was an inspired choice given his sensitivity to literature. And then his DNA kicked in. An Ulster man grows up believing that the supernatural simply coexists with the natural world. Hurst in his own words: "I don’t remember very much about my mother because I was only 3½ when she died, but I remember running into the house one day and asking her for a biscuit. I was still dressed then as a little girl, because in Ulster we believed that the fairies only stole little boys, and didn’t want little girls." From Yeats’ The Celtic Twilight — where he wrote down "true tales" of ghosts and spirits and faeries as told to him by various people — to the Conor McPherson film The Eclipse, with Ciaran Hinds as a volunteer at a literary festival who is drawn to an English author who writes ghosts stories — Celtic culture simply abounds with the dead and the undead sharing all sorts of things. Hurst’s literary nature combined with his Irish sensibility helped create magic on screen. The film’s atmosphere is authentically creepy, treating the ghosts with respect, and then truly joyous, as we know the Irish can be.
The other part of the magic, of course, is in the person of Alastair Sim. He was born in Edinburgh in 1900 to a mother from the Inner Hebrides who only spoke Gaelic until she moved to the mainland in her teens. Need I say more about Sim’s understanding of the Celtic soul? Like Hurst, there wasn’t much in Sim’s earlier work that hinted at such a perfectly realized lead performance. He was the clichéd "character actor" in the 1930s, moving up to lead in B pictures in the '40s. After Scrooge, his fame was for portraying — in drag — the headmistress in two St. Trinian’s films. Under Hurst’s direction, Sim gives the naturally nuanced performance of a lifetime. Every line reading sounds like extemporaneous, unscripted dialogue. Nothing is caricature, even the difficult "humbugs." His heart of stone at the beginning is perfectly cold and icy, with no hint of camp. His interview with Marley completely comfortable once he gets over the shock. Sim beautifully realizes every fiber of Ebenezer. The Dickensian-named Bosley Crowther, critic of The New York Times in the 1930s and '40s, summed it up like this:
In short, what we have in this rendition of Dickens' sometimes misunderstood Carol is an accurate comprehension of the agony of a shabby soul. And this is presented not only in the tortured aspects of Mr. Sim but in the phantasmagoric creation of a somber and chilly atmosphere."
It’s the final transformation, then, into the light, that I believe makes Sim’s good portrayal superlative.
One of humanity’s deepest fears is that of missing out: missing out on love, a career or a creative dream. It’s a harsh reality for everyone at some point. You accept the defeats small and large because you have to, as they say, "what can you do?" As Ebenezer slowly begins to see how mean he has become, he fears The Ghost of Christmas Yet to Come — the Phantom — and his own death.
"How are you?" said one [man of business: very wealthy, and of great importance]
"How are you?" returned the other.
"Well!" said the first, "old Scratch has got his own at last, hey?"
And to underscore that Scrooge's soul is headed to Hell, Arthur Rackham's illustration of this exchange shows an enormous cloven-hoofed Satan looming behind the two businessmen, with his long fingers gesturing to Ebenezer. The Phantom leads Scrooge to the cemetery and the great scene of Scrooge seeing his name on the tombstone.
"Spirit! he cried, tightly clutching his robe. "Hear me! I am not the man I was. Why show me this, if I am past all hope?"
"I will honour Christmas in my heart, and try to keep it all the year. I will live in the Past, the Present, and the Future. The Spirits of all Three shall strive within me. I will not shut out the lessons that they teach. Oh, tell me I may sponge away the writing on this stone!"
In his agony he caught the spectral hand. It sought to free itself, but he was strong in his entreaty, and detained it. The Spirit stronger yet, repulsed him.
Holding up his hands in a last prayer to have his fate reverse, he saw an alteration in the Phantom's hood and dress. It shrunk, collapsed, and dwindled down into a bed-post.
When Scrooge wakes up back in his bed, he’s thrilled but doesn’t know what day it is, how long the spirits have taken. When he learns that he hasn’t missed Christmas he is elated, light as a feather. He hasn’t missed it!!! The joy at being given another chance is like no other. (And, if you believe that what you “haven’t missed out on” is the eternal salvation of your soul, the elation gets kicked up a whole other notch). Sim’s Christmas Day giddiness is one of the great gifts to cinema. If Scrooge can become that happy, than surely there is hope — for everyone.
Hurst rounds out the film with a great soundtrack. Music, another thing the Irish know something about.
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Labels: 50s, Books, Dickens, Fiction, John Ford, Murray, Television, Theater, Wayne
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Sunday, November 06, 2011
Boardwalk Empire No. 19: Peg of Old
By Edward Copeland
Forgive me, Charles Dickens: It was the best of Boardwalk Empire, it was the worst of Boardwalk Empire. That's something for me to write, since it's rare to see the worst. Toward the beginning of tonight's episode, a development occurs that shows real signs of promise, not only in terms of storytelling intrigue but in finally — seven episodes into the second season of Boardwalk Empire — finding a way to reintegrate Agent Van Alden closer to the main plot lines and, more importantly, giving us the first chance in a very long time to see Steve Buscemi and Michael Shannon act in a scene together. There also are, as always, some stellar scenes. Unfortunately, these constitute a very small portion of the most disjointed episode of the second season. When I review movies, a general rule of thumb is that the more writers receive credit for a screenplay, the more likely it is that the movie will end up being a mess. I imagine the same holds true for teleplays. Usually many on a show's writing staff contribute to every episode, but, for the most part, only one writer, occasionally two, get the "written by" credit (Don't pay attention to what it says on IMDb, especially if it has staff writer italicized after their name — go by what's on the screen). "Peg of Old" lists Howard Korder & Steve Kornacki & Bathsheba Doran as the writers of this episode and while I looked through HBO GO at past episodes that co-executive producer Korder, co-producer and story editor Kornacki and new staff writer Doran wrote, I found no instance where any of the three wrote an episode with a partner. I can't be 100% certain that's why "Peg of Old" ends up feeling as if it were sewn together from various parts, but no other installment this season felt so piecemeal to me. I don't think you can blame the director: He had to make do with what he was given and Allen Coulter has proved how great he can be in the past when he helmed last season's "Paris Green," many classic episodes of The Sopranos including "College," "The Knight in White Satin Armor" and "Irregular Around the Margins" as well as the underrated feature film Hollywoodland. Coulter also does try to make the visuals as interesting as possible even when the content sags. An interesting coincidence about "Peg of Old" stems from its status as the season's seventh episode. In the first season, the episode I disliked the most (even calling it disjointed) also happened to be the seventh episode, "Home," which, despite its flaws, introduced the marvelous Richard Harrow character. Maybe seven isn't such a lucky number, at least as far as Boardwalk Empire goes. Poor Allen Coulter directed that episode as well. It's a shame about tonight, because when "Peg of Old" gets going with a run of several consecutive scenes where Boardwalk Empire comes off as its usual, riveting self, you get hopeful that perhaps just the beginning was off. Unfortunately, it goes off track again with scenes that feel repetitive, unnecessary or of little interest. I've included more criticism in this recap than any other this season. Those comments appear in italics.
As the episode opens, it appears that Nucky has been granted the wish he asked for at Mayor Bader's birthday party — Jack Dempsey has been prepping for his upcoming fight against Georges Carpentier to be held July 2 in Jersey City on the beaches of Atlantic City. You'd think he were in a real match as bloody as he makes his sparring partner until the bell rings giving the other guy a break — and the press a chance to hit the champ with some questions. "What do you say to those who say you dodged the draft?" one reporter (David Konig) asks. "I don't say nothin' because nobody ever says that to my face," Dempsey responds. Another reporter (Tony Rossi) reminds Dempsey that Carpentier "is a war hero after all." Dempsey tells the newspaperman that after the fight the other boxer "will wish he had a foxhole to crawl into." The first reporter asks about Carpentier's "secret punch." "What about his secret punch? We hear he has a secret punch?" the member of the Fourth Estate repeats to the heavyweight champ. "That's a lot of hooey. Besides, I've got tricks of my own," Dempsey
teases the press, which eats it up. The boxer tells them he's been training with a guy who knocked out Carpentier in Paris. "Hey Doc, bring him out here," Dempsey calls to his manager Jack "Doc" Kearns (Ralph Byers), who enters the ring with someone we haven't seen since season one — none other than midget wrestler Carl Heely (Nic Novicki), only sporting a fake mustache and pretending to be French. "No hitting below zee belt," Carl says. Dempsey excuses himself after tossing some fake punches with Carl, telling the crowd that "a fella's got to get his beauty rest." Once outside the ring, Dempsey asks Nucky how he did. "If you lose the fight, there's always vaudeville," Thompson replies. "I'd take a rotten tomato over a left hook anytime," Dempsey says. "Except there ain't no dough in tomatoes," Kearns reminds his boxer. With Mayor Bader by his side, Nucky asks Dempsey if he could do him a favor. For the first time, they will be broadcasting a fight over the wireless — at $2.50 a head in what I guess you could call the world's first pay-per-hear event — and he'd like Dempsey to promote it some. "Shake some hands, wave to the girls," Nucky suggests. Dempsey agrees as long as Doc Kearns approves. "Considering the good doctor is pocketing 10 percent of the take, I'm sure that he will," Nucky says. "Two bits for each set of ears? That's progress, boys," Kearns laughs. "Gents, gents, one more question," yet another reporter (Thomas Endres) speaks up amongst the crowd. "Save it for next time," Dempsey pleads. "This one's for Nuck. What did you and the attorney general talk about at Seaview Golf Club on Memorial Day?" the reporter asks. "Sand traps — it's a doozy," Nucky replies. "Nothing about your election rigging case?" the reporter follows up. "Show us that hook, Jack," Thompson requests and Dempsey drags the reporter off. Van Alden returns to the apartment to find records playing and Lucy smoking. He asks where the baby is. Lucy tells him that she finally fell asleep after crying for five hours straight. "Did you feed her?" Nelson questions accusingly. "Of course I did. What do you think I am?" she replies. "I apologize. I have a headache," he responds as he hangs up his hat. Lucy stands and inquires about what Rose has said. "She's gone to visit an aunt in Milwaukee — according to the neighbors," he informs her. "Got a number for this aunt? An address?" Lucy wants to know. "She will not speak to me on the telephone. She will not answer my letters. We're being tested, Rose and I," Nelson declares. "And what about me?" Lucy asks. "I'm sure you're being tested as well in your fashion," he replies. A bit of the old Lucy starts to resurface, some anger growing as she approaches the agent. "I'm talking about our arrangement, Nelson. You owe me money," she tells him. "Yes. I'm sorry. I don't have it," he admits. "You don't have it now or you don't have it at all," Lucy glares as the baby girl can be heard starting to awaken. "You're enjoying the phonograph, aren't you?" Van Alden asks in an attempt to change the subject. Lucy shuts off the music as the baby's crying grows louder as does her voice. "When will you get it?" she demands to know. Nelson looks down the hall and tries to divert Lucy's attention to the child. "I need an answer!" Lucy shouts. "The child — it's an extremely penetrating sound," he says. "Three thousand dollars," Lucy reminds him. "That's a large sum," Nelson admits. "It is to me," Lucy agrees. "Lord knows what I was thinking," he responds, repeatedly looking back toward the wailing infant. "You were conning me?" Lucy accuses. Van Alden shakes his head no before he grabs his hat. "Frankly, it's impossible to concentrate in these conditions," he declares. "We had an agreement," Lucy yells at him as he exits the apartment. "You owe me money! This is your baby, you bought it! She doesn't even have a name!" A male neighbor shouts at her to quiet the baby. "You shut her!" Lucy screams back.
"We gonna start this thing?" Capone asks Jimmy who has gathered the up-and-coming gangsters in the Commodore's great living room. Why should Al Capone be there? As I said early in the season, it would be a lot harder to keep Capone reasonably involved in the ongoing storylines than the New York gangsters such as Rothstein, Luciano and Lansky. I believe I've been proven right since, as great as Stephen Graham is as Capone, this marks only his third appearance this season and we're up to the seventh episode. Characters who don't appear in the opening credits have appeared more often and played more significant roles. More tragically, this scene illustrates
many of the problems with this episode. Waiting for the meet to get underway, in addition to Capone, are Lansky, Luciano, Mickey Doyle and Richard. Luciano complains that Manny Horvitz keeps bugging him about the $5,000 he owes him. "You agreed to advance him," Jimmy reminds Lucky. "He had a gun on me," Luciano says. "I'll cover it — as a gesture," Jimmy declares. "It's not a favor," Lucky responds. "We should probably begin," Meyer suggests. "Gentlemen, I want to thank you all for coming. It's hard to believe that a year ago, a year and a half, things have changed so much," Jimmy addresses the guests. "Sure — Meyer started shavin'," Lucky jokes. "Kinda my point. Nucky Thompson, Johnny Torrio, Rothstein, Waxey Gordon — they have problems, they come to us," Jimmy says. Capone gets a strange look when Torrio's name comes up. "Exactly why we don't need 'em," Lucky declares. "Speak for yourself, Salvatore," Al interjects. "What are you — my priest? Back off." Luciano retorts. "Charlie, you need to listen," Lansky advises, displaying that he has indeed learned under the tutelage of Arnold Rothstein. "As of this moment, the Coast Guard in Atlantic City is in my back pocket. That puts all of us in a — " Gillian talks over her son as she brings in Eli and says, "Gentlemen, Sheriff Thompson." Lucky eyes his former lover for the first time in ages. "You started without me?" Eli asks. "How long were we supposed to wait?" Jimmy replies. "Men talk. geisha retires," Gillian announces as she exits, presumably to her listening post. Eli pulls up a chair and Jimmy resumes his speech. "As I was saying, we have special advantages here.…" This scene, which should be a thing of beauty, points out a lot of the problems with this episode. As a general rule, I love when they do long scenes with great dialogue, but most of this nearly four-minute scene sounds pedestrian and repetitive. Aside from Capone, who probably didn't get the full details in his brief visit earlier in the season, Jimmy wastes time telling not only everyone in the room but, more importantly, the audience what we already knew about how the operation should or would work. Inventing verbal conflict between Capone and Luciano also frustrates the viewer since we know that neither will kill the other, being historical figures with set expiration dates. Deadwood fans might have dreamed of someone offing George Hearst, but we knew it couldn't happen. Therefore, manufacturing Capone/Luciano friction proves fruitless since as characters, they come to the show with a certain immortality. The only fresh part of the scene, really, comes from Lansky asking what Jimmy plans for Nucky and while that's news to him, that's another rerun for us, especially when Capone again suggests the idea of killing him and Jimmy nixes it. As Jimmy tries to
explain that things work differently in Atlantic City than in Chicago and New York to justify jail for Nucky, the camera zooms in on Eli who says, "Jesus Christ, just kill him." Capone gestures at Eli with a sort of "Isn't that what I said?" shrug. "What? Is he King fucking Neptune? He's creepin' around with lawyers and politicians. All of you in this bullshit pissing match. Put a bullet in his head — get it over with. I'm sick of all this fuckin' nut twistin'," Eli declares. "You and I can talk about it later," Jimmy tells Eli. "Talk about it now, in front of them," Eli insists. "Your thing with him — the political whatchamacallit — I don't see the angle," Capone admits. "You don't live here," Jimmy responds. Now who wants to be half a gangster? "That's right, pal. So it's a long way to come for nothing," Al replies. "Pop him. What's the big deal?" Lucky asks. "He's just another old-timer," Lansky adds. "So's Arnold Rothstein," Jimmy says, anger rising in his voice. "Come to my house, we'll discuss that," Meyer replies. "You would kill your brother?" Richard asks Eli. "No. Someone else will," Eli answers. "I'll call Chicago. We'll get a paisan on the train. He comes up. does the job, he goes home," Al lays out specifics. The camera moves in on Jimmy shaking his head as we hear Luciano say, "We start making some real bill." Capone adds, "Which is what it's all about, ain't it?" Jimmy keeps shaking his head. "You don't like to keep people waitin'," Eli comments. The camera looks at every face in the room before going back to Jimmy. "Make your phone call."If Agent Nelson Van Alden ever had enough imagination to write his memoirs, he certainly would be able to tell how his time in Atlantic City became more surprising the longer he worked there and as he approached his makeshift office housed within the city's Post Office, he was about to encounter another one. Strangers appear to have overtaken the place, including a woman (Julianne Nicholson) who sits at his desk talking on the phone. "What in damnation is going on here? Where is Agent Sawicki?" Van Alden demands to know. While the new people stare at the booming presence, Sawicki's head pops up behind a piece of furniture in the back. Van Alden stomps his way to him. "Who is this woman at my desk?" he asks Sawicki, "She's on the phone — with the attorney general," Sawicki whispers. Van Alden walks
back to the woman who completes her call. "Agent Van Alden I presume. Esther Randolph," she introduces herself, extending her hand. She then points out the rest of her staff — Chief Investigator Clifford Lathrop (Curt Bouril) and her two clerks Pratt (seated) (Bob Braswell) and Halsey (standing) (Thomas Philip O'Neill). "What are you doing here?" Van Alden asks Randolph. "Beg your pardon?" she replies. "That is my station. This is my office," he declares. "The investigation necessitated ad-hoc arrangements," Randolph explains. "Ad hoc?" Shannon delivers the word 'hoc' as if he were about to cough up a sizable piece of phlegm. "I'm the head of prohibition enforcement for this city." Randolph stands her ground, informing Van Alden, "And I am the assistant U.S. attorney prosecuting Enoch Thompson." Lathrop points out to Nelson where he put the stuff from his desk. "Does the Justice Department not give advance notice?" Nelson inquires. "You and your colleague will practice discretion in regard to what you hear within this room. Do you understand, Agent Van Alden?" Randolph asks. "I took an oath," he replies. "As did I," she says. As Nelson examines his new station, he finds a racist little token. Out of nowhere, Lathrop inquires about the best place to purchase wading boots. "You'll be eaten alive," Van Alden tells them. "In the bay?" Lathrop replies. "By Nucky Thompson. The charges won't stick," Nelson declares. "Your lack of confidence is based upon what?" Randolph asks. "That the scales of justice are weighted down with graft," he proclaims. "My — that is shocking," Randolph responds mockingly. Nelson walks over to the clerks with the racist figurine and tells the pair, "This does not belong to me" and drops it on their desk. Margaret steps out of a car in Brooklyn in the fifth scene and fifth separate story strand of this episode. No wonder I started getting that disjointed feeling in this episode. Unlike most episodes, "Peg of Old" seems to lack a unifying theme and though I'm a fan of big casts, the ensemble threatens to overwhelm the series as it keeps adding characters to the canvas as it's about to when we meet Margaret's long-lost siblings. Dressed in some of her finest clothes, Margaret looks out of a place as she walks through the working-class streets of
the New York borough searching for the right address. Once she finds the building and climbs some stairs to the apartment door, she removes her hat before knocking. A young girl (Emma Kenney) opens the door and says, "Sláinte chuig na fír, agus go mairfidh na mna go deo." Margaret, as she was with Owen, proves rusty with her Gaelic and responds, "I'm sorry." "Didn't I say it right?" the girl asks. A slightly older girl (Nadia Alexander) enters the room behind her. "She's been practicing all day," the older girl says. The translation, by the way, is "Health to the men and may the women live forever!" "Is it Beth?" Margaret asks of the older girl. "Yes, I am," she responds, though Beth is short for Bethany. Margaret identifies the youngest girl as "little Aylesh," but she objects. "Oh, don't call me that," she pleads. "What should I call you?" Margaret inquires. The girl pauses as if pondering the question, then replies, "Juliet." A grown young woman (Shannon Garland) crosses the room carrying clothes. "Nuala, do you not know me?" Margaret asks her. "You're Margaret…Who else on earth would you be?" Nuala responds. Beth and Nuala scatter as a grown man (Tony Curran) comes in. "Eamonn," Margaret says to her brother. "Hello Peg," Eamonn greets her. Margaret thanks her brother for answering her letter. "Couldn't leave you out there wanderin', so far from home. Could we?" Nuala, who has returned to the room, declares, partly for Margaret, but mostly for Eamonn. "You can let her across the threshold soon," Eamonn tells Nuala, since Margaret has yet to step into the apartment. She smiles and walks in while Aylesh/Juliet closes the door. Margaret gives her brother a gift of taffy from the Boardwalk, though he says he can get the same in the park, but corrects his manners, saying he's sure it's "grand." "We'll hug then," Eamonn suggests and the siblings embrace, albeit awkwardly. "There's dinner — roast beef and potatoes — so come on," he announces, telling the girls to take Margaret's hat and make her feel at ease. Juliet finds the hat fascinating. "She's like you Peg — always dashing about," Nuala tells Margaret.Ginsburg informs Nucky what he knows about Esther Randolph. Finally a scene that relates to another scene in this episode Randolph turns out to have been a public defender who spent 10 years representing draft dodgers and prostitutes. "And she works for Harry Daugherty?" Nucky says with surprise. "She caught the governor's eye in California, joined the U.S. attorney's office. I don't think Daugherty can get rid of her," Ginsburg proclaims. "Why the fuck not?" Nucky asks. "Someone has to look honest," Ginsburg replies. Thompson starts getting peeved about the federal court ploy not working. Ginsburg says he's been waiting to hear this. "If the attorney general can't help you, how can I?" Ginsburg states in his own defense. "I'm not the only one in town with something to lose," Nucky declares. "But you are the one they're coming after," Ginsburg reminds him. "The Commodore's in a diaper, O'Neill's off hiding, At least they've noticed he's missing Neary, Boyd, Paddy Ryan — if you can't work something on them, what the fuck am I paying you for?" Nucky
asks. "For sitting here while you talk to me like that," his lawyer replies. Eddie interrupts the meeting by clearing his throat. "I'm so sorry but you have two visitors," Eddie announces. "Is this a mirage sitting before me? I'm in the middle of something," a pissed-off Nucky responds. Eddie stays put, nervously. "I realize that." Lucy walks in with her baby girl in a bassinet. "I'll leave you to your next meeting," Ginsburg tells Nucky as he gets up and exits. Nucky must be used to this sort of visit because without missing a beat, the first words out of his mouth are "You and I have not seen each other since May 23rd of last year." Lucy approaches his desk with the baby carrier. "Don't start that way," she tells him. "I'm sorry, Lucy. Congratulations. You look glowing," Nucky says. "I look like shit," she admits. "She is kinda cute though, huh?" Lucy sits down. "I thought I'd try shakin' you down, but I knew I'd never swing it and anyhow, that's no way for a mother to act," Lucy confesses. She recalls when she and Nucky were together. "I always knew what I was supposed to do, every day. Wake up and make you happy," Lucy reminisces. "Things change, you know that," he tells her as he takes a drink. "Sure I do. And now there's someone else I gotta make happy — and she'll always be mine. That's the best part of it all," Lucy declares. "You're going to do a swell job," Nucky predicts. "I really want to which is why I need money," Lucy finally comes out with it. "Isn't there a father?" Nucky asks. "Doesn't there have to be?" she answers. "You don't know who he is," Thompson guesses incorrectly. "Yeah, I know. I guess you might too," Lucy teases. At last, not only do we get a scene that involves ongoing stories in the series and within this episode, we also get one that is, by far, the best of "Peg of Old" so far and more in keeping with what I love about Boardwalk Empire. Sharply written, well acted, even by Paz de la Huerta, who has come so far this season as Lucy after being like nails on a chalkboard last year, gives Buscemi great material to work with as well as a fine sparring partner whenever they let him go one-on-one with Peter Van Wagner as Ginsburg. We even get a small bit of the always-welcome Anthony Laciura as the virtual cherry on top as Eddie. Even better, this scene will lead to an even better one. Van Alden watches with interest as Ward Boss Neary gives a deposition to Esther Randolph, an additional one from one he had already given for the state case since it's now federal. Unfortunately for Nelson, they close the door before he can eavesdrop on any juicy details that Neary might be giving up on Nucky. "And your sworn testimony will be used as a basis for prosecuting Mr. Thompson," Randolph asks Neary who nods yes. "The Dictaphone can't hear you nod," she whispers to him. "I mean yes," Neary says. Words come in and out for both Van Alden and the viewer. "Mr. Neary, you were arrested last March for storage of illegal alcohol with intent to sell," Randolph tells him. "I paid my debt on that," Neary proclaims. We can hear Randolph mention a $500 fine when Van Alden's phone rings. He quickly grabs it. "Special Agent Van Alden," he answers. Back in the deposition room, we don't know what happened but Neary seems upset. "I had a deal with the other prosecutor," Neary insists. "That deal is null and void. I can make your life quite difficult, Mr. Neary. In fact, I might enjoy it," Randolph informs him. Seems this transfer to federal court could be bad for everybody. O'Neill may have gotten off easy with just a wrench to the throat and head. "I understand. Right away," Nelson tells the person on the other end of the phone. "A situation has arisen. I will return as soon as possible," Van Alden informs Sawicki as he hightails it out of the office.
The reunited Rohan siblings share such a quiet meal that each time a fork or knife touches a plate, it sounds as if someone might be playing the drums. The only other noise comes from the street through the open window. Eventually, little Aylesh/Juliet breaks the verbal silence. "Did you take a boat here, miss?" she asks Margaret. "She's not of 'miss' age," Beth corrects her little sister. "She's like Peg of old, Juliet," Nuala adds. "I took the train," Margaret answers. "You can't take the train from Ireland," Juliet declares. "I live in Atlantic City,"
Margaret smiles. Nuala inquires about children and Margaret tells her that Theodore is 7 and Emily is 4. Her sister notes their names sound American. "They're quite the patriots," Margaret describes her children. "And the father? You've not mentioned him," Eamonn points out. "My husband Hans. He passed. Last year," Margaret informs them, leaving out a few of the details about that. "A widow so soon. I want to cry," Nuala says. "You've a good heart, Nuala," Margaret declares. Margaret's sibling may not have been exposed to more sophisticated ways as she has once she met Nucky, but that doesn't mean Eamonn can't see pieces that don't fit. He starts to question her about she can manage as a widow to take a trip to New York and leave two children behind in Atlantic City. Margaret tells him that they're being looked after, but Eamonn wants to know by who despite Nuala's best effort to quiet him. "By a woman I pay," Margaret says. "There's a bit of luxury," Eamonn comments. "Why not if she can," Beth chimes in. Eamonn's demeanor has turned and we get hints at the difficult parting between Margaret and her family. He starts checking his watch to see if it's close to time to catch the 4th Avenue subway line, though Nuala, obviously the voice of reason in the clan, assures him there's time and still a night crew. "Nuala is sewing alongside a hundred other girls. Beth presses in a laundry. Aylesh — she's in school. They send an officer around if we don't let her go," Eamonn lists for Margaret, obviously ticked while taking bites of his food the whole time. "I know you work hard, Eamonn," Margaret says. She tells her brother she could offer help. "I haven't asked," he replies scornfully.The ever-twisted mother-son relationship between Gillian and Jimmy continues as Gillian insists Jimmy close his eyes while she's changing. "When did you start getting modest?" Jimmy asks. "It isn't a flattering light. Men don't have to worry about these things," she explains. After Gillian has put on her dress, she asks her son for his opinion. He asks if she's meeting someone. "Just some girls from the Beaux Arts. They'll clock every wrinkle," Gillian claims. "You don't get old, Ma," he says. Gillian asks Jimmy if he remembers summers on the beach and he responds that everyone thought he was her brother. "Do you know what happens tomorrow?" Jimmy inquires of his mother. She dismisses its importance and walks to the other side of the room. "It is to me. A man's gonna get off a train, he's gonna walk up to Nucky Thompson and he's gonna put a bullet in him — right here," Jimmy points his fingers to his forehead, " — just because I said so. What do you think about that?" Gillian takes a drink. "I think the world's going to find out what kind of man it's dealing with," she replies. "And if I call it off?" he speculates. "Your friends wouldn't like that," she comments as she takes another drink. "They don't care what happens to Nucky," Jimmy tells her. "No, but they are watching you — very closely. They're delightful boys, dear. Colorful and ambitious. I'd never make the mistake of letting them see you be indecisive," Gillian counsels. "And that's why he dies? This isn't what we talked about, Ma," Jimmy says. "Well, we weren't being honest then. Now we are," Gillian tells him. "I don't want to do this," Jimmy declares sadly. "It's already done. It was done when you gave the order. The rest is just bookkeeping — and you can't bother with that. Make me proud of you," his mother whispers those last words in his ear.
What we've been waiting for has arrived. Nucky drinks while Lucy still sits in his office and Eddie opens the door to allow Nelson to storm in. Forget the promotion for Dempsey vs. Carpentier, we have a new round of Thompson vs. Van Alden that viewers have been denied since last season. "Lucy, would you be so kind as to give Agent Van Alden and myself a moment alone?" Nucky asks. Lucy picks up the bassinet with the baby girl. "I didn't know where else — " Lucy doesn't get to finish as Nelson says, "We'll discuss this at home — dear." The insincerity with which Van Alden via Michael Shannon tosses that "dear" in at the end plays note perfectly — giving the viewer a laugh without betraying the character's integrity by revealing it as something added for a humorous effect. Nucky holds up a decanter of booze to Van Alden. "If there was ever a time," Nucky offers. "No thank you," Nelson declines. "Fair enough," Nucky says as he pours himself one. "First and foremost, here's to you. It is, after all, a blessed event in the life of any man," Thompson congratulates the agent, barely containing his glee. I'm often surprised when I read people who still question whether casting Steve Buscemi as Nucky has proved to be a good idea, but how can anyone watch his work in a scene such as this and ask that? Nucky has so many facets to him and I've yet to see Buscemi flub any of them. He nails every emotional state — and Nucky goes through most of them — and shows equal flair in scenes comic and dramatic. "What do you want?" Van Alden scowls. "This might be a good time to charm me," Nucky suggests. "Why? Does that make blackmail any easier?" Nelson inquires. "I don't judge people. I help them. Perhaps you can see the value of that more than you once did," Nucky explains. "And what do you propose to help me with?" Nelson asks skeptically. "Where to begin? Supporting a wife, a mistress, a baby girl — all on a
government salary. (If it's difficult to comb through that link, the appropriations for salaries for prohibition agents ranged from $1,500-$3,000 a year plus expenses) How do you do it?" Nucky asks. "My financial arrangements are none of your concern," Van Alden proclaims. Even the blocking of this scene borders on brilliant. Buscemi glides and floats around his office, full of hand gestures. Shannon picks one spot and stands like a statue, even refusing to turn and face Buscemi when he's moved to a position behind him. "Sadly true. My concern is Esther Randolph," Nucky declares. That name gets Van Alden to spin and face Thompson. "I want to know everything — who she talks to, what they say, what's on every scrap of paper that comes across her desk. If she renews her subscription to Vogue magazine, I want to know about it," Nucky tells him. "And in exchange?" Van Alden reluctantly seeks to know the terms for his transgression. "Your budget problems go away — and no questions asked about how you managed to afford this up to now," Nucky pledges. Van Alden looks constipated, but also as if he doesn't have an option, then Thompson confuses him by asking what her name is and Nelson doesn't realize he means the baby girl. "She doesn't have one yet," he replies when Nucky clarifies. "Well, you can't go wrong picking something from the Bible," Nucky suggests, barely containing his smirking grin. "Just think it over. It doesn't cost anything. And what I gave Lucy — a gift. No strings attached," Nucky says. That makes Nelson turn all the way toward Nucky and show some anger in his voice. "You gave her money?" Eamonn runs the other Rohan sisters off before they can have their dessert of trifle so he and "Peg" can speak alone. He lights up a cigarette and offers Margaret one, but she declines. "I'm not as American as you thought," she tells him. "Mom's in the earth, so there's news for you," Eamonn says. "Martin Hennessey wrote me," she replies. "Our cousin in America — you kept up with him at least," her brother notes with slight bitterness. "She’s in the Keel parish yard,” Margaret lets Eamonn know that she's aware of their mother's burial site. "Right beside Da. Not at each other's throats for once. She asked for you at the last. I told her you'd be comin' home. What else could I say? Were you weak, Peg, now that it doesn't matter?" her brother asks Margaret, who mutters something. Eamonn says he
can't hear her. "I did what I had to," Margaret proclaims in stronger voice. "Would you have seen me off to the Magdalene Sisters and broken in the workhouse?" she questions her brother. "The priest chose the fit correction. What makes it right for others and not you?" Eamonn inquires. "What makes it right for anyone?" she turns it back on him. "Would you wish it upon Nuala? Aylesh? Or am I the only sinner you've ever met?" The spark of the Margaret we've come to know returns. Eamonn asks about the baby's father, which is the one that has been referenced before that she miscarried on the boat ride to America. She tells him it was the barrister's son. Eamonn then probes to see if she might have been forced into sex, but Margaret shakes her head no. He also starts doing the math and realizes that neither of the children she mentioned could be the one she was pregnant with in Ireland. She shares the story of the miscarriage. Margaret places some money on the table and he asks what it is for. "To return what I stole," Margaret confesses. "It was ma you took it from, not me," he says. "Meant for your passage here," Margaret explains. "Is that what brought you to Brooklyn? To return a debt?" he accuses. "To be among those who know me." The creak of the door opening causes Eamonn to quickly hide the cash. Juliet comes in and tells him that Nuala wants her to pick up three pounds of pig trotters. Eamonn recommends that she get to the butcher before he closes. "Can't we have some trifle first — please," Juliet whispers to her visiting sister. I love Kelly Macdonald. Last week, I thought she gave what might have been her best performance this season. At the right time, exploring Margaret's past and meeting her relatives could be interesting but while these scenes have some fine moments, and it is the story that gives the episode its title, the Brooklyn scenes contribute the most to the episode's disjointed feeling. Every time we return to the Rohan siblings, the show screeches to a halt. It isn't as if we get any revelations most faithful viewers didn't suspect already.As Arnold Rothstein told Luciano, "Never let the past get in the way of the future." So what if Gillian once slept with him so Jimmy could ambush him? That's no reason to turn down an opportunity for another sexual liaison with the woman who cured Lucky's STD-caused erectile dysfunction? I never realized Luciano works part time as a Beaux Arts dance girl.
Nelson enters his apartment calling for Lucy. He hears a voice quietly singing. It actually brings a rare sincere smile to the agent's face until he gets to his room and sees that the voice belongs to a woman he doesn't know and she's cradling his daughter. "Mr. Mueller," the woman says, still using the fake name he has on the apartment address. Which makes it even more ridiculous that Rose was able to obtain the address from Agent Sawicki last week. "Who are you?" he asks. "I'm Frieda Short from downstairs," Mrs. Short (Laurie Dawn) answers. "Where is my — wife?" Nelson has an easier time getting the last word out than you'd think he would. "She had to pick up some formula. I told her we had plenty of milk, but she's very particular," Mrs. Short replies. Van Alden inquires how long ago Lucy left and the neighbor tells him it was about 20 minutes ago. "But it's no bother. This little one is an angel," Mrs. Short declares before resuming her singing. When Nelson walks into the other part of the apartment, he hears a strange noise. He also smells something. He opens the phonograph and discovers it spinning with something on it. He turns it off and finds the title page to the script for A Dangerous Maid attached to a soiled diaper by a safety pin.
Eamonn gives Margaret a nod and shuts himself behind a door as she helps her sisters clear off the table, all except Juliet who still finds herself fascinated by Margaret's hat. Nuala inquires about Margaret's transportation and she tells her that she has a car outside that she hired for the day. "Her man pays for it," Beth says half-jokingly. Nuala gives her younger sister a look of disapproval. "Well, she's got one, don't ya?" Beth asks directly. Juliet, fiddling with the hat, spins a surprisingly accurate theory about the man Beth guesses Margaret has. "He's very mysterious and very powerful. He has means," Juliet describes him. "Oh, it's that one, is it?" Beth interjects. "He gets people to do his bidding or they pay a price. Don't they?" Juliet asks, looking squarely at a shocked Margaret. "Yes, with a snap of the finger," she replies quickly, deciding to play along as she takes her hat. "But he has a secret tragedy. His heart was broken and he'll never let anyone near it again," Juliet adds. Margaret turns around, clearly creeped out. "Where are you getting that from?" Margaret asks her youngest sister. "It's her stories," Nuala explains. "She's always got her nose in a book," Beth tells Margaret. Margaret offers to send her some books, if it's OK. Nuala says that Eamonn must approve. "Think of us now and then," Beth urges. Margaret tells them it's only three hours from Atlantic City. "Look at you Peg — after all these years," Nuala says as she hugs Margaret. Beth closes the door and Margaret descends the stairs to exit the apartment building when Juliet runs out. "I was only joking with you about the man. He must be very nice — really," her little sister makes sure Margaret knows. "Yes, he can be," Margaret responds. "And you're my sister," Juliet declares, trying to sort out who this stranger is to her. "I'm Margaret Katherine Sheila Rohan," she informs the girl born after her departure from Ireland. Juliet comes down the stairs and shakes Margaret's hand. "How do you do?" Eamonn appears at the top of the stairs. "Aylesh — to bed with you," he orders. "Do I have to?" the girl pleads. "I'm off to work. Do not keep your sisters up all night," her brother says. "Send me books. I like anything with a horse in it," the little girl whispers to Margaret before running upstairs.
In the category of unexpected scenes, this episode does offer one brief one: a sweet Van Alden scene. Nelson sits in a chair in the apartment, holding his baby girl, actually taking Nucky's sarcastic advice and flipping through his Bible for possible names. "Deborah. Hannah. Abigail." When he says Abigail, the baby makes a little sound of what might be approval and for the second time this episode — maybe the second time ever — we see Van Alden smile. This episode offers so much that is good but traps it between so much that is indifferent or feels undercooked that I just wanted to take it into an editing room and re-cut it after I watched it. This short little scene leads directly to Van Alden marching into the office the next morning. "Mrs. Randolph," Nelson says. "Miss," she corrects him. "May
we speak privately?" he asks. Her underlings remove themselves. "I am a married man," Van Alden begins. "There goes my dream," she responds, again showing what a buffoon she takes him to be. "Last autumn, under great duress, my self-discipline was compromised. I have a daughter born out of wedlock," he tells her. "Surely you can speak to a minister about this," Randolph suggests. "I bear my soul not for forgiveness nor introspection. I admit to these sins so that you know that I am, in my heart, honest," Van Alden continues. He then places a heavy-looking leather briefcase on Randolph's desk and removes a large file. "This is a file kept on Nucky Thompson for the past 16 months. It runs the gamut from bootlegging, gambling, vice, extortion up to and including murder," Van Alden tells Randolph, who starts flipping through the file. "And you've been sitting on this information for what reason?" she asks. "I was ordered by my supervisor to focus on illegal alcohol," Van Alden explains. Something in the file catches the prosecutor's eye. "And you will testify to the accusations made in this file?" Randolph inquires. "I will," Nelson pledges. "Well, this could prove useful," Randolph admits. "That's all that matters to me," Van Alden says. "Agent Van Alden, your domestic situation — you'll get that sorted out. Just don't go telling everyone," Randolph advises as Nelson walks out of the office with his head hung low. This episode so clearly belonged to Van Alden (and Michael Shannon) that I don't understand why it wasn't constructed that way without all these diversions. I take it that he has decided not to accept Nucky's offer. I can't tell if the diaper on the turntable means that Lucy suddenly had a change of heart and decided to abandon her child, but that would seem out of the blue if she did.Margaret stayed in New York overnight and has a car take her back to Brooklyn where she spots Juliet playing in the street. She gives Juliet a wrapped gift. It is the 1920 novel The Girl, a Horse and a Dog by Francis Lynde. Margaret asks if Juliet has read it, but the girl says no. She tells Juliet to tell her if she liked it once she finishes. "How?" Juliet asks. "You'll write me and I'll write you back," Margaret promises. "We'll have a secret correspondence," Juliet preens. The girl asks what their mother
was like since she really has no memory of her. "You can visit me over the summer. Meet your niece and nephew," Margaret suggests. "Me being an aunt — it's funny, isn't it?" Juliet says. "Morning," Eamonn interrupts the chat. He asks what Aylesh has. Margaret tells him she brought her a book. "She's keen on those," Eamonn says. "I'll make you breakfast," Juliet offers. "Go on and read. That's what you want to do anyway. Away with ya now," Eamonn tells her. "How was your work?" Margaret inquires. "I thought you were off in your car," Eamonn returns to that spiteful tone. "She's my sister too," Margaret declares. "And you'll rescue her, will ya? To ease your mind," Eamonn phrases it as a challenge. "Must you hate me so, Eamonn?" she asks her brother. "I don't hate ya. I don't feel much about ya at all. I can't accept the money. I don't know where it's from," he tells her as he hands it back. "You're honest, are ya?" Margaret says with an accusatory tone in her voice. "I don't ask for trouble," he states. "Never take more than you need. Never talk back to the priest or the boss or the policeman…Never make a fuss. Never dare to stand up for me, your own flesh and blood. She begged you for help when she'd nowhere else to turn and you're proud of it," Margaret tears into Eamonn as she probably has wanted to for 14 years. "You did what you wanted, Peg. You always have. Nothing you bring and nothing you buy will change that," Eamonn responds. "I'll make her life better," Margaret pledges. "The way you've made yours? You go now — back to your own place and leave us be. There's no one here who knows you," Eamonn hits her with his final verbal blow and walks away. Margaret gets back into the car and cries.Lillian fetches scattered toys up from the floor when Nucky asks if she's heard from Owen. She says she hasn't, but that Mrs. Schroeder called to say she's on her way back from New York, adding that she and Katy plan to take Teddy and Emily to the beach. An annoyed Nucky calls Eddie at the Ritz to see if he knows Owen's whereabouts. Kessler doesn't but Nucky tells Eddie that he's running late and needs him to come pick him up. There are more than the usual number of short scenes in this episode. Granted, they for the most part are necessary for establishment purposes (such as the quick scene with Nelson and his baby leading directly to the one where he decides not to become Nucky's spy), but others (Lucky and Gillian boink again) don't have a payoff though they could down the road.
We get the answer about Owen in the next scene as he sits in a dive of a tavern (can we call it a pub if it's in Atlantic City?) eyeing a man who just sat on a stool at the bar. Sleater, beer in hand, sidles up to the bar and quietly asks the man (Gary Troy), "Is it Del Grogan?" The man suspiciously returns the query with a distinct Irish brogue. "Do I know you?" Owen turns on his smiling charm. "It is Owen Sleater, Sean's cousin from Dunmore," Sleater replies. "That pimple on the ass on the Lord," Grogan says. Sleater laughs, trying to keep his charm offensive going, but it's clear it's for show. "Quite a town on a Saturday night," Owen proclaims. "Every other night of the week as well,"
Grogan adds. The two carry on a conversation which admittedly is damn hard to make out. Grogan mentions something which sounds like "Desi's boys," but no Google search permutation leads me to an answer. "God rest his soul," Owen replies to whatever Grogan said. What bothers me isn't that this scene is hard to comprehend because of the accents — you get the gist of what's going on if not the specifics — it's that it's another example of a scene that makes this episode seem so out-of-whack. We're past the half-way point of the season — why pile this on to it when we already have so many balls in the air? The Wire was able to do this well, but that's because they added each new layer at the beginning of the season, not this late in the game. As a viewer, I want to get back to the plots I'm invested in already, not new ones, especially ones involving characters who, as much as I like Owen and actor Charlie Cox, didn't appear until the second episode and has undergone several transformations since. "That was bad luck," Grogan comments on the person who died. "That was the Black and Tans," Owen says. "They stayed out of that," Grogan disagrees. "There's a fight that'll never in," Owen fake sighs. "You're welcome to it," Grogan replies. "We're free and clear here, aren't we?" Sleater declares. "Stars and stripes forever," Grogan agrees, raising his glass. Owen offers to buy Grogan another drink, but the man declines until "next time." Sleater asks him to do him the honor for the part of him that does miss his homeland. Grogan agrees to take a whiskey and Sleater orders two. Grogan excuses himself to the bathroom first. Owen grabs a long spoon off the bartender's tray and slips into the john as quietly as he can while Grogan takes a leak. He uses the spoon to jam the door. Grogan heard him approach and swings around with a knife when Owen gets close with a garrotte to wrap around his throat. They struggle for a bit until Owen cracks Grogan's head with a spittoon. He then repeatedly bashes Grogam's skull with it until he can get the garrotte around Grogan's neck. Someone who has to use the bathroom tries the knob to no avail during the death struggle. Overhead, people can be seen walking over the grating providing light. At last, Sleater kills Grogan, whose hand had tried to hold off the cord as long as it could but Owen and the weapon prove too powerful — not only killing the man but chopping off the top halves of three of his fingers, which land in the urinal. “Lead me a merry chase these five months, ye traitorous fuck,” an out-of-breath Sleater tells the corpse before spitting on him. That scene, with its at-times incomprehensible dialogue and scene of long, gratuitous violence wasted about 4½ minutes of screen time — and it didn't occur until the 45 minute mark of the episode when there were some other things viewers (or at least this one) might be more interested in seeing. Instead, it reinforced the overall feeling of aimlessness of this episode. I'm not squeamish about violence, but it should at least happen in a storyline I'm interested in and involve characters that I met more recently than five episodes and two minutes before the incident occurs.In what appears to be Babette's, Nucky and Bader hang out with Dempsey and Doc Kearns. Nucky tells the boxer that after the song finishes, he can give the speech. "And don't forget to mention Radio Corporation of America," Kearns reminds him. "How could I forget, Doc? You wrote that in my speech," Dempsey says as he heads to the stage. Once he's on the platform, the heavyweight champ begins reading directly from the pages Kearns handed him. "Good afternoon, ladies and gents. For those of you who — " Dempsey pauses and looks closer at the paper and then continues with a puzzled shrug, "don't know me?" The audience predictably laughs. "I'm Jack Dempsey —
heavyweight champ of the world," he declares. As the audience cheers and claps, Nucky exchanges glances with a dark-haired woman with a bobbed haircut. Dempsey continues giving the details of his upcoming bout in Jersey City, promising to "beat the tar" out of Georges Carpentier. Nucky's interest in the Dempsey speech has been usurped by the woman, but it switches to another emotion when Jimmy emerges from the crowd behind her. Darmody approaches with hands held out to show that they're empty. "What do you want?" Nucky asks. "I just want to tell you something," Jimmy replies. "So — tell me," Nucky demands. "It doesn't make a difference if you're right or wrong," Jimmy says before leaning in and whispering in Nucky's ear, "You just have to make a decision." Jimmy limps off again. From the direction where Jimmy exited and the woman stands, a man appears with a gun. Nucky sees him and raises his hand before he starts firing. Another shot goes off from the other direction, taking out the would-be assassin. Chief Inspector Lathrop raises a badge. "Federal agent, United States Department of Justice. Everyone remain calm," Lathrop orders. Jimmy limps out of the club as the chaos ensues. Nucky lies on the floor, apparently only wounded in the hand, and Eddie, who'd been following Jimmy on his way out, returns to wrap the wound. Do you suppose the agent happened to be there because of something Esther Randolph found in the file Van Alden gave her? Was he about to be arrested on more charges?As that scene fades to black, you might suspect it would make for a fine ending to an episode, but we've got another one. A cab driver (Mark Havlis) brings Margaret's luggage into the house for her. Her mood still seems down. She calls for Katy and Lillian, but gets no response. However, Owen comes walking her way. All rested up and cleaned up from his revenge killing I suspect. Obviously, Sleater has been preoccupied, but with Margaret arriving at a train station and getting in a cab, don't you imagine the news of someone shooting Nucky would travel quickly and be the talk of the town? "Help you with that?" he offers. "No thank you," she replies, looking pouty. "Don't be daft, ma'am," Owen says as he picks up her luggage. She assents and he follows her. "Where are the children?" Margaret asks. "The girls took them down to the beach," he answers. "That's hardly Katy's job," she comments. "Boss gave 'em the afternoon,"
Sleater informs her. "Why aren't you with him?" she inquires pointedly. "I had some business," he replies, adding that he missed picking him up on time. "Then shouldn't you be making an effort to find him?" Margaret responds, her voice growing ever harsher. Despite the utter predictability of what's to come (no pun intended). "Do you find it odd here — ever…in this country?" Sleater asks her. Margaret inquires about what he means. "Everything's off — the air, the water, the people and (pointing at his chest) yourself. You're off too, but wee bit, and you think, 'If they vanish now, who'd care or even notice?,'" Sleater comments. "That's out of fear," Margaret speculates. "Summer can ease me — and light, passing by," he says. "Then you should be on the beach with Katy," Margaret responds as she passes him and takes her bags upstairs. "I thought you wanted me after Mr. Thompson," Owen proclaims as he faces the door and she ascends the steps. For a seduction scene, do they come any more drawn out and less sexy or enticing than this one? I think if we took all the time stretched out in unnecessary or poorly thought-out scenes in this episode, someone might have made a good start at teaching Chalky how to read. That's right — he's an interesting regular who isn't in this episode. I'm cutting to the chase and getting them off the damn landing and staircase and into her bedroom. "You're a cool one, missus," Owen tells her as she begins removing accessories. "No, I'm not. I'm not how you see me at all," Margaret replies as she lets her hair down. She walks toward the bed. "When we're done, you'll leave and we'll not speak a word about it — ever," Margaret informs him. "It's all between strangers anyway," Owen replies before kissing her. It almost took less time for him to talk up Grogan and kill him than it did to get from Owen meeting Margaret at the door to the kiss. Then the furious ripping off of clothes starts and the ecstasy — for the characters at least — begins. As for the fans and the viewers, we'll have to keep our fingers crossed that our virtual climax returns next week.
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Labels: Boardwalk Empire, Buscemi, Deadwood, Dickens, HBO, Michael Shannon, The Sopranos, TV Recap
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Sunday, October 02, 2011
Boardwalk Empire No. 14: Ourselves Alone
BLOGGER'S NOTE: This recap contains spoilers, so if you haven't seen the episode yet, move along.
By Edward Copeland
"Things seem to be changing faster than I realized," a character says at one point in tonight's episode of Boardwalk Empire. While this may be true in terms of the storyline, as for the series itself, it isn't and that's the main reason I find myself enjoying the show as much as I do. First and foremost — thank whatever higher power came up with the concept of screeners. My M.S. causes fatigue issues that prevent me from writing as fast as I used to, so when I pick a show to recap, it's because I have a real interest and without being able to see that week's show early, I can't do it, especially with a series such as Boardwalk Empire, where they rarely have a scene that isn't vital or might come into play later. (Bless HBO for all its support over the years, especially on Treme this year. I wanted badly to do recaps of Breaking Bad, but I'm not good enough for AMC though they still feel free to flood my email with press releases.) That's why my recaps grow so long — I don't want to risk leaving out something that might come prove pivotal down the road. For instance, tonight's episode brings back a character playing a crucial role who hasn't been mentioned since the very first episode. Recaps have become very prevalent on the Web, but it's almost a misnomer: I seem to be one of the few who actually tell what happened in the episode, sprinkling commentary throughout. The many characters and plots can prove complicated — even for me at times — so I try to help any confused fans there might be out there.
That being said, while I admit that I think Breaking Bad is the best series on television, Boardwalk Empire also is great and I love both shows for completely different reasons. It's not as if I can only pick one as in those silly debates where you can only love Chaplin or Keaton, Astaire or Kelly — as if they all can't be appreciated for their separate gifts. The same goes with great TV dramas. Breaking Bad is well acted, directed, written and plotted, as is Boardwalk Empire, but the shows appeal to me on completely different levels. Recently, Breaking Bad has been the narrative equivalent of the crystal meth Walter White manufactures (or did) and I love every minute. Boardwalk Empire also is well acted, written, directed and plotted (with some historical context tossed in), but I feel as if I'm luxuriating as I watch it. If Breaking Bad has been meth the
past few weeks, Boardwalk Empire might be something like Dilaudid, easing your pain and letting you relax. Making a non-drug analogy, Breaking Bad is smart and visceral while Boardwalk Empire is cerebral and intuitive, rewarding those who pay close attention. It's similar to The Wire, not in terms of quality but in its novelistic approach where its fictional characters constantly cross paths with real people. It's as if E.L. Doctorow or Gore Vidal decided to create a TV series instead of writing another historical novel. As a writer, I love words and obviously Terence Winter, even if he's not the credited writer of the episode, sends out the memo, because scenes go on without becoming boring and with language that's just a pleasure to hear. For instance, on tonight's episode, the first 10 minutes essentially cover a mere three scenes. On a DVD commentary, David Duchovny says what a pleasure it is when actors get longer scenes that let them dig into the material and the character. You can tell by how much better actors are when they get those moments. Before I begin my recap of tonight's episode "Ourselves Alone," I want to go back to something pertaining to last week's episode "21." In the great sequence where Nucky addresses both black and white church congregations, telling each one what they want to hear, some questioned that word would get around that Nucky was speaking out of both sides of his mouth and that surely a newspaper would report it. I agreed at first but thinking more about it, it makes sense. It was 1921 after all and the races practically lived separate existences. There still was a high illiteracy rate because of the terrible schools blacks had to attend and African-American communities often had newspapers of their own for those blacks who could read. Besides, no white reporter would have dared stepped into the black church with what was going on and vice versa. I'm sure Nucky didn't pick his audiences by accident and there wasn't enough interracial mingling for word to get around unless Eli shared it with the Commodore or someone else.
"Ourselves Alone" was written by Howard Korder and directed by David Petrarca and adds some interesting layers to the plots going on right now, even if it isn't as kinetically exciting as the premiere, but it does have great moments once again for Michael Kenneth Williams as Chalky, good stuff for Kelly Macdonald as Margaret and the welcome return of the phenomenal Michael Stuhlbarg as Arnold Rothstein. Honestly, someone should do a spinoff movie on Rothstein that stars Stuhlbarg. The episode opens on Valentine's Day, so we have an exact date in 1921 where we are, as Margaret rises for the day and comes down the stairs to find her maids Katy (Heather Lind) and Pauline (Amy Warren) congregating with the children's nanny Lillian (Jacqueline Pennewill) at the first floor landing looking over a newspaper. She asks if the children are up and Katy tells her they are breakfasting. Margaret starts to walk away, but stops and asks the servants if that is this morning's paper. Pauline whispers that she's going to find out anyway and hands her the paper. It bears the headline, "TREASURER THOMPSON ARRESTED." Pauline asks if they will be having dinner and Margaret asks why they wouldn't. Margaret tells Katy to make sure that the hallway rug is taken out and beaten before Mr. McGarrigle's arrival that night. She then goes into another room to use the phone and calls Eddie. Kessler tells her the paper is a lie because they left out that Mr. Thompson is innocent, but he can't talk because it's mayhem at the Ritz suite as he watches an investigator slice open the bottom of the couch in Nucky's office. Katy sticks her head in and Margaret asks her what kind of coat she has.
Last week, Nucky had Eli arrest Chalky for his own protection. Today, the two men find themselves sharing a jail cell. "You understand you are in a precarious situation," Nucky tells Chalky as the two men light up smokes. Thompson explains he had Chalky jailed to keep him safe, but it can't be coincidental that they suddenly came after him as well. "The Klan could have come for me any time," Chalky says. "Not as long as I was there to protect you," Nucky insists. Chalky asks why they thought Nucky suddenly wouldn't be there. Nucky asks where Chalky was on election night. "In the basement of the A.M.E. Church, handing out dollar bills to every able-bodied negro who came in," he replies. Thompson inquires about the whereabouts of his ward bosses that night, but White has no idea — he wasn't in the wards. Nucky quizzes him about the bosses, but Chalky has little to say about any of them except Neary. "Neary's been a sonuvabitch ever since I ran numbers" in Georgia, Chalky tells Nucky that Neary would come around for collections and enjoyed using his nightstick while taking them. Nucky continues to go down the list of his alderman, but Chalky interrupts. "You askin' the wrong question. Not one of them pikers got it in 'em to put up a squeal unless someone put 'em to it." The jailer arrives to tell Nucky that his lawyer Isaac Ginsburg has put up his bail. As Nucky gets up to leave, he advises Chalky to be patient. "I get my own Jew lawyer," White says.
"I won't pretend you're inclined to be warm to me. I won't insult you like that because before anything else, I have great respect for you, your wisdom, your achievements," a sharply dressed Jimmy says to Arnold Rothstein (Michael Stuhlbarg) who sits at the desk in his New York office, Lucky Luciano (Vincent Piazza) standing at his side. Rothstein takes a sip of his milk and smiles. "You're better spoken than I expected," he tells Jimmy. Darmody mentions that's because they have never really met, but Rothstein brings up that he and Luciano are acquainted. "We have someone in common," Jimmy admits, referring to Gillian. Rothstein turns to Luciano. "You hear, Charlie — discretion. Charlie volunteered to absent himself from this meeting. He felt his presence might be disruptive, but I counseled what?" he asks Luciano. "Never let the past get in the way of the future," Luciano responds. Jimmy tells Rothstein that they are all learning to which Rothstein inquires what he can learn from Darmody. "That things are changing in Atlantic
City. If you are in the market for quality liquor coming in off the beaches at a reasonable price and in good supply, I can get it for you," Jimmy offers. It seems with each episode not only does the character of Jimmy Darmody mature but so does the acting of Michael Pitt as well. Then again, it never hurts to be playing opposite Stuhlbarg's Rothstein who seems as if he were born for the role. He's so damn great that the initial amazement that he played Larry Gopnik in the Coens' A Serious Man vanished long ago. I don't know Stuhlbarg's exact age, but where has he been hiding? (I know — the theater.) How he missed out an Oscar nomination for A Serious Man boggles my mind when it managed a best picture nomination. He deserved Emmy consideration here as well, but with such a large cast and a flawed award, that's more understandable, though still infuriating. Rothstein asks Jimmy if he personally can do that and Jimmy assures that he and his associates can and explains how he's expanding his business "and you are precisely the type of discerning customer I'm looking for." Rothstein asks about Nucky, who Jimmy insists is "like a father to me." After a momentary pause, Rothstein poses a question that Jimmy seems not to expect. "Who are you, Mr. Darmody?…You show up well dressed with a silk cravat and a bold proposal. A
year ago, you were a brigand in the woods. Who are you?" Rothstein repeats the question. "I'm a businessman, a veteran. I just got married," he replies to which Rothstein congratulates him. "I have a son. He's almost four." Rothstein interjects smiling, "Cart before the horse." Jimmy asks Rothstein if he has any children. "No, but I'm told they often say unexpected and amusing things," he replies. He tells Jimmy that he appreciates him coming to him with this offer. "I applaud your own destiny and I give you my word your offer remains in this room," Rothstein says before telling him that Luciano will show him out. Before Jimmy has left the office, Rothstein speaks again to him. "Mr. Darmody, don't you find it curious that neither of us has mentioned that Nucky Thompson spent last night in jail?" Jimmy appears to be surprised by the news. "He did?" "Election fraud, apparently," Rothstein informs him. "Things seem to be changing faster than I realized." Mystified by Rothstein's lack of any response to his proposal, Luciano tells Jimmy once they are outside the office, "He doesn't like to say no." Jimmy says it appears he doesn't like to say yes either. "Not unless he has to," Lucky responds. Luciano asks if Jimmy plays poker, inviting him to a game downtown, but Jimmy suspects a setup. Luciano assures him it's Meyer Lansky's game. "That doesn't make me a simp," Jimmy tells Lucky who shows a bit of his hot-headed nature, declaring, "Go fry a fuckin' egg, Farmer John" and begins to walk off. Jimmy stops him and asks him to just give him the straight dope. Lucky hands Jimmy a card. "Meyer thinks we should meet."
Eddie assists Nucky with his shave as Ginsburg (Peter Van Wagner) gives his client a rundown of what he knows about his legal situation thus far. The lawyer tells Thompson that it all stems from Gov. Edwards seeking to make a splash. As for Solomon Bishop, the state attorney: "The man is going to try very hard to put you in prison," Ginsburg tells him. "Fine. Tell me he's poor but honest," Nucky says. "He's married to a lesser Whitney and set his salary at one dollar anum, so he's certainly not poor. As for honest…you want to ask about the indictment. I do not have a copy of it yet. However, I gleaned from the court clerk that your ship is leaking," Ginsburg informs his client. Thompson wants to know who. Ginsburg can't provide names, but says there are two confidential witnesses prepared to testify to direct knowledge of voter intimidation, fraud, theft of ballot boxes and bribery. Ginsburg warns Nucky that reporters are swarming outside and asks if he wants a reporter by his side. "That's what guilty men do," Nucky responds. Ginsburg tells him he'll get to work. Eddie informs Nucky that Margaret has read the newspaper. Nucky asks about the children, but Eddie says she did not say. "The state police have banished me from the suite," Eddie tells his boss. "They were touching your possessions in ways I considered offensive." Nucky wipes his face, his shave completed, and asks Eddie, "Don't I have a treasurer's office somewhere?"
Nearly a century separates Walter and Skyler White of Albuquerque, N.M., on Breaking Bad and the couple Enoch "Nucky" Thompson and Margaret Schroeder of Atlantic City, N.J., and while both women certainly began their introduction (to us as television viewers at least) as moral, law-abiding citizens, both Skyler and Margaret have become embroiled in the seedier if not downright criminal side of the life of
their respective mates. While Skyler still likes to get on her high horse and thinks she's smarter than she is, think how much better off Walt would be if his partner in crime were Margaret who has taken to the role as if it's her second nature. After hearing Eddie's brief description of the state investigators tearing up Nucky's suite at the Ritz, as soon as she was off the phone, she asked her maid Katy for her coat. Now, we know why. Solomon Bishop sits comfortably in Nucky's office chair reading documents when another investigator, Talmer (Alex Cranmer), tells him there's a woman outside. He goes to the office door to find Margaret who has dressed herself down and given the look of some poor downtrodden women who might be with child. When Bishop shows up at the opening to the office, she meekly says, "Mr. Thompson?" The deputy state's attorney says that no, he is not Mr. Thompson. She asks when he will return. "Do you read the papers, ma'am?" Bishop asks. "On Sundays, when the neighbors are done with it," she replies. Talmer suggests that she borrow their paper today, adding that Nucky's been arrested. Margaret starts putting on the waterworks, telling the men that she'd been told that Mr. Thompson might be able to help with her "wee ones." She begins to double over and Bishop suggests that Talmer get her a glass of water. "I think she may be with child," Talmer says as he tries to hold her up. She tells him what she really needs is to borrow their facilities and Talmer helps her in and toward the bathroom.The Commodore has invited more officials to join his conspiracy against Nucky — all of his ward bosses: Boyd (Edward McGinty), Damian Flemming, Jim Neary and George O'Neill (William Hill) — and all four showed, discussing things with Eli in the Commodore's grand living room as they await the Commodore's arrival, that seven-plus foot grizzly overseeing the proceedings. "This is Nucky's town, Eli," Damian says as they question who takes over if Thompson goes away. Eli borrows the Commodore's line, telling them that Nucky was weaned on
the Commodore's teat. "That's what I'm saying," Flemming continues. "It's a young man's game." At that moment, the Commodore enters, having dyed his white hair black. "How old are you, Damian?" he asks. Off to the side on a couch, Boyd whispers to O'Neill, "Is that shoe polish?" referring to whatever the Commodore used to color his hair. "Thirty-eight," Flemming answers the Commodore. The Commodore tells Flemming to pick up the large animal tusk that rests on a sofa table. Damian struggles with the bulky piece of bone but when the Commodore challenges him to lift it above his head, he can't do it. The Commodore takes it and raises the tusk over his head as if it were a broom. "You're half my age, son, I'm twice your age," the Commodore gloats. "I trust I made my point. You all showed up which says to me we all feel the same about a certain individual — the arrogance, the selfishness, the neglect." Neary interjects, "Let's me take the fall on Saint Paddy's Day." Eli piles on, "Such is his method, Jim, then a wave of his hand — 'All is forgiven.' Makes me sick — and I say this as a blood relation." Flemming remains skeptical, suggesting that it's just an indictment and Nucky's smart and could beat it. The Commodore smiles and shows the legal cards that he's holding. "Nucky Thompson is going to jail thanks to Jim Neary and —" he pauses, getting stuck
on the name of the other man in the room who isn't a ward boss. "Patrick Ryan," the man (Samuel Taylor) says. "Patrick Ryan as eyewitnesses which nails him dead to rights on the election," the Commodore concludes. Again, Boardwalk Empire reaches into its past to reward viewers who pay attention, in this case, going all the way back to the very first episode. Ryan was the man who at that first meeting, celebrating the imminent start of Prohibition, was named the new senior county clerk by Nucky, an appointment that peeved Jimmy because he felt that he should start being more than Nucky's driver, indirectly leading Jimmy to his botched hijacking in the woods with Capone. "Which leaves the booze," Eli says. "How are you gonna handle that?" Hill asks. The Commodore explains that his role as president of the Yacht Club along with a solid guy working for them in the Coast Guard will take care of that. "What we ship comes in. What Nucky ships doesn't," he adds, telling them that his son Jimmy will run the operation. "Now this isn't going to be easy, but nothing worthwhile is," the Commodore says, winding up with the equivalent of a coach's half-time locker room speech. "Ask the man inside of you this: When you come face to face with destiny do you want to be the bear or do you want to be the one holding the shotgun?"Lenore comes to visit Chalky at the jail saying their daughter Maybelle has a request: Her beau wants to call at the house. She asks when would be a good time. Chalky tells her a few days — he's awaiting advice of counsel. "Is he competent?" Lenore asks. Chalky tells her that he's a Hebrew gentleman. She says Lester was quite insistent about visiting him, but Chalky and Lenore agree that the teen shouldn't
see his father behind bars. He sent his father something to read anyway: Charles Dickens' David Copperfield. We learn Chalky's real first name as the jailer tells his wife it's time for her to go and she says, "Albert, you have a family that loves you and is waiting." After Lenore has left, a prisoner (Erik LaRay Harvey) in the cell across from Chalky's starts whistling and asks, "Who is that fine piece of lambtail?" Chalky inquires if the man likes her looks to which he replies he surely does. "I'll tell my wife then the next time I see her," Chalky declares. "Meant no offense," the man says. "Got a pair of eyeballs. Can't help but use them. Name is Dunn Purnsley from Baltimore." Purnsley asks what he is reading and for the first time, we learn Chalky can't read. "Tom Sawyer." Purnsley says that he and the other men in his cell could use some entertainment, why doesn't he read to them? One of Dunn's cellmates tell Purnsley to leave him alone explaining that he is Chalky White, as if that will mean something to someone from Baltimore. "I had no idea," Purnsley replies sarcastically. "You tellin' me…walking around here like some old zip coon, fine high yellow bitch at his side — he called Chalky White 'cause that be the most bunk for a nigger horseshit I ever heard. What you say to that, Brother Tambo?" Chalky continues to pretend to read. "I say you heard my name." Purnsley shoots back, "I know you heard mine." The jailer returns with a white prisoner and tells Chalky that he must move to the other cell since they can't mix races so White joins Purnsley and the four other men.Nucky and Eddie walk into his treasurer's office, shocking the secretary (Trisha McCormick) who Nucky mistakenly greets as Enid. She corrects him that her name is Eunice. He tells her to call the aldermen, the sheriff and the mayor and tell them to come at once. He then goes into his office and closes the door. After a moment, he opens it and adds, "I also need a florist."
As Margaret helps Katy with proper placing of the silverware, Pauline brings her a bouquet of roses for Valentine's Day, though the card isn't signed. Any joy at the gift doesn't last as Emily's shrieks interrupt the activities as her brother Teddy chases her with a hammer. Margaret grabs it and sends the boy to his room. Lillian comes in panting, saying they were building a birdhouse. A persistent knocking occurs at the back door. When Margaret answers it — hammer still in hand — a man with a thick Irish brogue (Charlie Cox) raises his hands in surrender. "I'm not a burglar, though I do confess to climbing out a window or two." He mistakes Margaret for a servant and asks for Mrs. Thompson. When told that there isn't one, he asks for the lady of the house and Margaret tells him that he's speaking to her. He introduces himself as Owen Sleater and says he works for Mr. McGarrigle. "You are quite early," Margaret declares. After Sleater puts his foot in his mouth a few more ways, Margaret asks what exactly he wants. "With your kind permission, I'm to ensure your house is secure for Mr. McGarrigle this evening," Owen replies. "We're not given to threatening our guests," Margaret tells him. "You do have a hammer." Margaret explains her son thinks it's a toy. Sleater asks where he is. "In his room," Margaret answers then, realizing that Sleater is making a serious inquiry. "He's seven." Sleater rules Teddy out as a threat and begins to survey the premises.
One cellmate's wheezing bothers a fellow prisoner, but the inmate doesn't get what he's saying at first. The wheezing inmate says he can't help it — he's catching a cold and asks where he's supposed to go. "He's got you there," Purnsley declares. "We're all in this together." Dunn describes the little place in his head where he goes that no one can get to and credits it for doing "three years in ankle chains like I was takin' a nap. Chalky White knows what I'm talkin' bout, don't he?" Chalky remains silent, keeping his book open as Purnsley continues. "I bet he up there right now, all soft and pillowy. Honeybee wife fetchin' plates of greens, roast beef, reading Tom Sawyer. Ain't that so, Chalky White?" Purnsley sits on the lower bunk next to Chalky who simply says, "Well, it could be." Purnsley deepens his voice to a threatening whisper, "Maybe I climb up there with you, jazz that woman up while you're lickin' the plate." Chalky calmly closes the novel. "You do what you want," Chalky says before turning and looking Dunn straight in the eye. "Just gonna be your right hand anyway." Purnsley pauses briefly before laughing and slapping Chalky on the arm. "That's how you play it, gentleman," Dunn proclaims as he stands. "Oh yeah, we gonna get along just fine."
Looking nervous, angry and hurt, Nucky looks out the window of the treasurer's office. He turns around as Mayor Bader rushes in asking, "Am I late?" Nucky isn't in good spirits, sternly inquiring, "Where the hell have you been?" Bader says he came as soon as he got the message. "Ninety minutes?" Bader tells him there are reporters everywhere and investigators snooping around. He's not proud to admit it, but Bader confesses that he's been hiding in his garage. Seeing only he and Nucky, he asks Thompson where everyone is. "I need you to tell me if you were approached about turning against me," Nucky states. The question stuns Bader who tells Nucky that he knows he's with him because of their business interests. "We're building things," Bader says. "Nobody came to you — not Neary, any of the bosses, not the Commodore?" Nucky asks. Nucky's nervousness infects Bader. "How bad is this?" Nucky admits he doesn't know yet while Bader wonders if they'll come after him. Nucky tries to calm Bader's worry about that. "I'm gonna beat this, Ed, and when I do I'm gonna remember who showed up here today and who didn't. Depend on that," Nucky tells him. As Nucky shows Bader out, Eunice tells him that Eddie called and that it's safe to return to the Ritz office.
After the meeting at the Commodore's, the four ward bosses hook up in an out-of-the-way spot to discuss the plot against Nucky. Neary remains the gung ho ringleader and Flemming the cautious naysayer with Boyd and O'Neill seeming to have no opinion of their own other than to end up on the winning side. "I don't see why things gotta change. Everybody's getting by," Flemming says. "Is that all you want from life, Damian?" Neary asks. "What else is there?" Flemming replies. "A pair of balls," Neary counters. Boyd questions Neary if there might be something more in it for him, but Neary says he'll get the same as everybody — "Less headaches, more green." O'Neill hasn't seen any problem with Nucky keeping the jack flowing. "Where were you last year?" Neary asks. "Armed robbery, shooting on the Boardwalk — that's not a man in control — and the election." O'Neil reminds him that they won. "Too goddamn close," Neary comments. Flemming doesn't see why a change in leadership means that Nucky has to go to jail. O'Neil wonders about the roads project that all of them have a stake in. Neary claims that will go on under the Commodore. "But it's Nucky's deal," Flemming says. Neary tells Flemming to get it through his skull — they aren't in charge. "The Commodore wants Nucky next to that fuckin' grizzly. That's what's gonna happen," Neary declares. "What's to keep us from winding up with him?" Flemming asks, referring to possible jail time. Neary assures them that the Commodore will put the fix in. Neary looks to each of the men. O'Neill and Boyd reluctantly nod that they are in while Flemming lights his cigarette and stays mum. "Damian, just say, 'Please' and 'Thank you,'" Neary tells him.
Jimmy heads to the Lower East Side where Meyer Lansky (Anatol Yusef) has set up an office for his continuous poker game behind the name of the business Schenkel & Bro. Darners & Weavers. Before he, Jimmy and Luciano begin their discussion, Meyer sends their teen worker Benny (Michael Zegen) out for cheese. The youth makes some odd noises, prompting Jimmy to ask if he's OK. Lansky assures him that he's fine, he just makes noises like that sometimes. Benny's last name happens to be Siegel. In the 1930s, he'll acquire a nickname he
hates: Bugsy. Lansky tells Jimmy he runs the house for the poker game round the clock under Rothstein's protection. Luciano says that they have other enterprises as well. Jimmy asks if Rothstein has part of those, but the two remain silent. "You met with A.R.," Lansky says. "He can be a difficult man to read." Luciano chimes in. "That thing of yours this morning — I'd have said yes to that." Jimmy tells Luciano that he wouldn't have asked him though. "I need Rothstein, not the fella who carries his water," Darmody says. This sets Jimmy and Luciano off again, bringing Gillian into the conversation with Luciano saying she was "begging for it" and forcing Lansky to physically separate the men. "Gentlemen — I'm running a business here," Meyer tells them as they finally return to their corners. Lansky takes the seat on the other side of his desk next to Jimmy. "Charlie and I have learned a great deal from Mr. Rothstein as I'm sure you have from Mr. Thompson," Meyer says, "but nobody wants to be in school forever. As I see it, we have a lot in common. If we put aside our differences, things could happen." "Such as?" Jimmy asks. "Trading partners. We buy liquor from you, you buy something from us," Lansky answers. "What would that be?" Jimmy inquires. "We're thinking of getting into heroin," Luciano speaks up. Meyer cocks his head as he tells Jimmy, "When you run the numbers, it starts looking very attractive." Margaret tries to straighten the rug in the entry hall herself, unhappy with the job Katy did when Owen Sleater wanders by and lends a hand. She asks the Irishman if he's been traveling around the U.S. much. "With Mr. McGarrigle. Filling the coffers. New York, Boston, Philadelphia," he tells her of their journeys seeking support for the cause back home. "Ourselves alone," Margaret says. Sleater informs Margaret that her Gaelic translation is a bit off. "Sinn Féin — we ourselves. That's a bit closer," Sleater remarks. "Either case, that's what we're about — who else would fight for us?" Margaret inquires about what it is he does exactly for McGarrigle. "As you see — clear the path," he replies, adding that he was a livestock inspector prior to the rebellion, then he went to fight in the north. "I make you for the Lonesome West," Owen guesses about Margaret's Irish origins. She tells him she's from Kerry actually. He asks if any relatives remain in Ireland. "No — here apparently," she answers. "Then you won't have to choose sides."
Almost as soon as Nucky gets back to the Ritz, he makes a beeline for his closet but when he removes the false panel, he finds that both the ledger and the moneybag are missing. Eddie calls to him, announcing that Ward Boss Flemming has arrived to see him. Nucky returns to his office. "Nuck, I tried talking to them. I said they were making a mistake. I told them you were too smart to get sandbagged by something like this, They wouldn't listen. All they can see are dollar signs," Flemming tells Nucky. The phone on Nucky's desk begins to ring, but Flemming continues talking and Thompson seems in no rush to answer it. "It's like the Commodore has cast some voodoo spell on them," Damian says as Nucky answers the phone, "Yes." "All alone big brother?" Eli's voice can be heard. "How does it feel sitting at your fancy desk all by yourself?" Nucky speaks as calmly as he can muster. "Eli, please listen closely. If now, right now, you tell me you want to get out of this, I will help you.…I'm prepared to hear your side of it. I will help you — if you tell me right now because in a minute
it's going to be too late." Silence. "Are you there?" Nucky asks. "The funny thing," Eli says, "nobody takes power. Nobody has to give it to them. Look around, big brother. What have you got?" Eli hangs up. Nucky tells Eddie and Flemming that he's late for a dinner engagement. Part of what pissed Eli off was when he was removed from the ballot for sheriff after his shooting at the casino. What would Eli think if Nucky told him that it was the Commodore who advised him to remove Eli from the party ticket even though Nucky felt it cold-blooded to do to his brother who was still recovering from a bullet wound? Eli made his phone call to Nucky from the Commodore's, with the Commodore watching. After he hangs up, the Commodore says, "Feels good to twist the knife." Eli smiles weakly. The Commodore tells him that now it's time for him to meet the men who built Atlantic City. He leads Eli into another room where about four bald and white-haired men sit. "Gentlemen, may I present Sheriff Elias Thompson," the Commodore announces. Leander Cephas Whitlock stands and raises his drink and says, "Propinate nobis similibusque," a Latin toast that translates to "Here's to us and those like us — damn few left." For regular viewers of The Sopranos, even with our first close-up of Dominic Chianese and his first spoken lines, albeit they are in Latin, you still can't spot Uncle Junior hidden anywhere within those muttonchops and behind that beard and mustache.
Jimmy has done well at Lansky's poker game, so he asks Benny Siegel to cash him out. He takes note of two men having a heated conversation with Meyer in his office. When they exit, one of the other players invites the pair to join the game as they are always looking for new victims. The taller Italian, Incrocci (Mario Macaluso), asks, "Why's every kike got to be a wise ass?" Benny fires back, "Why does every dago have to be dumb as fuck?" Incrocci threatens to bury Benny in his diaper and he starts making clucking noises again until Lansky comes out and says Benny's name and gets him to stop. Jimmy hands his chips to Benny who gives him a large wad of bills which he slides into his pocket. The other Italian man, Scarpelli (John Cenatiempo), distinguished by his hat and his silence, continues to stay mum. Lansky tries to keep the situation on a strictly business level, thanking them for their full and frank discussion. Incrocci isn't impressed. He's more interested in Lansky respecting the terms and tells Scarpelli they need to get going — "This place smells" — and report back to his uncle. Jimmy asks who they were after the men leave. Lansky explains that they represent Masseria. The name means nothing to Darmody. Benny describes him as a fat ass who thinks he owns the Lower East Side. "Just a simple misunderstanding," Lansky insists. Jimmy slips a tip to Benny and leaves.
*SPECIAL NOTE: Thanks to Mr. Barthelemy Atsin, who was kind enough to help me by telling me which actors played each of the other cellmates in the following scene with Chalky and Dunn Purnsley. In addition to acting, Atsin also is an artist so you might check out his website.
It's fairly clear that Purnsley, so well played by Erik LaRay Harvey, has keyed in on the fact that Chalky can't read so he decides to rub it in his face. Dunn asks Chalky, "What's that scamp Tom up to now?" Chalky points to an illustration in the copy of David Copperfield and says that Tom met this little one and they had a sweet time chatting and then she played the piano. Purnsley then sticks one of his digits into
the text on the opposite page and asks Chalky what it says. It's the closest we've seen Chalky come to losing his cool with this man. "It say get your finger out of my face." Dunn places his hands on the top bunk and leans in to Chalky. "Know what I don't like about you? That fuckin' winged suit and that bright-skinned bitch you have with that uppity way you tell the world you better than Dunn Purnsley when all you be is a jigaboo in a jail cell," Purnsley sneers, ripping the book from Chalky and tossing it across the cell, leaving only the page with the drawing in Chalky's grasp. Chalky stays quiet for a moment, then a peaceful look crosses his face along with a smile. "Harold C. Madison, how your daddy keepin'?" Chalky asks. The inmate closest to Chalky with a sling on his arm (Omar Scroggins) stops leaning on the bunks and steps forward. "Tolerable, sir. He thanks you for the doctor bills," Harold says. "Noah Hookway, how are things going down at the Gold Room?" Chalky inquires. The prisoner wearing a wool cap and standing in the corner to Chalky's left moves to the center of the cell. "Supposed to be at work today," Noah (Bartelemy Atsin) tells him. "I'll talk to them," Chalky promises. Purnsley, standing in the cell's exact center, begins to realize what is happening. "Timothy. Cornelius," Chalky addresses the last two inmates who stand against the bars. "Mama grateful for the turkey, sir," Timothy
(Truck Hudson) says. The four men have Dunn surrounded. "Alrighty then," Chalky declares. Purnsley isn't intent to wait and starts swinging, but it doesn't take long for the four inmates to overpower him, beating and strangling him unmercifully against the bars until he finally falls as a bloody heap to the floor. Cornelius (Jonathan Baston) retrieves David Copperfield and returns it to Chalky. "Which of you boys knows his letters?" Chalky asks. "I do," Noah replies. Chalky hands him the book and he begins to read as the camera remains glued on Michael Kenneth Williams' face.. "David Copperfield by Charles Dickens. Chapter One. I am born. Whether I shall be the hero of my own life or whether that station will be filled by anyone else…" It could be argued that these scenes with Dunn Purnsley added little and didn't forward the overall story, but look how many layers these jail scenes added to our understanding of Chalky White. Boardwalk Empire also knows how to add new shadings and depths to its characters through scenes that otherwise might not be essential to its ongoing plots.Margaret finds herself playing hostess to John McGarrigle (Ted Rooney) and Ernie Moran alone as Nucky has yet to arrive home. Owen Sleater sits off to the side, not dining at the table but flirting with Katy each time she passes. The sour-looking McGarrigle hasn't eaten
much, prompting Margaret to ask, "Is the lamb not to your liking, Mr. McGarrigle?" Solemnly, he replies, "I've no doubt it is properly prepared, but I eschew any flesh that walks on cloven hooves." Margaret apologizes, saying she had not been made aware of his preference. "It's no preference. It's an iron-clad principle," McGarrigle declares. Moran attempts to lighten the mood, saying John is a man with a bit of the devil in him, but McGarrigle misses the humor, insisting he would not tally with the devil at all. "It is a challenge in this town," Moran says and again the joke flies over the Irishman's head. "Mr. Moran refers to Atlantic City's reputation for pleasure," Margaret interjects. "The width of this country seems beset by licentiousness and turpitude," McGarrigle states. At this point, her guest is annoying Margaret. "Another thing not to your liking," she says. "It is none of my concern. My cause is to drive the English invaders out of a land he's occupied for 800 years. I assure you, we will succeed even if we're martyred along the way," the visitor sermonizes. Margaret calls that an extreme position. "Only to those who've forgotten from which they've come," he replies accusingly. "I know where I'm from — and where I am now," Margaret responds. "You're plainspoken — for a woman," McGarrigle says. Before tensions can get much higher, Nucky arrives to break them, apologizing for his tardiness, blaming a busy day. McGarrigle wants to discuss their business immediately, but Nucky tells him he needs to eat something first. "There's certainly plenty of lamb," Margaret grins mischievously.As Jimmy prepares to exit the Lower East Side, he moves his knife from his boot to the back of his shirt. He must be prescient. As he walks through a park, he's confronted by Incrocci and Scarpelli, who demand his take from the poker game. Jimmy keeps his arms raised as Incrocci keeps a gun trained on him. He tells them he put the cash in his boot. As Scarpelli looks, Jimmy tells him it's in the other one. As Scarpelli switches, Jimmy kicks him hard, pulls the blade out and slits Incrocci's throat before doing the same to Scarpelli, whom he leaves bleeding into a fountain.
After Nucky and his guest have moved to another room to discuss the issues at hand, McGarrigle makes his appeal. "Mr. Thompson, the Irish people are at war against a barbaric form. The English murder us in our sleep. They set fire to our homes. Last month, they put the torch to Cork City and shot the firemen come to fight the blaze. We need guns and the money to buy them. Mr. Moran tells me you are a loyal son of Erin and I call upon that loyalty now," McGarrigle says. Nucky recommends that McGarrigle go to the next meeting of the Ancient Order of the Celts. A disappointed McGarrigle tells Nucky that "cash suits us better." Nucky says, "I say that myself, but today is not the day." Moran speaks up to inform Nucky that there is another matter. McGarrigle speaks of his man and Sleater steps forward to introduce himself. McGarrigle announces that Owen has decided to stay behind in the states. Moran asks Nucky if he might be able to help Sleater find employment. Thompson tells him to stop by the Ritz office tomorrow.
After the guests have left, Margaret sees Nucky slumping in the chair by the fireplace. She starts to leave him be, but he leans around and says they need to talk. Margaret asks if they have a case and Nucky admits that they do. "Who is against you?" she asks. "The ward bosses — all except Flemming. The Commodore is pulling the strings and I think he has Jimmy." Margaret notes that Nucky hasn't mentioned his brother. "Eli — Eli is betraying me," Nucky admits sadly. "I didn't hear a word from you since last night," Margaret says with a bit of anger in her voice. Nucky tells her that he didn't want her to find out. "How could I not?" she ask him. "I just keep people satisfied. That's what I do," Nucky justifies. Margaret tells him that he knows now that that's not possible. Nucky informs her
that the investigators turned the suite upside down and some things are missing, including the ledger and about $20,000 in cash. Margaret walks over to a desk and unlocks it and then returns to Nucky, standing before him with the ledger and the moneybag in her hands. Nucky's eyes widen as he sees them in her hands. "You are smarter than your enemies and you will persevere, but you aren't thinking clearly now. You must concentrate and not give over to emotion," she tells him. "Where did you get those?" he asks. "From your closet today," she replies as she hands him the moneybag. She holds the ledger. "This must be burned and future transactions committed to memory, do you agree?" An amazed Nucky nods yes as Margaret pitches the ledger into the fireplace. She tells him he looks exhausted. "I sent you flowers for Valentine's. I never signed the card," Nucky tells her. "I knew who they were from," she says, adding how exhausted Nucky looks. She kisses him on the forehead. "Go get some sleep — in our bed." I told you — how much better off Walter White would be with Margaret at his side?
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