PUBLIC ENEMIES
Written by
Ronan Bennett, Michael Mann & Ann Eiderman
November, 2007
1
TITLE: SEPTEMBER 26, 1933.
EXT. PRICK STREETS OF MICHIGAN CITY, INDIANA - A BROWN
PONTIAC
is parked at the curb. It waits.
INT. PONTIAC - "RED" HAMILTON ( 34)
looks at his watch. With his meticulously parted red hair, he
might be a bank president. It's 6:55 a.m.
HAMILTON
Time.
Thirty year old JOHN HERBERT DILLINGER is in the backseat. He
nods. His arms are behind him. We don't know why. Red starts
the car and drives forward.
CUT TO:
INT. INDIANA STATE PRISON, MICHIGAN CITY, INDIANA - LINE OF
CONVICTS
Its cold.-Convicts' uniforms are broadly striped and frayed.
This is a line of hard men branded by prison: shorn hair,
broken nose, eyes with a cold ferocity. And their aggression
has a nihilistic edge; their spirits never surrender. There's
nothing beaten down about these men. Like Alcatraz,
Leavenworth, and Sing Sing, this is the end of the line.
PRISON GUARDS
in visored black caps, black shirts, black patent leather Sam
Browne belts with three-foot long billy clubs watch the line,
poised to unleash violence.
AMONG THE HARD MEN ARE...
HARRY "PETE" PIERPONT (32), 6 foot 1 with eerie blue eyes.
Brilliant, violent, he hates all authority.
CHARLES MAKLEY ( 44), squat with an anvil jaw, facial scars
and as calm as Pierpont is volatile.
HOMER VAN METER (27), tall, an incorrigible clown and an
unemotional killer. He has continued to ridicule guards even
when it cost him months in the hole.
THESE THREE
with an older man, WALTER DIETRICH, wait for the lam. work
call to the prison Shirt Factory...
2.
INT. INDIANA STATE PRISON, GATEHOUSE - TURNKEY
watches through a window as a Pontiac pulls into the parking
area in front of the prison across from the streetcar tracks.
Hamilton jerks a handcuffed Dillinger out of the backseat.
Dillinger is shoved forward. Hamilton's wearing a star.
TURNKEY
(opening up)
Afternoon.
Hamilton flashes the badge. He shoves Dillinger inside. In an
adjacent room FIVE GUARDS play poker. Next to them is a
barred entrance to the prison yard. As the cage door locks
behind him, this is the last place Dillinger wants to have
entered. Meanwhile...
INT. INDIANA STATE PRISON - THE SHIRT FACTORY: STACKS OF
BOXES
and bolts of fabric wait for the convicts. lam. A KLAXON
sounds. Door opens. Convicts enter. Walter Dietrich goes
right to the stacks and pulls a box with an "X" crayoned on
the side. Its labeled "Thread."
(Dietrich was mentored by Herbert K. Lamm, an ex-Prussian
soldier who invented professional bank robbery by applying
military tactics and who rode with Butch & Sundanc4's Hole in
the Wall Gang in Utah in 1901. in prison Dietrich passed on
Lamm's techniques. His brightest student in 1933 is..'ohn
Herbert Dillinger.)
DIETRICH + "THREAD" BOX
arrive at a busy work station with Pierpont, Makley and Van
Meter. Under spools are four Colt 45 automatics with loaded
magazines.
GUARD DAINARD
is approached by Pierpont, who shoves the 45 in his face.
PIERPONT
Line up! Line up...
Dietrich and Van Meter control THREE OTHER GUARDS. ED SHOUSE,
JIM LESLIE and EARL ADAMS - three other Cons armed with
makeshift clubs and spivs -- join the escape. Meanwhile...
INT. GATEHOUSE - TURNKEY
examines Dillinger a second time...
(CONTINUED)
3
CONTINUED:
TURNKEY
Didn't you get paroled out of here a few
months ago?
DILLINGER
Yes, sir. Three months ago.
TURNKEY
. John... Johnnie Dillinger?
DILLINGER
That's right. But my friends call me
"Johnnie". You gotta address me as
"Mister" Dillinger.
Dillinger's insubordination puzzles Turnkey so he doesn't see
Hamilton bat a Thompson submachine gun across the back of his
head and swing it onto the Two Guards...
RED/DILLINGER
Against the wall! Hands up! Get up!
Dillinger's cuffs fell away. Now his Thompson covers the
stunned poker°players. Hamilton and Dillinger are as tight as
they come.- They share their food, money, liquor, ammunition
and women. ,.id right now...
YARD GATE
is keyed open by Dainard followed by Pierpont and Makley and
the others. Pierpont kicks over the poker table. Escapees
throw all the Guards against the wall.
MAKLEY/VAN METER
(to the Guards)
Undress. Get undressed!
DILLINGER
at the window checks the escape route to the Pontiac. Its
clear.
Hamilton conceals his weapon and starts out. Smooth. He
crosses the front lawn, the street car tracks. So far, so
good...
INT. GATE HOUSE - GUARDS
undress. One takes his time.
SHOUSE
Hurry up! C'mon!
(CONTINUED)
4
CONTINUED:
This Guard gives Shouse an insolent look. Shouse slams the
Guard's head with a length of steel pipe. Guard goes down.
Shouse goes wild and continues to hammer his skull again and
again, caving it in.
PIERPONT
Cut it out Shouse!
DILLINGER
(turns from open door)
Shouse!I
Dainard thinks that once the killing's begun, he will die...
So, he grabs for Homer Van Meter's .45.
Van Meter SHOOTS Dainard. Dainard's knocked to the floor.
Blood pools. A SIREN SCREAMS.
EXT. FRONT YARD - RED
caught in the open, turns. He scans the guard towers on the
East and West corners. He backs towards his Pontiac.
RED'S POV: TOWER GUARDS look into the prison interior where
the shots came from.
DILLINGER
arrives, takes Red's position. Red goes for the Pon,.c...
ESCAPEES
don't complete their disguises. Half-dressed in gua ds'
uniforms, they crash outside...
EXT. FRONT YARD - ESCAPEES
sprint for the street in all directions.
INT. WEST TOWER - TOWER GUARDS #1 + #2
CRACK CRACK CRACK! Jim Leslie falls, the top of his head
taken off.
EXT. FRONT YARD - DILLINGER
FIRES at the tower, forcing the Guards to cover. Hamilton's
in the Pontiac, starting it.
PIERPONT' S
running with the older Dietrich across the grass FIRING his
45.
INT. RED'S PONTIAC - MANLEY + SHOUSE
tumble in. Dillinger and Van Meter - outside - FIRE at the
West Tower.
PIERPONT + DIETRICH
arrive.
EXT. STREET - PONTIAC
takes off. Dillinger's on the running board. His Thompson
ROARS, covering Pierpont, who's hauling Dietrich into the
backseat.
BANG!
Dietrich is hit in the neck by rifle FIRE from the East
Tower.
DILLINGER
Walter!
Dillinger falls away. Dillinger and Pierpont grab Walter's
arms. He's-paralyzed now. They try to pull him onto the
running boafd, of the moving car.
Dietrich's"hcpeful eyes look up at them. Then his eyes glaze
over. His feet drag down the street. He's dead and they know
it. They let go.
EXT. STREET - DIETRICH'S
body remains in the center of the street. The Pontiac picks
up speed.
INT. PONTIAC - HAMILTON
drives like he has no nerves. Totally focused. Hamilton is
the best getaway, or "git" driver in the country.
DILLIN GER' S
Thompson empty, he grabs Red's shotgun. He shoves it into
Shouse's chest in the backseat.
DILLINGER
Walter's dead 'cause you screwed it up,
you son of a bitch!
SHOUSE
The bastard wouldn't do what he was told,
Johnny. .Pete? Homer?
(CONTINUED)
6.
CONTINUED:
VAN METER
Let him have it.
PIERPONT
Dietrich was your pal, up to you.
Dillinger sees the abject fear in Shouse's eyes. And
Dillinger's mood swings. He lowers the shotgun... Then, he
snaps the butt across Shouse's face. Breaks Shouse's
cheekbone. Dillinger pulls back and slams the heavy butt dead
center, smashing Shouse's nose and orbital socket. Dillinger
opens the door and kicks Shouse out of the moving car.
EXT. FARM ROAD - SHOUSE
bounces and rolls across the road into a field. The Pontiac
races away into the distance.
CUT TO:
EXT. PERU, INDIANA - CROSSROADS - LATER
It's Dust Bowl America. 1933. Lunar landscape. CAMERA MOVES
ACROSS brown dunes that half cover farm machinery and a wind-
blasted house. And LANDS ON...
JOHN DILLINGER in shirt sleeves and, a vest watchingthe roads
for pursuit.
INT. FARM HOUSE -- PIERPONT, MAKLEY + VAN METER
change into double breasted suits and shovel down hot cereal
at a kitchen table. They're in a rush. There is no ;£yurniture.
A busted-out farmer, EDWIN NORRIS, hurriedly pours coffee
from a kettle into tin mugs and a thermos. A WOMAN at a stove
fries eggs.
PIERPONT
(ready to go)
okay...?
EXT. FARM -- A TODDLER
wearing a torn smock approaches the Pontiac and a second car,
a dust-covered Plymouth parked behind it.
HAMILTON
(from the house)
Johnny...? Ready.
7
THE WOMAN
brings out the dozen fried egg sandwiches wrapped in
newspaper. She looks 40 but is 20. Edwin Norris is at the
door.
DILLINGER
(takes two)
Thank you, ma'am.
Dillinger's lopsided smile is charming.
EDWIN NORRIS
Its Miss. She's my daughter, Viola.
That'll be eight dollars.
Viola retrieves her toddler brother who's crawled into the
Pontiac. Dellinger peels off a $20 bill.
EDWIN NORRIS (CONT'D)
Can't change that...
DILLINGER
Well, then you keep the change.
$12 is a lot'--'of money in 1933. Grateful, Norris goes inside,
Dillinger passes Viola and the struggling toddler on the way
to the Pontiac,
VIOLA
(LOW)
Take me with you, mister.
She puts a hand on his forearm.
DILLINGER
I'm sorry, honey.
Pierpont, Homer and Makley head towards the Plymouth.
INT. PONTIAC - DILLINGER,
as the Pontiac pulls away, looks back to see Viola wistfully
watching them leave. The toddler reaches for Viola's hand.
She pushes the child away. Dellinger hates seeing the kid
rejected.
HAMILTON
Kid didn't fool with anything, did he?
Dillinger, looking back at the boy, hasn't heard.
(CONTINUED)
8.
CONTINUED:
HAMILTON (CONT'D)
Johnnie? All there?
Dillinger lifts the coats on the backseat: their weapons are
as they were.
DILLINGER
Its all here.
(UPBEAT)
Let's go make some money.
The speeding cars throw up tails of dust as they drive west
to Chicago.
CUT TO:
EXT. THICK WOODS NEAR EAST LIVERPOOL, OHIO - A MAN - DAY
moves quickly through the woods. They run downhill. He wears
expensive hunting clothes. He carries an 8mm Mauser sports
rifle with a slim forestock and wrist and a turned-down bolt
handle. It's the best rifle made in 1933.
HE IS MELVIN PURVIS (30)
cleancut and handsome. A square jaw. Chester Gould modelled
Dick Tracy's profile after Purvis. Has not big, but he's
tenacious. He's an incarnation of the social elite of h.is
time: white, Southern patrician and a Christian gentleman.
With Purvis are Special Agents WARREN BARTON (31) and
Purvis's friend CARTER DAUM (29)
They have a harder time in the steep woods. They're chasing
someone. They are guided by East Liverpool police chief,
FULTZ.
BOTTOM OF THE HILL -- PRETTY BOY FLOYD ( 29)
is a big-boned country boy. His blue suit is mud-streaked
from his slide down the hill. He carries a Thompson
submachine-gun with a drum magazine, and he is running for
his life.
PURV I S , FULTZ, BAUM + BARTON
race after him.
MUDDY PATH - FLOYD
half runs, half slips in his dress shoes. Ahead is a cleared
orchard. Floyd leaps the fence...
(CONTINUED)
9.
CONTINUED:
WOODS -- PURVIS
jumping over fallen trees...
EXT. MIDDLE OF THE ORCHARD
of apple trees. Floyd's three hundred yards ahead. He zigzags
for a deeper forest at the far end. If he can reach it, he
has a chance.
PURVIS
breaks into the clear.
PURVIS
Floyd! Halt!
Purvis aims the Mauser. Perfect form. Floyd zigzags. Purvis
FIRES, misses. Floyd opens up with the Thompson -- wildly at
that range.
A few .45s splinter nearby branches. Fultz, Baum and Barton
seek cover: Purvis works the bolt and chambers another round.
Floyd is 10 yards from the forest.
Purvis kneels onto his right knee. On his upraised left knee
he braces hi left elbow. He inhales. Starts a smooth
squeeze. Ha Tway through the exhale he FIRES. Floyd's right
arm flies up. He's punched forward and crashes to the ground.
FLOYD
regains consciousness. Purvis is running in. Floyd`s left
hand pulls a 45.
BAUM
Look out, Melvin!
Purvis kicks the 45 out of his hand.
PURVIS
You are under arrest.
Floyd sits up to see the massive exit wound. His right lung
and liver are shot through. He falls back.
FLOYD
(RASPS)
I'm Floyd. Who are you?
PURVIS
Melvin Purvis - Department of
Investigation.
(MORE)
(CONTINUED)
10.
CONTINUED:
PURVIS (CONT'D)
(BEAT)
Where's your friend Harry Campbell,
Floyd?
FLOYD
Ain't gonna tell you shit.
Floyd looks at the sky.
FLOYD (CONT'D)
And I believe you have killed me. So you
can go and rot in hell, you sonofabitch.
He lapses, goes cold and dies.
CUT TO:
INT. KITCHEN - CA-ROLE SLAYMAN - DAY (EAST CHICAGO, INDIANA)
CAROLE SLAYMAN is 33 with green eyes and peroxide blonde hair
and bounces down the stairs in a black robe. She crosses
through a white kitchen with TWO GIRLS in kimonos. A scarred,
African-American bouncer of 50 named SPORT enters...
SPORT
He jus' pulled in.
EXT. REAR YARD - CAROLE
sees Dillinger's Pontiac stop in the backyard. It's`-secluded
by a hedge from the street. Its followed by the Plymouth
with Pierpont and Van Meter in suits and prison haircuts.
CAROLE
Johnny!
Dillinger cradles the Thompson in his arm and crosses to her.
DILLINGER
(to Hamilton)
Hey, Red, call Oscar.
HAMILTON
Okay. And Berman? Wanna switch-out the
"shorts"?
DILLINGER
(ADDS)
Get a Chrysler and an Essex.
(to Carole)
Hey, doll...
He half picks her up with one arm around her waist.
(CONTINUED)
11.
CONTINUED:
DILLINGER (CONT'D)
(to Carole)
You get a hold of Zarkovich...?
CAROLE
I sure did...
(LAUGHING)
Put me down!
JAN METER
Where those gals?!
As Homer and Pierpont head inside...
INT. REAR GARAGE - OSCAR LIEBOLDT - LATER
OSCAR`s a 50
year old German gunsmith. Dillinger rapidly
field strips his Thompson.
DILLINGER
(re main spring)
Jammed twice, Oscar., .main spring's too
tight.
OSCAR
cut off one coil.
DILLINGER
And it rides up and to the right on full
auto.
OSCAR
(re Cutts compensator)
I widen port...
CAROLE APPEARS ON REAR PORCH ACROSS THE YARD. SHE SIGNALS TO
JOHNNY.
Dillinger rises as a 1933
Chrysler and an Essex Terraplane
drive in. Out of the Essex steps HARRY BERMAN, a Cicero,
Illinois auto dealer for the Syndicate. (Berman will switch-
out the Dillinger Gang's work cars or "shorts.")
PIERPONT
Hiya Harry...
PIERPONT
tosses Berman a rubber banded roll of bills while...
12.
INT. KITCHEN - DILLINGER
enters. MARTIN ZARKOVICH looks up. He wears a police badge
and a 38 in a shoulder holster. He is a corrupt detective in
the East Chicago, Indiana Police Department.
ZARKOVIOH
Johnny! How are ya?
With him is ANNA SAGE, a 40 year old well-dressed madam. She
kisses Johnny on the cheek.
DILLINGER
Good and so are you. Christmas is coming
early this year.
(fat envelope of cash)
Extra cake's in here for you and Anna.
(BEAT)
Still in Hammond, doll?
ANNA SAGE
I'm in Chicago on North Halstead now.
Come on by...
DILLINGER
Marty, tell me that me and my boys are
okay...
ZARKOVICH
Long as you stay in my town, you're in
safe haven.
Dillinger tosses Marty the envelope. This is Dillinger's
support and resupply network.
INT. CAROLE'S BEDROOM - DILLINGER'S - LATER
in a deep armchair with his shoes off and his feet on a
hassock. Paul Whiteman's Big Band is on the console radio.
Carole slides onto his lap and snuggles into his shoulder.
John glows with the affection.
CAROLE
Wanna go out later, sugar?
DILLINGER
I want to sit here with you and listen to
the radio, baby.
(BEAT)
I have missed you like nobody's
business...
(CONTINUED)
13.
CONTINUED:
John Dillinger seems like a romantic husband with his little
wife Betty. And it feels a little out of place...
CUT TO:
INT. CONGRESSIONAL HEARING ROOM - J. EDGAR HOOVER - DAY
MCKELLAR
(to Hoover)
Why do we need this?
HOOVER
Because of the new breed of mobile
outlaws who flee jurisdiction by crossing
state lines over highways and against
whom this government must wage a war on
crime.
J. EDGAR HOOVER is a physically short man but has a dynamic
presence. He is a dapper patrician who believes in elites. He
is completely free from self-doubt. He is youthful and 33
years old.
SUYDAM and TOLSON sit next to him.
MCKELLAR i�'Chairman of the Senate Appropriations Sub-
Committee.-,He's an avuncular man of 62.
MCKELLAR
And so in the middle of a Great
Depression you're looking for a budget
increase to build up your Department? But
by my tally your Department of
Investigation spends more taxpayer's
dollars catching crooks than what the
crooks you catch stole in the first
place...
HOOVER
That's ridiculous. The Bureau's
apprehended kidnappers, bank robbers, who
have stolen up to...
MCKELLAR
(looking at document)
How many criminals you apprehended?
HOOVER
We've arrested and arraigned 213 wanted
felons...
MCKELLAR
No. I mean you. How many?
(CONTINUED)
14.
CONTINUED:
HOOVER
As Director I've administered...
MCKELLAR
No. How many have you arrested?
Personally.
HOOVER
I've never arrested anybody.
MCKELLAR
(INCREDULOUS)
You never arrested anybody?
HOOVER
I'm an administrator.
MCKELLAR
With no field experience.
For once Hoover is silent.
MCKELLAR (CONT'D)
(CONTINUING)
In fact you are shockingly unqualified,
aren't you, sir? You have never
personally conducted a criminal
investigation in the field in your life=
Others in the room stare at Hoover. McKellar leans'-back...
MCKELLAR (CONT ° D )
(CONTINUING)
I think you are a front. I think your
prowess as a lawman is a myth created
from a hoopla of headlines by Mr. Suydam,
your publicist there. You are trying to
make a federal police force with you set
up as its Czar. That is runnin' wild in
my estimation...
HOOVER
Crime is what runs wild in this country,
Mr. Chairman. And...
MCKELLAR
And if the country required an expanded
Bureau, I question you are the person
most fit to run it while...
(CONTINUED)
15.
CONTINUED: (2)
HOOVER
(EXPLODES)
I won't be judged by a kangaroo court of
venal politicians...
MCKELLAR
(slams gavel!)
While outlaws like Dillinger, Clyde
Barrow, the Barkers, and Nelson flourish
unabated.
(SLAM)
Your appropriation request is denied.
The hearing's over.
TNT. U.S. CONGRESS, CORRIDOR - J. EDGAR HOOVER -DAY
walks fast through the corridor of congressmen. He talks over
his left shoulder to Suydam and Tolson. They struggle to hear
him...
HOOVER
(to Suydam)
Find out: was he soft on the Reds in
,1919? Does he use prostitutes? Peppy
`tuf f like that. And feed this to Walter
=!rii„inchell: "McKellar's a Neanderthal. He's
O7:a personal vendetta to destroy me."
Like that.
(BEAT)
We'll fight him on the front page. Not in
his damn committee room...
(to Tolson)
Where's Dillinger?
TOLSON
Spotted in Hammond, Indiana.
HOOVER
How long ago?
TOLSON
Yesterday. Another sighting has him on
the Lincoln Highway in Ohio heading
towards Cincinnati.
HOOVER
(DECIDES)
He's in Hammond. Heading to Chicago.
SUYDAM
How do you know?
(CONTINUED)
16
CONTINUED:
HOOVER
You can have fun in Chicago. What the
hell's there to do in Cincinnati?
INT. HOOVER'S PRIVATE OFFICE -- HOOVER
enters. Melvin Purvis has been waiting. He's gestured to
follow.
HOOVER
(suddenly brilliant)
Agent Purvis, congratulations.
PURVIS
Thank you sir. May I ask why?
HOOVER
Pretty Boy Floyd, for which you have my
commendation and personal gratitude.
Second, you are, as of this moment, the
Special Agent in Charge of the Chicago
field office. Your task will be to get
John Dillinger. Are you up to it?
PURVIS
Absolutely, sir.
Purvis is imbued. Henry Suydam enters.
SUYDAM
(to Hoover)
They're ready for him.
HOOVER
(PENSIVE)
This is Henry Suydam.. He is our expert in
congressional and press relations.
INT. BUREAU OF INVESTIGATION w HOOVER ESCORTS PURVIS THROUGH
THE OPEN PLAN OFFICE
Tolson + Suydam follow.
It's like the "Corporate Office of the Future" designed by
Albrecht Speer. Agents are at grey metal desks dressed
identically in dark suits, white shirts, dark ties. No
personal effects. The individual is reduced to a component in
a gleaming machine.
EXT. JUSTICE DEPARTMENT STEPS - HOOVER, PURVIS, SUYDAM +
TOLSON
hurry down the staircase.
(CONTINUED)
17.
CONTINUED:
HOOVER
(LOW)
Why are you sure you're up to this task,
Mr. Purvis?
PURVIS
We have two weapons that cannot be
defeated.
HOOVER
What are they?
PURVIS
The Bureau's modern techniques of
investigation and your visionary
leadership.
HOOVER
You let Mr. Tolson, here, know if you
need anything, Melvin, anything at all,
PURVIS
Thank you.
HOOVER
(brilliant smile)
Call me J.E.
They shake hands. There's a mob of photographers and newsmen
and microphones to interview him.
EXTREMELY CLOSE: MELVIN PURVIS
is awed. He's imbued with purpose. He's been anointed
Hoover's Crimebuster. He claimed he was up to the task.
"Is he?" he asks himself right now. And he didn't expect to
be overcome by doubt. He struggles with anxiety. Then, he
pushes that aside and forces himself to take the step forward
into the lights and flashbulbs.
SUYDAM
(quietly to Tolson)
Our own Clark Gable...
CUT TO:
INT. AMERICAN BANK AND TRUST COMPANY - JOHN DILLINGER
in a long overcoat and a hat with a Tommy gun crosses a bank
interior to a thin man behind a large desk, GROVER WEYLA_ND.
(CONTINUED)
18
CONTINUED:
Grover stands and flattens against the back wall, as if
trying to permeate the masonry and disappear into the back
alley.
Dillinger peels him off the wall and steers him towards the
vault.
DILLINGER
Let's play a game, Mr. President. Its
called spin the dial.
(starts stopwatch, shouts to
CREW)
Seven minutes!
Dillinger is the Vault Man. And alarm sounds.
WIDE: A BANK ROBBERY IN PROGRESS - PIERPONT
is the Lobby Man. His back is to the front door. He controls
the customers on the inside. Women are seated on the floor.
Men stand. It's well-ordered. Pete doesn't worry about his
back because...
EXT. BANK + STREET - HOMER VAN METER
is the Lookout. His back is to the front door. His,job is to
control the people outside the bank. His 351 Winchester
rifle is hidden by his coat. Crowds gather across th' street
because of the alarm. Homer's focused. He is rock steady.
MANLEY
is at the tellers' drawers. His job is to shovel cash into a
canvas bag. The Tellers stand aside.
DILLINGER`S
at the vault with Weyland. Weyland hesitates. Dillinger's
right hand with the Thompson covers Tellers so Makley can
work. His left hand draws one of the two 45s he keeps in
twin shoulder holsters and he cracks Grover Weyland across
the forehead. He aims the .45 between Weyland's eyes...
DILLINGER
(CALM)
You can be a dead hero or a live coward.
Grover Weyland OPENS THE VAULT. Dillinger checks his watch.
EXT. BANK - VAN METER
spots a police car racing up, TAPS the window with the barrel
of his rifle.
19.
INT. BANK - PIERPONT
glances outside.
PIERPONT
(CALMLY)
Company!
NO ONE inside stops working. They know Van Meter will do his
job.
EXT. BANK - OFFICER CHESTER BOYARD
is out of the car and into the bank door, passing right by ---
VAN METER
-- who let him go. Van Meter keeps his eye on the other THREE
COPS. Two get behind the cover of parked cars across the
street. ONE stays low and runs towards Homer.
INT. BANK - BOYARD
marches into the lobby, gun in hand.
BOYARD
(CONFIDENTLY)
Hold it! Hands up!
PIERPONT, behind him, slams the butt of the Thompson into the
back of his head, knocking him flat, and disarms him. He
rouses. Pete doesn't like authority. Pete hits him again.
Blood pools onto the floor.
A WOMAN faints, collapsing. Peters dead calm. He looks over
the half-painted windows. The growing crowd on the sidewalk
is getting too large...
HE FIRES
at the glass. People scramble for cover as it CRASHES onto
Main Street. Meanwhile...
EXT. BANK - REAR ALLEY: RED IN THE BUICK
engine idling, sees people running past. Taped to his dash
are two "°gits"
- step by step instructions to two getaway
routes. He checks his watch. The minute hand moves into
place. He drives evenly out of the alley.
EXT. BANK FRONT - VAN METER
is approached by the COP who thinks he's a pedestrian.
(CONTINUED)
20.
CONTINUED:
COP
(to Homer)
Hey, you. Move out of there!
VAN METER
Why should I? I wanna watch.
Angry Cop rushes him. Homer slams him in the gut with his
rifle, disarms him and uses him as a shield. He backs to the
front door. Pedestrians flee. Cops draw down. They cannot
shoot without Homer blowing off the Cop's head. Meanwhile...
INT. BANK -- DILLINGER
tosses the last bag to Pierpont at the front door. On. the way
out he passes a FARMER near a teller's cage, his hands in the
air. Cash on the counter.
DILLINGER
That your money there, mister?
FARMER
Yessir. It is.
DILLINGER
Well, go ahead and put it away. We're
here for the bank's money. Not your
money.
Customers appreciate Dillinger. Dillinger loves their-
appreciation...
PIERPONT
You three! Let's go!
.to three pretty TELLERS hiding under a desk.
DILLINGER
Folks, stay calm and stay low.
Pierpont grabs two; Dillinger takes one, creating a human
shield around them --
EXT. AMERICAN BANK AND TRUST --- VAN METER,
his gun against the side of the cop's head, moves to the
Buick. A large crowd is across the street.
CITY DETECTIVES
pull up in front of Wylie's Hat shop. Dillinger's crew is
crossing fast to Red's Buick, as...
(CONTINUED)
21
CONTINUED:
DILLINGER OPENS UP
and the Wylie Hat Shop windows blow out.
A DETECTIVE with a deer rifle aims.
VAN METER
FIRES past his hostage's head. Detective goes down. The
Hostage's eardrum is blown. His ear bleeds.
DILLINGER SHOOTS UP...
City Detectives' car, police car and a few others.
INT. BUICK - MAKLEY + PIERPONT
are in. Dillinger and hostages load onto the running board.
Pierpont grabs ANNA PATZKE's arm.
PIERPONT
C'mere, honey.
Buick's moving faster. Dillinger pulls her onto the running
board next--:o Boyard. The Buick roars away.
INT. BUICK:.- RED
drives with total concentration. Makley cooly reads the git.
MAKLEY
2 miles - turn left at the white barn.
Right there. Now. 6 miles to the new
bridge.
Pierpont breaks out the rear window. He throws two five
gallon milk jars full of roofing nails out into the road.
They scatter.
TWO POLICE CARS
hit the nails, their tires blow. ROUNDS from the Buick finish
dissuading them to pursue.
INT. BUICK - HAMILTON
approaches the bridge, slows.
DILLINGER
(to Boyard and two of the
HOSTAGES)
Okay. Beat it!
(CONTINUED)
22.
CONTINUED:
Three hostages jump off. Dillinger pulls Anna Patzke and
Weyland inside.
DILLINGER
sees Anna Patzke's shivering from shock and the cold. He puts
his coat on her. He plops his hat on her head, too.
DILLINGER (CONT'D)
Something to remember me by.
She laughs, nervously, and a little thrilled at being where
she is...
VAN METER
(OMINOUS)
Are we taking `em to the hideout?
DILLINGER
(going along with it
That depends.
VAN METER
How 'bout it, honey? Can you cook?
ANNA PATZKE
(not disinterested)
Uh. Sure... After a fashion.
They start to hoot and laugh. They think this is h±l iiou.s.
ANNA PATZKE (CONT'D)
Well, its true!
VAN METER
When I'm not doing this, I'm a scout for
the movies.
ANNA PATZKE
Really?
This makes them laugh even harder.
EXT. THICK WOODS
Pierpont has brought the hostages to a big tree.
PIERPONT
Face each other. Join hands.
Pierpont binds them loosely to the tree.
(CONTINUED)
23
CONTINUED:
WEYLAND
We'll freeze.
DILLINGER
You'll worm your way out of that in about
ten minutes.
Anna looks over at Dellinger.
DILLINGER (CONT'D)
It's okay, doll. You're just gonna be a
little late for dinner.
Dillinger reaches over, snatches his hat off Anna Patzke's
head. He leaves her his coat.
THE BUICK WORK CAR
is abandoned.
TRACK RIGHT + SEE
Dillinger''b Essex and a Ford drive off past fields with snow
on both sides. New cars. Flush with cash. Clean.
CUT TO:
INT. CHICAGt7: BUREAU OF INVESTIGATION OFFICES - PURVIS - DAY
(BANKER' S BUILDING)
looks at the gathered agents. New faces. College men.
WARREN BARTON
holds up the coat Dillinger left on Anna Patzke.
BAUM
.manufactured by Freeman & Freeman in
St. Louis. We are identifying all stores
that sold this coat.
We note AGENTS COWLEY, RICE, CLEGG + RORER. DORIS ROGERS ( 23)
is Purvis' secretary. He brought her from his last post in
Alabama along with Barton and Baum. We've entered mid-scene.
PURVIS
Then we will cross-reference every
Dillinger family member and known
associate in each locale.
(BEAT)
He was there. It got cold. He bought a
coat. Therefore, he may have been
harbored or have a safe house nearby.
(MORE)
(CONTINUED)
24.
CONTINUED:
PURVIS (CONT`D)
By such techniques we will get Dillinger.
(BEAT)
Doris...
(STOPS)
For those of you who haven't met her,
Miss Rogers is my secretary...
(to Doris)
Please contact the Chicago telephone
exchange supervisors. Request
appointments for Carter Baum or myself.
(BEAT)
We are going to be working long hours. It
will be dangerous. Those of you who
aren't prepared for that, can go. And if
you're going to go, go now.
(no one does)
Thank you, gentlemen.
CUT TO:
E/I. ARAGON BALLROOM, CHICAGO - ON DILLINGER - NIGHT
watching a sexy young woman on the dance floor. He loses
sight of her...
He's expecting someone. Then, Dillinger sees her again: jet
black hair in a bob, brown eyes, high cheekbones fom:her
Indian mother and a great smile. She lights up a ro om. She is
BILLIE FRECHETTE (27).
She feels the stare and looks over. She studies him, then
looks away.
Dillinger's with Pierpont, Makley and Hamilton at a table. It
is loaded with steaks, oysters, and frog legs.
ALVIN KARPIS and Homer Van Meter approach and Alvin sits next
to Johnnie... Dillinger adjusts his chair to watch for the
girl. He's shoulder to shoulder to Karpis.
DILLINGER
Hiya, Alvin. You hungry? How's Freddie
and Dock?
(note: Alvin Karpis is cunning and careful. He will outlive
everyone, including J. Edgar Hoover, and retire to
Torremolinos, Spain, where he will die of heart failure in
1979.
Freddie and Dock Barker are the sons of Ma Barker. After the
FBI gunned down the old woman, Hoover labeled her the "crime
genius" of the family. According to Volney Davis, she
couldn't organize breakfast.)
(CONTINUED)
25.
CONTINUED:
KARPIS
Everyone's good.
(leans in; they talk quietly)
We been looking to snatch two fellas.
One's a St. Paul banker, Ed Bremer. Need
a few more hands.
DILLINGER
Don't like kidnapping.
KARPIS
Robbing banks is getting tougher.
DILLINGER
The public don't like kidnappers.
KARPIS
Who gives a damn what the public likes?
DILLINGER
I do. I hide out among them.
KARPIS
(SHRUGS)
,L -am strictly out to make cake.
DILLINGER
.: yeah, then you, Ma, Dock and Freddie
hole up like hermits on farms for six
months. I grew up on a goddamn farm. I
hate farms. I like big cities, crowds and
a good time...
K ARP IS
(SMILES)
Well, we got a mail train we been lookin'
at, too.
DILLINGER
Say, by the way, if someone got pinched
here, who can get'em out real fast?
KARPIS
Lawyer named Piquett. We all use him.
(writes a phone number)
DILLINGER
What about this train?..
KARPIS
Needs two, three more months to set up. I
need seven or eight real right guys to
take it down.
(CONTINUED)
26.
CONTINUED: (2)
DILLINGER
(SMILES)
Sounds like Jesse James.
KARPIS
(LOW)
A million seven, a million eight.
Dillinger looks at Karpis. In 2007, that would be $22
million.
KARPIS (CONT' D)
Federal Reserve shipment. It runs only
twice a month. This is the kind of score
you go away on after.
DILLINGER
Where you gonna go?
KARPIS
Brazil. Cuba, maybe. What about you?
DILLINGER
Were having too good a time today. We
ain't worryin' about tomorrow yet...
KARPIS
You ought to. What we're doin' here,
don't last forever.
They lock at each other: two pros at the top of their game.
DILLINGER
Keep me in mind on the train.
Karpis leaves. Dellinger can't see Billie anymore.
JA' METER
(AGITATED)
Let's snatch Bremer...
(LOUDER)
Know how much they made snatchin' that
Hamm Brewery guy? $250,000.
Dillinger looks at Pierpont.
P IERPONT
Shut your yap, Homer.
MAKLEY
Let's get our of here.
Pierpont, Homer and Makley leave.
(CONTINUED)
27.
CONTINUED: (3)
DILLINGER
Homer stayin' steady?
HAMILTON
(reading his mind)
He's okay.
DILLINGER
Three rules I learned from Walter
Dietrich. One: never work with people who
are desperate. Two: never work with
people who aren't the best. Three: never
work when you're not ready.
Billie reappears, dancing with a young man.
HAMILTON
Well, I got rule four: stay away from
women.
DILLINGER
Without women, I might as well have
`stayed in stir.
Anna Sage approaches with a young girl for Red.
HAMILTON
What's why they invented whores.
(getting up)
Hamilton leaves, arms around the women. Dillinger keeps his
eye on Billie. Music ends. Young man escorts her to her
table. He tries to join her. She turns him down.
Dillinger finishes his drink, approaches. He now sees how
beautiful Billie is. She's 5 foot 5. With a straight erect
build, she stands out in any crowd. She looks Dillinger
straight in the eye. Clear skin, dark eyes with humor playing
about the edges. He unexpectedly starts to feel nervous.
He gives her his best grin.
DILLINGER
I don't know what you said to your
friend, but I sure am glad you did.
Billie looks him over: a well-made man in a good suit with a
great smile. And, paradoxes: he easily talks to women but
he's not a hustler. He's young, but there's a world of
experience in his face. Open, but he's holding something
back.
(CONTINUED)
28.
CONTINUED: ( 4)
DILLINGER (CONT'D)
What's your name?
BILLIE
Billie Frechette.
DILLINGER
Buy you a drink?
Billie looks at her girlfriend, she nods, Billie rises...
As they cross to the bar.
DILLINGER (CONT'B)
Is that French?
BILLIE
On my father's side. There's an "e" at
the end. Do you have a name?
DILLINGER
Jack Harris.
Music changes to "Bye Bye Blackbird."
BILLIE
Do you dance, Jack?
DILLINGER
I don't know how.
She smiles a pretty smile at him.
BILLIE
How come you don't know how to dance?
Its easy. Follow me. This is a two-step.
(he stares at her feet)
Don't look at my feet. Look at my
shoulders.
She stays an inch or two distant in his arms. Its slow and
languorous. He follows her with little difficulty. He can
smell the perfume in her black hair.
TORCH SINGER
(SINGS)
„Pack-up all my cares and woe
Here I go, singing low
Bye, bye blackbird"
DILLINGER
My, but you are pretty.
(CONTINUED)
29.
CONTINUED: ( 5)
They look into each other's eyes. He pulls her closer, wants
to kiss her long smooth neck. He almost can't resist...
Their lips are an inch apart. And then she rests her cheek on
his shoulder and the kiss that wasn't hangs in the air around
them. He whispers...
DILLINGER. (CONT'D)
Where you from, Billie?
She turns her right ear towards him. She's deaf in her left
ear.
BILLIE
Flandreau.
DILLINGER
Where's Flandreau.?
TORCH SINGER
(SINGS)
"Where somebody waits for me
Sugar's sweet, so is she
Bye, bye blackbird..."
BILLIE
outh Dakota.
DILLINGER
Father's French, what's on the other
side?
BILLIE
Italian.
DILLINGER
From South Dakota, Indian's likelier than
Italian.
She looks at him.
BILLIE
My momma's a Menominee Indian. But most
men don't like that...
DILLINGER
I'm not most men.
BILLIE
And I check coats at the Steuben Club.
What do you do, Jack?
DILLINGER
I'm catching up.
(CONTINUED)
30.
CONTINUED: ( 6)
BILLIE
Catching up on what?
DILLINGER
On life, meeting someone like you.
(her hair)
Dark, beautiful, like the black bird in
that song...
She laughs at the flattery. Holds his eyes a beat with an
ironic look. A couple from another group looks at Dillinger.
He's cool. He returns the look. They look away.
DILLINGER (CONT`D)
Say, how'd you like some dinner?
BILLIE
Sure.
He nods courteously to her girlfriends, grabs her coat, puts
a hand around Billie's waist and steers her out...
TORCH SINGER
(SINGS)
"So make my bed and light the light
Cause I'll be home late tonight
Bye, bye blackbird... ."
EXT. ARAGON BALLROOM - DILLINGER + BILLIE - NIGHT
in their coats on the street. It's cold. Dillinger.pulls her
close.
Then he turns and he kisses her hard on the lips. She didn't
expect that. Her eyes are wide. He opens and wraps her in his
overcoat, their bodies close to each other.
She kisses him back, long and deep. And she didn't expect to
do that, either.
At last they separate.. .and look at each other for a beat.
INT. GOLD COAST RESTAURANT - MAITRE D' - NIGHT
Dillinger slips him bills. He and Billie are shown to a
table. The clientele is North Shore old money and
businessmen. Some of the women are in dazzling dresses even
though it's mid-Depression. A few stare at Billie. She's out
of her class.
DILLINGER
What are you gonna have?
(CONTINUED)
31.
CONTINUED:
Billie stares at him, ignoring her menu.
BILLIE
What is it, exactly, you do for a living?
Dillinger looks over the top of his menu.
DILLINGER
Well...I rob banks.
Then he leans back in his chair and regards her.
DILLINGER (CONT'D)
That's where all these people here put
their money.
BILLIE
Why'd you tell me that? You could have
made up a story...
DILLINGER
'Cause I can't lie to you.
she studies him carefully.
BILLIE
;,;.at's a pretty serious thing to say to a
woman you just met.
DILLINGER
I feel like I know you.
BILLIE
Well, I haven't been any of the places
you've been. So I don't even know what I
don't know.
DILLINGER
Some of the places I been ain't so hot.
Where I'm going is a lot better. Wanna
come along?
BILLIE
Boy, you are in a hurry.
DILLINGER
If you were looking at what I am looking
at, honey, you'd be in a hurry too.
She laughs at his flattery, which she is also finding
persuasive.
(CONTINUED)
32.
CONTINUED: ( 2)
BILLIE
(leans in)
Well, its me they're looking at this
time.
DILLINGER
That's 'cause you're beautiful.
A blonde woman, elegant and ice cold, stares at Billie, a
Depression-era child in her dress.
BILLIE
That's nice. But they're looking at me
because they're not used to having a
Menominee Indian girl in their restaurant
in a three dollar dress.
DILLINGER
(takes her hand)
Listen, doll, that's 'cause they're all
about where people come from. Only thing
important is where somebody's going.
BILLIE
Where are you going?
DILLINGER
To the top.
He's irresistible.
DILLINGER (COIN' D)
Let's get out of here.
Beat. She nods. They get up, get their things.
On their way...a man intercepts Dillinger. He is GILBERT
CATENA (42), solid with big hands. He's smiling.
CATENA
(WHISPERED)
Hey Johnny...:
Dillinger reacts, changes down, says coldly...
DILLINGER
(to Billie)
Go wait outside. I'll be right there.
Billie turns and walks out of the restaurant.
DILLINGER (CONT'D)
How you been, Gil?
(CONTINUED)
33.
CONTINUED: (3)
CATENA
Real good. I work for Mr. Nitti now. Been
with him since I got out of Michigan...
Catena indicates FRANK NITTI (47) in a group at a table.
Sober and educated, Nitti glances in their direction but has
no interest.
DILLINGER
Looks like a barber.
CATENA
Don't go by looks.
(BEAT)
He's real smart. We're connected to
everybody all over the country now...
From Nitti's table a man gets up and walks straight towards
Dillinger. He is PHIL D'ANDREA. Two heavy duty bodyguards are
with him. Dillinger unbuttons his jacket. But...
D'ANDREA
(smiles, low)
Everytime I read about one of your jobs,
where you give people back their money,
'You crack me up...
(LAUGHS)
Ypu need anything, Gilbert knows how to
find me.
D'Andrea continues to the men's room.
DILLINGER
See you. Gilbert...
CATENA
Good luck Johnnie.
EXT. STREET OUTSIDE RESTAURANT - DILLINGER - NIGHT
comes out onto the sidewalk. Billie isn't there. He searches
the street. She's gone. The night, suddenly cold and lonely,
wraps around Johnny.
CUT TO:
INT. PHONE COMPANY EXCHANGE - PURVIS - DAY
An ENGINEER places headphones on Purvis' ears. Acetate disks
on turntables mounted within giant carrying cases record
phone calls. Cloth insulated wires are strung everywhere.
Stenographers sit with black bakelite headphones.
(CONTINUED)
34.
CONTINUED:
BAUM
That noise on the line? That's called
"swing". Nothing we can do about it. Some
words get dropped. Were listening in on
a car dealer. Harry Berman.
Rice plays back a recording.
VOICE (V.0.)
When you drop it, leave the keys on the
floorboard.
(muffled; then...)
B E RMAN (V.0.)
I got a DeSoto.
VOICE (V.0.)
okay.
BERMAN (V.0.)
The interior's no good.
VOICE (V.0.)
Don't matter. It's a work. car.
BAUM
We think that's Dillinger's voice.
PURVIS
How did we find Berman?
BAUM
Dillinger's coat was bought in Cicero,
Illinois, a few doors from Berman's
dealership. Berman supplies cars to the
syndicate. Since Capone. Dillinger must
have been at Berman's switching cars when
he bought that coat.
(BEAT)
Soon as they call to switch out the next
car, we will tail them. Right to
Dillinger.
EXT. NORTH DEARBORN STREET - JOHN DILLINGER - NIGHT
gets out of his Buick...
INT. STEUBEN CLUB - DILLINGER - NIGHT
enters, sees Billie talking with another hostess, MAY
MINCZELES.
(CONTINUED)
35
CONTINUED:
TWO MEN approach. Billie checks their hats and coats. To
Dillinger...
BILLIE
(without looking up)
May I check your coat, sir?
DILLINGER
No, honey. You go get your coat.
She looks up. So does May. May flashes Billie a look: if you
don't want him, I do.
MAY MINCZELES
Sounds good to me.
Dillinger has eyes only for Billie.
DILLINGER
You ran out on me.
BILLIE
`you left me standing alone on the
sidewalk.
DILLINGER
I 'you're going to be my girl, you have
swear you'll never do that again.
BILLIE
I'm not your girl!
A CUSTOMER comes up and puts his ticket on the counter.
CUSTOMER
Brown overcoat.
BILLIE
(ignoring customer)
I am not your girl and I'm not going to
say that.
DILLINGER
I'm waiting.
CUSTOMER
So am I.
DILLINGER.
(to Billie)
"I am not ever going to run out on you
again." Say it.
(CONTINUED)
36.
CONTINUED: ( 2)
BILLIE
No.
DILLINGER
Well, I will never run out on you. And
that's a promise.
CUSTOMER
Well, I want to run out of here. So,
lady, will you get my coat...?
Dillinger lifts the man two feet off the floor and slams him
into the wall. Real jailhouse rage. The lethally cold eyes
tells the customer everything he needs to know. Dillinger
swings him to the counter, grabs the man's ticket, slams thru
the half door, finds the man's coat, tosses it at him...
DILLINGER
Keep the tip.
(to Billie)
You ain't getting other people's hats and
coats no more either.
He takes her coat and holds it for her. She doesn't move.
BILLIE
No one's ever done that for me before.
DILLINGER
You're with me now.
BILLIE
I don't know anything about you.
DILLINGER
I was raised on a farm in Mooresville,
Indiana. My ma died when I was three. My
daddy beat the hell out of me because he
didn't know no better way to raise me. I
used to do dumb things but I'm a lot
smarter now. I like baseball, movies,
good clothes, fast cars, and you. What
else do you need to know?
She gets into her coat. Dillinger opens the door for her.
They exit, watched by May.
TNT. DILLINGER'S APARTMENT, LIVING ROOM - BILLIE - NIGHT
enters. It's large, low-ceilinged, luxurious and modern ---
Billie is bowled over. He sits her down on a sofa.
(CONTINUED)
37.
CONTINUED:
He goes into a closet to get two Marshall Fields boxes and
two drinks.
BILLIE
You been living here long?
DILLINGER
Yeah. Since yesterday.
From a back bedroom (Red's) a phonograph is louder as a door
opens and Red enters the kitchen in a robe for a drink. He
returns. Laughter. Dillinger has the boxes and drinks.
DILLINGER (CONT'D)
I got something for you.
(BEAT)
What's wrong? Open it up.
Billie opens the boxes. She lifts out a sleeveless dress in
dusty pink. It is beautiful. She is very touched. The second
has a coat with a fur color. But still...
BILLIE
I'm drinking in a man's apartment who
.:W.ants to romance me. Okay. I'm no
"Pollyanna, but there are things that you
Kati would bother a girl like me...
DILLINGER
We`rob banks `cause banks is where they
keep the money. I can make 500 dollars in
a year or I can make ten thousand dollars
in a morning. I'll take my chances on the
bank. No apologies. We don't go lookin'
to hurt anybody. But if somebody gets in
our way, that's gotta be their problem.
That what you want to know?
BILLIE
I'm trying to get to know you.
DILLINGER
You want to get to know me?
INT. APARTMENT, DILLINGER'S BEDROOM - NIGHT
Dillinger is an uninhibited and enthusiastic lover. They
pause.
He falls over onto his back and pulls her onto his chest and
they look up out the window through the upside down elm trees
to the Chicago moon in the cold sky.
(CONTINUED)
38.
CONTINUED:
She gets up and wanders around the room. He thinks she's the
most beautiful creature he's ever seen. She's looking at his
stuff.
She sees suitcases that are packed, ready to leave in a
heartbeat. Everything's so neat. She touches his folded
shirt...
BILLIE
.smooth
DILLINGER
Egyptian cotton. Since we been out I go
for the finest stuff. As much as I can
get, as fast we can get it.
BILLIE
(SUITCASES)
Where you goin'?
DILLINGER
Nowhere. What do you mean?
BILLIE
You're all packed.
DILLINGER
Always are. Ready to get up and go in a
heartbeat...
She stands next to him in the bed now. He pulls her down next
to him.. She turns her good ear towards him.
DILLINGER (CONT'D)
What's wrong with the other ear?
BILLIE
I was married once. He was too handy with
his fists.
She stares at Dillinger. Will this put him off.
DILLINGER
Where's he now?
BILLIE
In prison. I divorced him. Only mistake I
made was marrying him in the first place.
He got caught mugging a mailman...
DILLINGER
A criminal mastermind...
(CONTINUED)
39.
CONTINUED: (2)
She turns over and puts her mouth next to his ear. It gets
amorous through...
BILLIE
After my daddy died, we went to live on
the reservation in Flandreau. In
Flandreau nothin' ever happened.
(BEAT)
When I was 13, we went to live with my
Aunt Ines in Milwaukee where my cousin
Frances had a lot of Indian friends who
went around to churches and put on plays
like "Little Fireface." And nothing
exciting ever happened to me there,
either. So I haven't been anywhere or
done anything in my whole life except
come to Chicago and try to make my way.
DILLINGER
Well baby-you're going to start a new
and exciting kind of life from right now.
And as they're pulled to each other and start making love
again, she stops...
BILLIE
heat do you want?
DILLINGER
To please you.
That's not what she meant, but gently, he rolls her over on
the bed.
A smile spreads slowly across her lips.
!NT. PHONE COMPANY - BAUM/INT. PURVIS' APARTMENT - PURVIS --
NIGHT -- INTERCUT
Baum in his shirtsleeves in front of the recorders is talking
to Purvis as he puts on his coat.
BAUM
Rorer tailed it. Berman dropped it in an
alley next to the Sherone Apartments 20
minutes ago. Rorer talked to a neighbor.
Men go in and out at night carrying heavy
suitcases. One looks like Dillinger.
PURVIS
Let's go. Right now.
They race out.
40.
INT. PURVIS'S PIERCE-ARROW - PURVIS + BAUM
Cowley and Barton join them as they pull to the curb down the
block from the Sherone Apartments. It's an upscale yellow-
brick apartment building with nice cars in front.
PURVI S
Where are your men?
COWLEY
My car's on Sheridan and Montrose and
Rice in the Ford is on Sheridan and
Wilson.
PURVIS
Blocking vehicles? End of this street?
Alley?
They aren't "deployed." They're merely "here". Cowley gets
it. Purvis exchanges a look with Baum, checks his gun.
PURVIS (CONT'D)
Carter, take the back. Barton, you're
with me.
INT. HALLWAY ON THIRD FLOOR - PURVIS + BARTON - NIGHT
enter from the elevator. Soundlessly, they approach'-Apt. 302.
Two voices - a man and a woman's. Barton moves away,Irom the
door...
Purvis knocks. VI SCOTT (27) opens the door. From ier
reaction, she was expecting someone else. She's respectable
and pretty.
PURVIS
I'm Special Agent Melvin Purvis, Miss
Scott. Are you alone?
VI SCOTT
No - my fiance is here.
PURVIS
What's your fiance's name?
VI SCOTT
Leonard... McHenry.
PURVIS
May we come in?
(CONTINUED)
41
CONTINUED:
VI SCOTT
Sure. I'm perfectly safe... But come on
in.
She holds the door open.
INT. APARTMENT 302, LIVING ROOM/DINING ROOM - THEY ENTER
LEONARD is a thin short man at a table finishing dinner. He
is fresh-faced, maybe a junior clerk at an insurance company.
Not John Dillinger...
LEONARD
Something wrong?
PURVIS
You have identification?
LEONARD
Honey, would you get my driver's licence.
It's in my coat pocket.
Leonard sums reluctant to get up. With his right hand, he
takes a forkful of food. His left is under the table. Now, we
see that he:.'s holding...
A COLT 45_.-,AUTOMATIC
Who is this man?
LEONARD (CONT°D)
You're that.. .Melvin Purvis. I've seen
your picture!
PURVIS
What do you do for a living, Leonard?
LEONARD
I travel in ladies shoes.
He smiles at his joke. Vi enters with his wallet. Barton sees
the driver's license.
LEONARD (CONT'D)
Show him, honey.
Vi Scott puts a foot forward - a red shoe with a bow.
PURVIS
Do you carry around samples?
LEONARD
Sure. Big suitcases.
(CONTINUED)
42.
CONTINUED:
PURVIS
(handing back the licence)
Enjoy the rest of your dinner, Mr.
McHenry.
LEONARD
Thanks.
INT. CARPETED HALLWAY ON THIRD FLOOR - PURVIS + BARTON
walk the length of the hall. Vi closed the door behind them.
PURVIS
(LOW)
Its all wrong. No one in or out. I'll
get the others.
(at door to stairs next to the
elevator door)
Stay here, watch that door from right
here.
Purvis leaves. Barton wants to do it right. Then, he hears
movement from Apt. 302. Objects being hurriedly shifted. He
starts back down the hallway. Halfway between it and the
elevator...
PING!
Behind him, the elevator doors open. Barton turns hi.,,back on
Apt. 302. He's caught between 302 and the elevator.-".-
TOMMY CARROLL (38)
a flat-nosed ex-con enters. He looks curiously at Barton.
BARTON
Bureau of Investigation. What's your
name?
(flashes badge)
CARROLL
You wanna know my name?
Barton sees Carroll's eyes flicker, slight smile. He spins...
AN INDIFFERENT "BABY FACE" NELSON
FIRES his .45. BLAM! BLAM!
Barton's slammed forward. Nelson looks at Barton, prostrate,
convulsing. He FIRES a third round.
43
EXT. STREET - PURVIS
PURVIS
Pull the men from Sheridan and Wilson.
PURVIS
-reacting- grabs the Thompson from Madala and runs
back inside.
EXT. SHERONE APARTMENTS - BAUM
runs to the corner of the building where he has a visual on
the building front entrance and the DeSoto down the alley.
INT. THIRD FLOOR HALLWAY - PURVIS
enters, sees...
BARTON
in the final moments of his life. Barton looks up into
Purvis` eyes: Help me!
Purvis does not know what to do. Then Barton's eyes drift
away...
Purvis impels himself to action. He kicks in the door to Apt.
302. �._
INT. APT 30.2 VI SCOTT
screams.
PURVIS
Where is he?!
EXT. SHERONE APARTMENTS - BAUM
sees -
BABY FACE NELSON + TOMMY CARROLL
quickly cross the alley from the back stairs to the Desoto.
And Nelson immediately lays down rounds in careful short
BLASTS of full auto. Tommy Carroll calmly, smoothly starts
the DeSoto. Nelson's barrage punches into the wall, drives
Daum to cover.
INT. SHERONE APARTMENTS - PURVIS
slams open a window. The DeSoto accelerates out of the alley.
Purvis FIRES a few rounds. Baum FIRES his pistol. Both are
useless at that range. The DeSoto has turned left and is
gone.
44.
EXT. SHERONE APARTMENTS -- PURVIS
races in from the front door. Rice and Madala drive up in the
Bureau's armor-plated Ford V-8.
PURVIS
They headed north! The Sheridan Road car?
RICE
That's us. We heard gunfire. So we.
(gets it)
.came here.
They're fucked.
MADALA
Was it Dillinger?
BAUM
No. It was Lester Gillis.
Purvis sinks.
PURVIS
The man we let get away wasn't John
Dillinger.
(BEAT)
It was Baby Face Nelson.
CUT TO:
INT. CENTRAL NATIONAL BANK, GREENCASTLE, INDIANA -- 7ILLINGER,
PIERPONT + MAKLEY - DAY
wearing overcoats and hats with guns tucked inside, all walk
into the bank. Six CUSTOMERS.
TELLER
PIERPONT
Change a. twenty?
Teller looks up at Pierpont but is staring into the 45 cal.
barrel of a Tommy gun while...
DILLINGER
vaults the five foot divider railing and trains two 45s on
the TELLERS.
DILLINGER
Get over to the vault! Everybody! Go on!
(CONTINUED)
45.
CONTINUED:
He herds the tellers over. Pierpont makes customers sit in
chairs. The vault door is already open...
EXT. STREET - RED HAMILTON
in a black Studebaker is double-parked with the engine
running.
ECU: THE GIT,
the detailed map of their getaway route.
HOMER
on Lookout watches the street. Nothing. Dillinger and
Pierpont carrying canvas bags cross through the foreground
as...
INT. STUDEBAKER RED
throws it into gear and they drive away. Homer jumps on the
running board. Dillinger looks over his shoulder. Awestruck
pedestrian. From the other end of Main Street, no pursuit.
CUT TO:
INT. BUREAU OF INVESTIGATION, WASHINGTON - HOOVER - DAY
HOOVER
(into phone)
That was a miserable piece of work.
INT. BANKERS BUILDING - PURVIS - DAY (INTERCUT)
PURVIS
(into phone)
Yes, it was. I take full responsibility,
sir.
Hoover calms for a moment.
PURVIS (CONT'D)
And I'd like to request we hire part time
agents with "special qualifications"...
from outside the Bureau.
HOOVER
I thought you understood what I am
doing...build.ing a department of
professional investigators. Young college
men with law or accounting degrees from
good families. No, you may not go outside
the Bureau, Purvis.
(CONTINUED)
46.
CONTINUED:
PURVIS
The Bureau has used these men before.
HOOVER
They are not our "type."
PURVIS
Our "type" cannot get the job done...
(BEAT)
Without qualified help I would have to
resign this appointment. Otherwise, I am
leading my men to slaughter.
Hoover is backed against the wall. He does not like it.
HOOVER
(dead cold)
Mr. Tolson will call you, Agent Purvis.
PURVIS
Thank you...
(CLICK)
Hoover hung up on him.
INT. UNION STATION (CHICAGO) - A TRAIN - DAY
has pulled into track 16. THREE MEN stand out among--,-
passengers. One's face is obscured by a wide brirmdd`hat.
They are --
CHARLES WINSTEAD, CLARENCE HURT + GERRY CAMPBELL
Stiff from the journey, they stretch, take in the crowd.
Winstead is in his mid 40s, 5 foot 8, body out of steel
cable. Hurt is in his late 30s. These men are ex-Texas
Rangers. Unlike flashier Texan lawmen of the period, they do
not wear Western wear unless they're on a horse. That's for
drugstore cowboys out to impress Easterners. They wear dark
suits and ties and hats. They have "special qualifications."
WINSTEAD
What'd he say he looked like?
HURT
Didn't say.
Their suitcases have been set on the platform. A PORTER
approaches.
PORTER
Gentlemen need a hand?
(CONTINUED)
47.
CONTINUED:
Winstead gestures at their bags and one case. The PORTER goes
to lift the case. It is so heavy he can barely raise it.
Campbell picks up the other end. They toss it on the cart„
PORTER (CONT°D)
Hardware salesmen?
WINSTEAD
That's right.
His terse reply makes the garrulous porter stop talking.
INT. UNION STATION, GREAT HALL - DAY
The Neoclassical hall is enormous. Still no Purvis.
CAMPBELL
I'll call.
HURT
I'm going to the men's room.
Winstead spots a shoe-shine stand. Winstead sits, nods and
the SHOE SHINE MAN begins to polish his Western boots. He's
startled bi:the knife in a sheath built into the right boot.
WINSTEAD
Wcrk around it.
From under the brim of his hat, Winstead glances at big city
life in Union Station. He's an ominous presence.
HEAR the excited roar of a CROWD and we --
CUT TO:
EXT. THE KENNEL CLUB (MIAMI) -- MECHANICAL RABBIT -- DAY
zips along an inside railing under the flawless Miami sky...
SLEEK GREY HOUNDS
race in a pack after it under cumulous clouds and palm trees.
Streamline deco stands are almost filled.
FRANK NITTI
by the railing, watches the race with Phil D'An.drea. As they
begin to walk...
(CONTINUED)
48.
CONTINTJED
NITTI
(business as usual)
I want Johnny Patton out front on the
other four tracks. Tell Adonis. He can
have the parking concessions, and
maintenance.
PHIL D'ANDREA
(NODS)
Annenberg wants to sell you the remaining
equity in General News.
NITTI
How's he doing on the wire service?
PHIL D'ANDREA
Feeding to 300 bookies now. And he came
up with this gimmick called a scratch
sheet.
Another beat. Nitti stops for a beat
NITTI
Its hot out, right?
PHIL D'ANDREA
Yeah, Frank.
NITTI
Ever since those pricks shot me I can't
get warm.
(notices Phil's attention)
What?
PHIL D' ANDREA
Some friends from Chicago in the
stands...
D'Andrea nods. John Dillinger nods back. Nitti glances at
them; glances away.
Dillinger has on sunglasses. Billie is wearing a straw hat.
They are shouting to the greyhounds along with Pierpont,
Homer and Makley and some girls. They have tall drinks. This
is the good life for the privileged few in the middle of the
Depression.
A dog wins; not theirs. It calms down...
DILLINGER
(to Pierpont; business)
Well drive out separately.
(MORE)
(CONTINUED)
49.
CONTINUED: ( 2)
DILLINGER (CONT'D)
Billie and I want to hit the Gulf Coast
on the way to Arizona.
PIERPONT
I want to take 66 and check banks in
Denver and Phoenix. We'll meet you in
Tucson on the 25th.
VAN METER
I think we wore out the Midwest for
awhile.
(BEAT)
I heard one today. Indiana paper.
(LOW)
"Wanted. John Dillinger. Dead or...dead."
(they crack up)
Billie doesn't laugh. Dillinger pulls her close and she can't
resist his good spirits.
D'Andrea's approached...
PHIL D'ANDREA
How d'ya like the track? C'mon to the
Gc: -lonial for steaks tonight.
(writing on a card)
You be our guests...
DILLINGER
Well be there.
PHIL D'ANDREA
(to cocktail waitress)
Whatever these boys want, its on the
house.
He leaves. Pierpont, Makley and Homer go off to place new
bets. Billie looks at Dillinger. Looks away. Dillinger
catches her...
DILLINGER
What?
She is quiet for a moment.
BILLIE
Thank you, thank you for these last few
weeks. I never thought I'd see Florida.
DILLINGER
You going somewhere, doll, am I?
(CONTINUED)
50.
CONTINUED: (3)
BILLIE
It's been, three, four weeks. You'll look
for a change. Or you'll get tired of me.
And then I'll be sad and angry. So I
wanted to say thank you before then...
Dillinger is surprised that her expectations are so low. She
didn't think his interest in her to be more than passing.
DILLINGER
You want to leave?
BILLIE
No. But I'm no fool. I'll be back
checking coats at the Steuben Club.
DILLINGER
Well, I don't want you to leave. So it
won't be that way.
BILLIE
Then it will be another way that's worse.
(BEAT)
You rob banks and you run rings around
them, but you're likely to get killed or,
get shot and...
DILLINGER
Who the hell gave you a crystal ball?!
WILLIE
Well, goddamn it, you don't need a
crystal ball...! Ask Homer.
DILLINGER
Homer what...?
BILLIE
Homer and his damn joke... I don't want
to be around to see any of that. Okay?!
That's what it's about... Dillinger gets it.
DILLINGER
I am not going anywhere! I am going to
die in your arms as an old man when that
time comes. So what do you say about
that?
CLOSE ON BILLIE
Now is the first time she allows herself to have any prospect
about a future with him. It's a shock.
(CONTINUED)
51
CONTINUED: ( 4)
She hikes up her skirt and sits on his lap and smothers him
with a kiss. Her hat falls off. Patrons nearby glance and
look away. Dillinger doesn't give a damn.
A new pack of dogs are about to take flight.
EXT. PHILLIPS GAS STATION - BILLIE WITH A CAMERA -- DAY
(ARIZONA)
A fresh and tanned Dillinger and Billie are in a strikingly
modern gas station on Route 66. Billie helps out a family by
taking their picture with a Kodak Brownie in front of a
Saguaro cactus. Snow-capped Rincon mountains are behind them.
She leans down to play with the round baby. She looks over at
Johnnie and smiles. It breaks his heart.
INT. CONGRESS HOTEL, TUCSON, ARIZONA - ON THE CLERK - DAY
writing into a register. CLERK is a big man and Western
friendly.
CLERK
Mr. and Mrs. Frank Sullivan of Green Bay,
Wd cons in. How was your journey, sir?
DILLINGER
., • ng.
CLERK
I can send up some sandwiches and beer,
if you'd like.
DILLINGER
That would be swell. Some friends of mine
should be here already. J.C. Davies and
Mr. Long?
CLERK
Out shopping, I believe. I'll let them
know you're in when they come back.
Old BELLHOP takes Billie's bag to the elevator. Dillinger
carries his own case.
INT. ROOM 323 - DOOR OPENS
Dillinger tips the bellhop a dollar. Water runs. Dillinger
goes to the window - checks the street, checks for exits in
case of emergency.
DILLINGER
You want company?
(CONTINUED)
52.
CONTINUED:
BILLIE (O.S.)
After.
INT. BATHROOM - BILLIE
in the tub. Dillinger enters --
DILLINGER
First time you ever put me off. You
getting tired of me?
BILLIE
(his answer)
Get in here.
She stretches out and wets her hair. She sits up to reach for
the shampoo. Dillinger's got it and rubs it into her hair.
Dillinger hears something in the street. He goes to the
window and sees a car parked irregularly. TWO MEN get out.
DILLINGER
Get dressed. Right now.
He turns and runs into...
INT. ROOM 323
He's pulling a Tommy Gun out of his case when
CRASH!
THREE MEN burst in. One is the Clerk. He cracks Dillinger
across the head with the stock of his shotgun.
Dillinger falls to his knees. Clerk hits him twice more.
Billie rushes into the room.. She's naked. The two men from
the street haul Dillinger, bloody and semi-conscious, to his
feet and throw him against the wall and cuff him.
CLERK/EYMAN
Put clothes on, miss.
INT. JAIL -- DILLINGER
handcuffed is escorted through the outer cell block. He
reacts. In the opposite direction in shackles
PIERPONT + MAKLEY
escorted by six guards are being moved out of the jail.
(CONTINUED)
53.
CONTINUED:
DILLINGER
What happened?
PIERPONT
Fire in the hotel. Firemen found our
guns. Laid for us! Sorry, John.
DILLINGER
(shouts after them)
Where they taking you?
PIERPONT
(shouts back)
We're getting Shanghaied to Ohio!
DILLINGER
Where's Billie...?
Thenthey're gone. They now move Dillinger through.
COP EYMAN
Your girl's been put on a bus back to
Chicago. We ain't holding her.
INT. JAIL CELL - DILLINGER - NIGHT
is reading "Startling Crime" magazine. He HEARS holding cell
outer doors opened. He looks over.
MELVIN PURVIS
is there. Cowley and Baum are with him. Purvis is brought to
the cell. The COP who brought him goes back to his card game
with four or five Tucson Deputies. We SEE Winstead and Hurt
in their suits and ties are there, too. They lounge at ease.
A Tucson Deputy gives them coffee. Eye contact with
Dillinger.
But Dillinger reacts to Purvis.
DILLINGER
(BEAT)
Well, the man who killed Pretty Boy
Floyd. He might have been "Pretty,"
'cause he sure was not "Whiz Kid Floyd."
Deputies stifle laughter. Dillinger comes up close to Purvis.
They are eyeball to eyeball. Only the bars separate them.
DILLINGER (CONT'B)
(loud, for the cop's benefit)
Now these Arizona boys, here?
(MORE)
(CONTINUED)
54.
CONTINUED:
DILLINGER (CONT'D)
(BEAT)
They pulled on us right out. Didn't ask
Washington for permission. Didn't make
mistakes.
Arizona Deputies enjoy the flattery. Dillinger studies
Purvis...
DILLINGER (CONT'D)
Sorry about that fellow Barton.. .one who
got killed at the Sherone Apartments.
Is he getting to Purvis?
DILLINGER (CONT ' D)
Newspaper said you found him alive. It's
the eyes, ain't it? They look at you
right before they go. Then they drift
into nothing. Keep you up nights.
PURVIS
What keeps you up, nights, Mr. Dillinger?
Now Dillinger reads him like an X-ray.
DILLINGER
(doesn't answer)
You act like a confident man, Purvis. Bu _,
I don't see it. You know a few things.
You're probably okay when there's a group°
of you got the other guy outnumbered. But
death and mayhem up close? I am used to
that and you are not, are you? When it's
toe to toe, "One of us will die right
here, right now," I don't think you got
the get up and go.
Purvis has nothing to say. He stares at Dillinger. Then he
turns to leave.
PURVIS
Goodbye, Mr. Dillinger.
DILLINGER
I'll see you down the road.
From ten feet away.
PURVIS
(QUIETLY)
No you wont. The only way you'll leave a
jail cell is when we take you out to
execute you.
(CONTINUED)
55.
CONTINUED: (2)
DILLINGER
Oh, yeah? We will see about that.
(BEAT)
Go get yourself another line of work,
Melvin.
Purvis gestures for the guards to let him out --
Dillinger lays back down on his cot. The Tucson Deputies
stare after Purvis, one laughs. After a moment...
DILLINGER (CONT'D)
(to Tucson Deputies)
I was joking about the "we'll see about
that." I'll let you boys keep me in this
jail awhile.
COP EYMAN
We'd like that, Johnny, but don't get too
comfortable. They're moving you.
DILLINGER
`Where to?
COP EYMAN
'Indiana.
DILLINGER
why? I have absolutely nothing I want to
do in Indiana.
CUT TO:
EXT. SKY OVER CHICAGO - AERIAL: LOCKHEED LODESTAR LANDING
GEAR - NIGHT
descends. Its 6:10pm on a snowy Tuesday evening, January
30th. Below are dim jeweled street lights in the dark white
snow of the city.
EXT. MIDWAY AIRPORT RUNWAY - LOCKHEED
An assembly of photographers, 85 Chicago P.D. officers and a
crowd have come to greet the biggest celebrity in America.
AS DILLINGER DESCENDS THE AIRPLANE STAIRS
FLASHBULBS POP. Lake County, Indiana PROSECUTOR ROBERT ESTILL
puts Dillinger's jacket over him to guard against the cold.
Two huge Chicago cops put Dillinger into the back of a car.
With outrider motorcycles, the caravan takes off out of the
airport into the snowy night.
56.
EXT. CHICAGO STREETS - CROWDS - NIGHT
crane to see the Dillinger convoy as they hear approaching
sirens. It heads east towards the Indiana border and the town
of Crowne Point.
INT. LAKE COUNTY COURT HOUSE + JAIL -- (CROWN POINT, INDIANA)
- SHERIFF LILLIAN HOLLEY - NIGHT
at her desk when.
DEPUTY
He's here.
A diminutive woman, SHERIFF HOLLEY goes to greet the massive
cops who bring John Dillinger into her reception area and its
crowd of 30 reporters.
SHERIFF HOLLEY
(to reporters)
Back up over there.
Dellinger looks at the crowd. Per the "Chicago Daily News
"His diction was amazing - better in many instances than that
of his interviewers -- his poise no less so... There Was no
hint of hardness about him, no evidence save in the alert
presence of armed policemen that he had spent his formative
years in a penitentiary. He had none of the sneer of-the
criminal... Looking at him for the first time.,.heIates as
the most amazing specimen of his kind ever seen outside of
wildly imaginative moving picture."
SHERIFF HOLLEY (CONT'D)
You can take the manacles off of him now.
REPORTER
Johnny, are you glad to see Indiana
again?
Dillinger's slow charismatic smile...
DILLINGER
About as glad as Indiana is to see me.
Everybody laughs.
REPORTER #2
Did you smuggle the guns into Indiana
State Penitentiary for the big break of
September 26th?
REPORTER
How'd you get them in?
(CONTINUED )
57.
CONTINUED:
DILLINGER
(SMILES)
Right there, you're too inquistive...
PHOTOGRAPHER
Hey Bob...
(to Prosecutor Robert Estill)
Put your arm around Dellinger.
FLASHBULBS POP. They fluster Estill. Dillinger props his
elbow on the prosecutor's shoulder and cracks a broad grin.
The Prosecutor complies. They look like old pals.
REPORTER
When was the last time you were in
Mooresville?
DILLINGER
Ten years ago. I was a boy and foolish. I
held up a grocery store which I never
shoulda done cause Mr. Morgan was a good
man. And they sentenced me to 10 years in
the state penitentiary for a 50 dollar
theft. In prison, I met a lot of good
-t las. I helped fix up the break at
"f chigan City. Why not? I stick to my
friends and they stick to me.
DILLINGER'S EYES
SEE him work the reporters. He knows that they are
sympathetic. He plays them like a champ. The New York Times
called this moment... "a modern version of the return of the
prodigal son."
ANOTHER REPORTER
How long does it take you to go through a
bank?
DILLINGER
One minute and 40 seconds flat.
Dillinger nods and turns away. He - not the Sheriff - ends
the press conference.
TNT. FBI OFFICE - NEWSPAPER PICTURE: PROSECUTOR ESTILL
with his buddy, John Dillinger resting an arm on his
shoulder.
(CONTINUED)
58.
CONTINUED:
HOOVER (O.S.)
Why is this clown Estill fraternizing
with the man he is scheduled to
prosecute?!
REVEAL we are in Hoover's office.
INT. LAKE COUNTY CRIMINAL COURT BUILDING - LOUIS PIQUETT -
DAY
LOUIS PIQUETT - a former bartender and Chicago gangland's
melodramatic mouthpiece - is escorted to the cellblock by
jailor LEWIS BAKER.
INT. UNOCCUPIED OPEN CELL
Dillinger's waiting for him. Dillinger holds Piquett's
business card. They shake hands.
DILLINGER
You come highly recommended by Alvin
Karpis. What can you do for me?
PIQUETT
What's on your mind?
DILLINGER
The electric chair.
There's none of Dil linger's cocky joie de vivre. Thaw-'s for
reporters.
INT. LAKE COUNTY COURT - JUDGE MURRAY - DAY
is on the bench. Dillinger is shackled to his chair.
The courtroom is packed. Walls are lined with deputies
holding rifles. Reporters scribble. The gavel quiets the
crowd.
PIQUETT
(on his feet)
Your honor! Are we to have a hearing in
accord with the laws of this nation, or
is the State to be permitted to incite an
atmosphere of prejudice? The very air
reeks with the bloody rancor of
intolerant malice. The clanging of
shackles brings to our minds the dungeons
of the Czars, not the flag-bedecked
liberty of an American courtroom. I
request the court to direct that those
shackles be removed forthwith!
(CONTINUED)
59.
CONTINUED:
ROBERT ESTILL
This is a very dangerous man, your Honor.
DEPUTY HOLLEY
(Lillian Holley's nephew)
And I'm responsible for the safeguarding
of the prisoner.
P IQUETT
Who are you?! Are you a lawyer? What
right have you to address this court?
JUDGE MURRAY
Alright, remove the handcuffs from the
prisoner.
ROBERT ESTILL
Your honor, we'd like to relocate the
prisoner. Only Indiana State Prison in
Michigan city can guarantee Dillinger
will not escape.
JUDGE MURRAY
Sheriff Holley?
SHERIFF HOLLEY
I concur, your honor.
PIQUETT
Sheriff Holley, I think it's a very nice
jail you have right here. What makes you
think there's anything wrong with it?
SHERIFF HOLLEY
There isn't anything wrong with my jail!
It's the strongest jail in Indiana.
PIQUETT
That's what I thought. But of course, I
don't want to embarrass Mrs. Holley. I
appreciate that she's a woman and if
she's afraid of an escape...
SHERIFF HOLLEY
I'm not afraid of an escape. I can take
care of John Dillinger or any other
prisoner.
JUDGE MURRAY
Okay, Dillinger will stay here.
Dillinger's staying in crown Point. Dillinger's relieved.
(CONTINUED)
60.
CONTINUED: (2)
PIQUETT
Thank you, your Honor. The Defense will
need four months to prepare itself.
ROBERT ESTILL
It should take 10 days.
PIQUETT
To go on trial in 10 days would be a
legal lynching of this lad! There's a law
against lynching!
ROBERT ESTILL
There's a law against murder!
PIQUETT
Then observe the law part. Or just stand
Dillinger against the wall and shoot him.
Then, there's no need to throw away the
State's money on this mockery.
JUDGE MURRAY
(to both lawyers)
Calm down.
PIQUETT
I apologize to the court.
(indicating Estill)
Bob and I respect each other very much.
JUDGE MURRAY
(warns Estill)
Watch out or he'll be putting his arm
around you, too.
Laughter ripples.
JUDGE MURRAY (CONT'D)
The trial starts in one month on March
12th.
DILLINGER as he stands, handcuffs are reapplied. He leans to
Piquett, whispers.,.
DILLINGER
Atta boy, counsel.
E/I. LAKE COUNTY JAIL - MORNING
SAM CAHOON,, a 64-year-old janitor, trots through the rain and
into the jail. He shakes the rain from his coat, waves to a
GUARD and passes through to the
(CONTINUED)
61.
CONTINUED:
CORRIDOR
It runs the length of the jail. At the far end is the barred
door to the criminal cell block.
INT. CRIMINAL CELL BLOCK
Cahoon gathers his mops.
CAHOON
Bryant!
GUARD BRYANT pulls a lever, opening the cells in the cell
block.
Dillinger and 14 PRISONERS step out of their cells, free to
roam the corridor behind the barred cell-block door. Cahoon
and TWO TRUSTEES, carrying boxes of toilet paper, soap and
Dutch cleanser, enter.
Dillinger jabs something in Cahoon's belly. Cahoon gets a
glimpse: it's a small black gun.
DILLINGER
-Cpme on, Sam, we're going places.
A hulking black prisoner, HERBERT YOUNGBLOOD, holding a
length of ipe, materializes next to Dellinger and ushers
Bryant and the Trustees into an empty cell. Youngblood pulls
the lever, locking the cells.
DILLINGER (CONT'D)
Boys, get in there.
Dillinger, Youngblood and Cahoon set off down the corridor.
INT. LAKE COUNTY JAIL, CORRIDOR - DILLINGER
DILLINGER
Call the warden.
CAHOON
Warden! Warden? Come on back!
Warden LEW BAKER emerges from the office. Dillinger raises
the gun.
WARDEN BAKER
That ain't real.
DILLINGER
Anything you say.
(CONTINUED)
62.
CONTINUED:
Dellinger grabs him by the shirt, spins him round and jams it
under his chin.
INT. LAKE COUNTY JAIL, WARDEN`S OFFICE - FOUR GUARDS
look up, startled.
DILLINGER
No one move or I'll plug the warden.
Dillinger grabs two Tommy guns. Youngblood starts tying up
their prisoners. Baker stares at Dillinger's pistol.
WARDEN BAKER
I was right, wasn't I? It's not real.
INT. GARAGE
at the rear of the jail. A mechanic named EDWARD SAAGER is
hunched over the engine of a 1927 Nash when he feels
something shoved into his back. He turns to see
DILLINGER
Alright, which of these here cars is the
fastest, and you're going with, so don't...
lie.
SAAGER
That would be the Ford in the corner.
It's got the new V-8.
DILLINGER
We're taking that.
SAAGER
(HESITATING)
That's Sheriff Lillian Holley's personal
car.
That even more highly recommends it. Dillinger starts ripping
ignition wires out of the other cars. Dillinger, Youngblood,
Deputy Sheriff Blunk, and Saager are herded into the
Sheriff's Ford V-8.
EXT. CROWN POINT MAIN STREET - FORD V-8 - DAY
with Dillinger driving. Youngblood's in the backseat covering
Saager + Deputy Sheriff Blunk. They cruise out of town.
INT. HOLLEY'S FORD V-8 - YOUNGBLOOD
YOUNGBLOOD
We got a car following.
(CONTINUED)
63
CONTINUED:
Youngblood shoves the Thompson out the window and fires some
rounds. Meanwhile, Dillinger floors it, The V-8 roars,
rockets them ahead.
DILLINGER
(re acceleration)
Wow. Mr. Youngblood, are we clear now?
YOUNGBLOOD
We are.
DILLINGER
okay, folks.
Dillinger checks his rearview mirror, then the speedometer.
He's impressed.
DILLINGER (CONT'D)
(addressing the two hostages)
I'm going to write to Henry Ford. "Dear
Henry Ford, Your 1934 Ford is the best
damned getaway car in America. Yours
-truly, John Dillinger."
(eyes tense hostages)
Relax folks...
Dillinger ajoys the speed. He starts to hum. Then...
DILLINGER (CONY°D)
Okay. Who knows The Last Round-up?"
(SINGING)
"Get along little doggie, get along.."
INT. J. EDGAR'S OFFICE - RADIO
Only Tolson and J. Edgar Hoover are there.
REPORTER
How did he act?
DEPUTY SHERIFF SLUNK
Well...he sang part of the way.
REPORTER
What did he sing?
DEPUTY SHERIFF SLUNK
You know The Last Round-up."
(half-sings "The Last Round-
UPS= )
"Get along little doggie, get along...
(CONTINUED)
64.
CONTINUED:
NARRATOR
(Lowell Thomas voice)
As John Dillinger escaped from the Crown
Point jail ...or as folks now call it, the
"Clown Point Jail"...he appears immune to
the forces of law. And commenting in his
fireside address on March 5th, 1933...
FDR
The Federal government, you know, cannot
be held up to mockery in this way...
Hoover is rocked. It's as if FDR is saying Hoover is the man
responsible for the federal government being mocked...
NARRATOR
(pause; heraldic music)
Meanwhile, the Emperor Haile Selassie.
CUT TO:
INT. WALGREENS DRUG STORE, GARY, INDIANA - PHONEBOOTH:
DILLINGER
watches cars, people, then.
DILLINGER
(into the phone)
It's me, Baby.
INT. WILLIE'S FURNISHED APARTMENT - NIGHT
It's basic, the furniture is worn. Billie clutches the phone
to her ear.
DILLINGER (PHONE)
I can't talk long. Are you okay?
INT. TELEPHONE EXCHANGE
Baum is listening intently to John Dellinger. An acetate disc
turns. The stylus cuts. Agent Madala is calling Billie's
local exchange to see if the operator can trace the call.
INT. BILLIE'S APARTMENT - BILLIE
BILLIE
Don't come to Chicago.
INT. ROOM IN TELEPHONE EXCHANGE - BAUM
DILLINGER (O.S.)
I promised I'd look after you, didn't I?
65.
TNT. WALGREEN'S DRUG STORE - DILLINGER
Intercut Dillinger and Billie.
BILLIE
Yes.
DILLINGER
And you believe me, don't you? You know I
will look after you.
BILLIE
Yes.
DILLINGER
Say it. Say you know it.
BILLIE
Don't come to Chicago, Johnnie.
DILLINGER
Say it.
BILLIE
know you will look after me.
DILLINGER
love you, Baby.
Dillinger ends the call. Hamilton waits in a Hudson at the
curb.
INT. TELEPHONE EXCHANGE
Madala shakes his head - no trace.
I/E. PURVIS'S PIERCE-ARROW - ACROSS FROM BILLIE'S APARTMENT
BUILDING - ON PURVIS
With Baum.
PURVIS
She knows we're watching and he knows
we're listening.
CUT TO:
EXT. CAROLE SLAYMAN'S WHOREHOUSE, REAR YARD - DILLINGER
drives the '34 Ford. Next to him, now, is Red Hamilton. The
' 34 Ford drives into the backyard. Johnny's out and
approaching the rear door, his jacket over his right arm
partially hiding the Thompson. He's glad to be back...
(CONTINUED)
66
CONTINUED:
DILLINGER
(big smile)
Hiya Sport.
SPORT
How're ya doin' Mr. Johnny? You gotta
hold it right there...
Where's the warm welcome...?
DILLINGER
Where's Carole?
SPORT
They got moved to Newport, Kentucky.
(BEAT)
Can't stay here no more, Mr. Johnny.
The smile falls off Dillinger's face.
DILLINGER
Says who?
INT. KITCHEN - MARTIN ZARKOVICH
makes himself visible in the doorway. Unseen are two big cops
with shotguns who stay hidden inside.
ZARKOVICH
(moves into doorway)
Sport's only following orders. So am I.
He demonstrates that his palms are empty. He's smart enough
not to be armed.
ZARKOVICH (CONT'D)
They thought you might come here.
Zarkovich is nervous. Dillinger reaches for his front pocket.
ZARKOVICH (CONT ` D )
Your money is no good.
DILLINGER
I don't get it.
ZARKOVICH
You go talk to your pal, Gilbert.
DILLINGER
About what?
(CONTINUED)
67.
CONTINUED:
ZARKOVICH
Talk to Gilbert Catena.
Dillinger, not taking his eyes off windows and doors, backs
away. He knows there are more men. Zarkovich is nervous and
frozen because...
RED HAMILTON'S
front sight rests on Zarkovich's heart which he would blow
out the back of his chest with the souped-up 351 Winchester.
Now, Dillinger pulls the '34 Ford out of the backyard with
Red still on the running board. Zarkovich almost faints in
relief.
CUT TO:
EXT. BRICK STREET IN KANKAKEE, ILLINOIS - THE '34 FORD - DAY
pulls to the curb. Weeds. Vestiges of prairie. An old house
sits at the back of a lot. A workshop is near the road. A
sign says '�Lieboldt Repair."
FRONT DOOR;.:.:- DILLINGER
on the bel,:,
,A worn-looking woman answers. She is HARRIET
LIEBOLDT.
DILLINGER
We're looking for Oscar...is he home?
MRS. LIEBOLDT
I'm Mrs. Lieboldt. And he ain't home.
He's dead.
Johnny glances at Red.
DILLINGER
I sure am sorry, ma'am. Was it an.
accident?
MRS. LIEBOLDT
He accidentally got in the way of a
shotgun when it was going off. What do
you want?
DILLINGER
Oscar had "tools" of mine, he was
repairing them.
(CONTINUED)
68.
CONTINUED:
MRS. LIEBOLDT
Everything that was here? Those people
took it all away. It ain't here no more.
CUT TO:
INT. KEDSIE AVENUE CIGAR STORE - GLASS DOOR
slams open. Dillinger and Red enter. Red throws two customers
outside, closes the door, flips the sign to CLOSED. Dillinger
confronts Gilbert Catena with a 45 pulled from one of two
shoulder holsters and dead centered on Gilbert's forehead.
DILLINGER
I went to East Chicago to lay low. The
welcome mat was not out. And I kept
hearing your name.
(BEAT)
Then at Oscar's, my gear is gone.
The deadly look in Dillinger's eyes leaves no mistake.
DILLINGER (CONT°D)
I am going to ask you once.
(BEAT)
And I just did.
GILBERT
Let me make a telephone call.
Dillinger nods.
GILBERT (CONT'D)
(into phone)
Gimme Phil...
(BEAT)
He's downstairs.
He hangs up. He gestures to a doorway and stairs leading to
the second floor. Johnny and Red throw Gilbert up the stairs
first.
INT. SECOND FLOOR - GILBERT, DILLINGER + RED - DAY
enter. They see office remodeling in progress. FIVE
TECHNICIANS run wires, installing phones. EIGHT CLERKS with
shades on and ledgers man phones. Other men are looking over
blueprints. They look up. They are Jake Guzik and his
brother, Phil D'Andrea and seven or eight assorted Syndicate
soldiers.
FOUR HEAVYSET SOLDIERS
(CONTINUED)
69.
CONTINUED:
come forward to frisk Johnny + Red. They gesture for them to
open their coats to allow the search.
D'ANDREA
(irritated; to Catena)
Anybody see him come in?
GILBERT
I don't think so.
SOLDIER ONE. Dillinger turns the man, slams a knee into his
kidney, pulls him back off balance, holds him up with one 45
under his jaw, as he draws the second 45 and sweeps the
group...
DILLINGER
Wanna know if we're armed? Were armed.
He dumps this guy on his ass, his heavy shoe an ounce from
crushing his larynx. Red's two Thompsons concealed on
shoulder straps are out from under his coat. Frozen time.
Phil D'Andrea sits on the corner of a table. Only he stays
relaxed.
D'ANDREA
k around, Johnny. What do you see?
1 1 DILLINGER
A`lot of telephones.
D'ANDREA
You see money. Before last month there
were independent wire services letting
bookies know who won the third race at
Sportman's Park. 300 of 'em. Now there's
only one. Ours. General News. Nationwide.
On October20, you robbed the bank in
Green Castle, Indiana. You got away with
$74,802. Split 5 ways, that's $14,960.40.
You probably thought that was a big
score.
Dillinger stares at him. Where's this going?
D'ANDREA (CONT'D)
(indicates the room)
This room makes that much every day. That
is how money gets made. And it keeps
getting made, day after day after day. It
is a river of money. Flowing right to us.
And it gets deeper and it gets wider.
(BEAT)
Unless the cops come through that door.
(CONTINUED)
70.
CONTINUED: (2)
DILLINGER
But they won't.
D'ANDREA
That's right. We pay them not to. Unless
they know you're here. Then they come
through the door, no matter what.
(BEAT)
What does that tell you?
DILLINGER
I'm popular.
D'ANDREA
You're bad for business.
What this is, is called obsolescence.
D'ANDREA (CONT'D)
So the Syndicate got a new policy,
Johnny.
(BEAT)
Guys like you? We ain't laundering your
money or bonds no more. You ain't holing
up in our whorehouses anymore. No
armorers. No doctors. No nothing.
(BEAT)
That's the way it is.
D'Andrea comes closer to him.
D'ANDREA (CONT'D)
And I am a messenger. This is business.
(QUIETLY)
Between us...
He reaches into a pocket for cash.
D'ANDREA (CONT'D)
You need something to tide you by in case
you're short?
Dillinger and Red's looks say it all. They start out.
D'ANDREA (CONT'D)
Okay-but can you do me a personal
favor?
Dillinger hesitates.
D'ANDREA (CONT'D)
For my son, Mark. You're his hero.
(CONTINUED)
71.
CONTINUED:( 3)
D'Andrea pulls out piece of paper and a pen. Dillinger looks
at him like he's crazy. Then he signs the autograph.
D'ANDREA. (CONT'D)
Good luck to you. You too, Red.
TNT. CIGAR STORE - DILLINGER + HAMILTON
cross through.
HAMILTON
Why'd you sign that asshole's paper?
DILLINGER
I don't know.
EXT. JUSTICE DEPT. BUILDING + STAIRCASE - PURVIS WAS KEPT
WAITING. HE NOW JOINS HOOVER + SUYDAM
who are briskly exiting the building. Hoover's angry. His
voice is clipped and rapid-fire.
HOOVER
...they call Crown Point, "Clown Point."
,,.,The Bureau of Investigation cannot catch
""Public Enemy No. 1, but Arizona cowboys
z�. The President of the United States
-s'aid Dillinger is making a mockery of the
system of justice in this country. That
means I am allowing Dillinger to make a
mockery of the system of justice in this
country. It is a dark cloud. There is a
silver lining in that cloud. By escaping,
John Dillinger has given us a second
chance to get John Dillinger.
(BEAT)
Hamilton has a 17 year old sister in
Detroit. Arrest her. Dump her in the
tank. Pick up all known Dillinger
associates. Doctors. Question family
members. Pierpont's mother in
Indianapolis. Dillinger's family in
Mooresville. Foreigners. We suspect all
of them of harboring...
PURVIS
Hamilton's family hasn't had word from
him in years ...
HOOVER
That's the point. Motivate them to get
"word." Create informants, Agent Purvis.
(MORE)
(CONTINUED)
72.
CONTINUED:
HOOVER (CONT'D)
I want suspects interrogated
"vigorously." "Grilled." No misplaced
sentimentality. As they say in Italy and
elsewhere these days..."take off the
white gloves."
By this point, they're down the Justice Department staircase.
Purvis is dismissed. Hoover steps in front of a...
MOVIETONE NEWS CREW
where 35 boys, aged 12-15 have been waiting in a line. High
voltage enthusiasm suddenly imbues Hoover.
HOOVER
What's your name, son?
HARRIS
Harris.
The cameras roll.
HOOVER
(turning to camera)
G-Men all over the country have picked up:
the gauntlet flung down by the outlaws
and wanton murderers. And these junior
crime fighters, these junior G-men...
COLOR DESATURATES into BLACK + WHITE. We don't kno °why.
HOOVER (CONT'D)
(CONTINUING)
.every one of them., stopped some crime
from occurring and forestalled an entry
into the black book of criminal deeds. I
am rewarding them with these medals
today. My friend, Harris here, is the
first...
Hoover pins the first medal on Harris.
And OVER that we HEAR OFFSCREEN...
DILLINGER (O.S.)
(LOW)
You can size up a score like nobody's
business, Tommy. You're a good egg, but I
don't like Nelson.
WHY IS JOHN DILLINGER'S VOICE HERE?
BLACK + WHITE OF HOOVER
(CONTINUED)
73.
CONTINUED:
cuts to photograph of...
BLACK + WHITE PRETTY BOY FLOYD,
bullet-ridden on a slab in a morgue. And we HEAR..
MOVIE ANNOUNCER (V.O.)
(BOOMING)
Pretty Boy Floyd. He thought he could
lead a life of crime with impunity...
PULL BACK to reveal. .JOHN DILLINGER. We are in...
INT. MOVIE THEATER - DILLINGER'S
listening to Tommy Carroll. Next to Dillinger in the row is
Red.
TOMMY CARROLL
(WHISPERS)
You got Lester wrong. He thinks the world
of you. Whole country thinks you're a
hero.
Beyond their on the screen Pretty Boy Floyd`s face is replaced
by Harry P e rpont's mug shot.
Now, SHOUSE,enters and sits next to Tommy. We haven't seen
him since Johnny threw him out of the car in Indiana. He
holds out his hand...
SHOUSE
(WHISPERED)
Johnny, willing to let bygones by
bygones...
Nothing from Dillinger. On the screen now is Pierpont's
image.
MOVIE ANNOUNCER (V.O.)
(BOOMING)
Recently convicted of murder in Lima,
Ohio and sentenced to die in the electric
chair is John Pierpont...
CARROLL
John, we gotta all be friends or this
ain't gonna work.
DILLINGER
Red told you. After we take the bank, we
bust out Pierpont and Makley.
(CONTINUED)
74.
CONTINUED:
SHOUSE
They got the prison surrounded by
National Guard...
MOVIE ANNOUNCER (V.0.)
And Director J. Edgar Hoover would like
you in the audience to help us
apprehend... Public Enemy #1.
NOW ON THE SCREEN: JOHN DILLINGER
The men freeze.
MOVIE ANNOUNCER (V.O.) (CONT'D)
.Dillinger is thought to be in Indiana
or Illinois and has been known to travel
with this man. Look around you, ladies
and gentlemen...
Red Hamilton's photo. Shouse tries to rise. TOMMY slams him
back into his seat.
HAMILTON
Oh Jesus...
Now the LIGHTS come up!
MOVIE ANNOUNCER (V.0.)
They may be sitting right next to you!
Turn to your right and turn to your
left...
Audience turns right and left. Dillinger and Hamiltn and
Tommy turn their heads, too, searching for desperadoes.
JOHN DILLINGER
The exposure is so outrageous it makes Dillinger laugh out
loud. That makes the people all around talk and joke.
DILLINGER'S HAND
grips his45. Shouse is grey with fear. Houselights darken.
Finally, Looney Tunes starts. Daffy Duck.
CARROLL
(LOW)
After the bank we'll figure out if we can
bust out Pierpont and Makley...
(CONTINUED)
75.
CONTINUED: ( 2)
HAMILTON
Shouse, you step out of line one inch and
and I will kill you. Then I will kill
your parents for having had you. Then I
will kill their pet dog.
DILLINGER
Where's the bank?
CARROLL
Sioux Falls. Nelson says there's $800,000
in there. He got us a great place to hole-
up after 'til the heat blows over.
DILLINGER + RED
walk up the aisle to CAMERA. Cartoons continue behind them.
HAMILTON
"Don't work with people you don't know
and don't work when you're desperate."
Walter Dietrich. Remember that?
DILLINGER
Walter forgot ...when you're desperate,
'f iat's when you got no choice.
INT. LOBBY` SECURITY NATIONAL BANK & TRUST COMPANY (SIOUX
FALLS, SOUTH DAKOTA) - NELSON - DAY
throws open his overcoat, draws his Tommy gun and FIRES a
burst into the ceiling, bringing down plaster and light
fittings. EMPLOYEES AND CUSTOMERS panic.
BABY FACE NELSON
Everyone on the floor! This is a hold-up.
DILLINGER
(passing Nelson)
You're turning it into a circus! What the
hell are you doing?
Meanwhile, a terrified CLERK presses a button and the alarm
rings loudly outside.
BABY FACE NELSON
(RANTS)
I'd like to know who set that alarm off.
Who the hell did it? Who?
Dillinger and Red get to the BANK PRESIDENT and shove him
towards the vault. Nelson is working himself into a frenzy.
He points his gun at one terrified Customer after another.
(CONTINUED)
76.
CONTINUED:
BABY FACE NELSON (CONT'D)
If you want to get killed, make a move.
What about you? How about you?
VAULT
Its a lot less than $800,000.
DILLINGER
Where in the hell's all the big money?
OUTSIDE THE BANK
A traffic cop, ROGER POWERS, runs up. Van Meter surprises and
disarms him in classical fashion, but...
LOBBY
Through the window Carroll sees a motorcycle cop, HALE KEITH,
arrive outside. Nelson scrambles onto a desk and FIRES a
burst through the plate glass.
BABY FACE NELSON
I got one, I got one! I got a cop!
VAULT - ON DILLINGER
can't believe this is fucking HAPPENING.
EXT. THE SECURITY NATIONAL BANK & TRUST COMPANY
Dillinger and Hamilton emerge with the Bank President, FOUR
TELLERS for a scrum of hostages. Carroll and Nelson,,:.,have a
ragtag bunch. They're almost at the car. Nelson turns to the
onlookers.
NELSON
What are you looking at?
Nelson FIRES over their heads. Hostages scream and try to
break loose. Nelson advances on the crowd...
Out of a JEWELRY STORE, HARRY BERG, emerges and fires at BABY
FACE NELSON, who is wearing a bullet-proof vest. Nelson
sprays the area. Berg dives back in his store, BYSTANDER,
JACOB SOLOMON, is hit in the stomach and crumples. Delay
allows...
EXT. ROOFTOPS ACROSS THE STREET -- DEPUTY
with a 44-40Winchester gets a bead on
DILLINGER
(CONTINUED)
77.
CONTINUED:
He squeezes off a ROUND. The shot hits Dillinger in the back
of the left shoulder and exits his upper arm.
DILLINGER
Son of a bitch!
BANG!
The second shot hits Carroll in the head, knocking off his
hat. Dillinger fires up at the DEPUTY, tries to lift Carroll,
blood gushes from his head. He appears to be dead. Dillinger
leaves him.
Sixteen year old, JOE PAWLOWSKI -- fueled by adrenaline, runs
across the street and jumps onto Nelson's back. Nelson,
screaming with rage, throws him through a plate glass window,
FIRES two rounds and runs to join the others -- PURE CHAOS.
Dillinger throws Nelson in the car.
THE HUDSON
surges forward. The car proceeds to an intersection and
stops.
DILLINGER (CONT'D)
m.on!
Shouse cant find his place on the.git.
HAMILTON
Right! Goddamnit! Right!
As Shouse makes the turn...
INT. FORD, TRAVELLING - DILLINGER
grimaces with pain. Hamilton helps him off with his overcoat.
EXT. LITTLE BOHEMIA - FORD - TWILIGHT (LATER)
pulls in. Its a tourist lodge -a two-story log cabin with a
bar, kitchen and dance floor downstairs and bedrooms above.
EMIL WANATKA, comes out, trailed by his two collies and
Nelson's girlfriend, Vi Scott.
DILLINGER
How'd you find this place?
Dillinger looks at Wanetka. He's uneasy. He trusts nothing
about it.
(CONTINUED)
78.
CONTINUED:
NELSON
Couple of Chicago guys told Tommy. Don't
worry, nobody's gonna find us. He thinks
were salesmen.
INT. DILLINGER'S ROOM - MONEY - NIGHT
being counted.
DILLINGER
How much?
Nobody wants to answer. Hamilton meanwhile uses Atropine
sulphate to clean Dillinger's wound.
BABY FACE NELSON
$46,120.
DILLINGER
That would be less than $800,000, right?
Right!
VAN METER
Still more than $8,000 a man.
DILLINGER
Leave my money and get out.
Van Meter, Nelson and Shouse exit.
DILLINGER (CONT'D)
We gotta cut loose from Nelson.
HAMILTON
You need to rest up awhile.
DILLINGER
No. We don't get out of here in the
morning, we're going to wind up dead.
HAMILTON
We could head to Reno...
Dillinger lies back in bed, looks around the room, angry and
frustrated. Hamilton gets up to leave...
DILLINGER
I need two more guns, Red.
OVER we HEAR the SOUND OF SOMEONE SCREAMING and CALLING OUT --
79.
INT. SIOUX FALLS HOSPITAL - TOMMY CARROLL - NIGHT
in the bed, his head swathed in bandages. He lapses in and
out of consciousness, thrashes with pain, shouting out.
WERE ACUTELY AWARE OF PURVIS.
Uncomfortable, Purvis stands apart from the others. Agents
Rorer and Clegg are by the bedside.
CARROLL
Gimme the shot, Doc. Please. I'm begging
you.
RORER
Not until you tell us!
As the pressure inside his skull becomes unbearable --
CARROLL
Oh, Mother! Help me! Please, God!
He begins to scream. It is harrowing. A DOCTOR hurries into
the room, Purvis blocks him from the patient. He shoves him
back out the door and follows him...
DOCTOR
(spits it out, fury)
T h e bullet entered the back of his head.
It is resting over his right eye. His
brain is swelling. He will be dead soon.
He is suffering and I need to sedate him.
PURVIS
Not yet. If you interfere, I'll arrest
you.
From inside.
RORER
Where is he?!
CARROLL
Give me a shot!
RORER
Di.llinger! Then you get the shot! Where
is he?
The Doctor looks at Purvis. Purvis remains steadfast. But we
see Purvis struggling with this. Maybe his soul has just gone
to hell.
(CONTINUED)
80.
CONTINUED:
Rorer hovers over Tommy Carroll. He blocks our view but his
hands press down onto Carroll's skull. Screaming.
The Doctor walks away. He will not be a witness to torture.
More screaming.
CLOSE ON PURVIS: looks up to see Rorer looking at him. Rorer
is sweating. He nods. He has an answer.
INT. SIOUX FALLS AIRPORT - NIGHT
Urgent activity, Purvis, Baum and Winstead are racing. In the
background, Rorer is on the phone. Hurt is checking weapons
and ammo. A charter Ford Trimotor's engines rev.
RORER
(into phone)
.place is called Little Bohemia in
Manitowish, Wisconsin.
PURV I S
What's the nearest airport to Manitowish?
RORER
Rhinelander.
INT. BANKERS' BUILDING, OFFICE - COWLEY - NIGHT
listens. Agents are throwing on coats, grabbing greiades,
steel vests, Tommy guns.
PURVIS (O.S.)
Our group will fly down in the plane.
(to Cowley)
Sam, you drive up.
COWLEY
(RECITES)
Little Bohemia. Manitowish, Wisconsin.
INT. LITTLE BOHEMIA, DILLINGER'S ROOM - DILLINGER - NIGHT
looks at
THE COURTYARD
fifteen feet below, which is lit up. Dillinger positions a
Winchester..351 autoloader next to the window. Moves stiffly
across the room to the other window...
A DROP FIVE FEET ONTO A LOWER ROOF -
(CONTINUED)
81.
CONTINUED:
Dillinger positions a Thompson on the window sill. Then he
turns on the radio and tries to sleep.
EXT. PINE WOODS - TWO BUREAU HIRE CARS - NIGHT
approach the lodge and stop 300 yards away. No lights.
Purvis, Baum., Winstead, Hurt and Agents Rice and Rorer get
out and whisper:
PURVIS
If you can get Dillinger alive, do it. If
not, then you put him down. Rice, Rorer -
take the back. Carter, you cut through
the woods and come up on the front from
the northwest. Get up close enough to see
if they're in the barroom.
WINSTEAD
If he is?
PURVIS
We know where he is. We go in.
WINSTEAD
If he isn't?
PURVIS
o in anyway.
WINSTEAD
Too much real estate out here. Too many
ways for'em to get out. And too few of us
to blockade 'em in.
(BEAT)
We need road-blocks. An assault plan.
This ain't how to do it. We gotta wait
for Cowley's group...
Purvis hesitates. Then.
PURVIS
I will not risk them escaping and
humiliating us. Take the southwest
corner. Cover that and the front.
(to Hurt)
Block the road we came up --
Winstead has to accept this. He is not happy.
Baum moves off through the woods. As Winstead and Hurt start
to move off...
82.
EXT. LITTLE BOHEMIA LODGE - THREE LOCAL MEN, CCC WORKERS
enter from the barroom. They seem relieved to be away from
the garrulous Nelson. They get into the Chevrolet and start
the engine. Turn on the radio. Loud. Collies begin to bark.
INT. BARROOM - NELSON
hears the dogs barking.
EXT. LITTLE BOHEMIA LODGE - CHEVROLET
engages first gear.
PURVIS
Stop that car! Federal Agents!
INT. CHEVROLET - NIGHT
The three men inside cannot hear them. They're loaded. Their
radio is BLARING.
EXT. LITTLE BOHEMIA LODGE - NELSON
appears in the front doorway, gun in hand.
CARTER BAUM
in the woods sees the armed man framed in the doorwa
BAUM
(shouts out)
Bureau of Investigation, nobody move!
Chevrolet slowly starts towards Purvis and the others --
PURVIS
Police! Stop!
(HEAT)
Fire!
Purvis and from the woods Baum open up. Agents Madala, and
Clegg FIRE as well.
CLOSE ON CHEVROLET
takes hits from the Agents' tommy guns. Glass shatters, tires
explode. It stops, dead. Meanwhile...
WINSTEAD + HURT
deeper in the woods, cover the side windows from where they
know gunfire will soon erupt. It DOES as...
83.
INT. BARROOM - NELSON
and the others inside are FIRING out windows, killing lights.
EXT. WOODS - WINSTEAD + HURT
FIRE only on windows from which they see muzzle flashes.
INT. DILLINGER'S ROOM - DILLINGER + HAMILTON
at Dillinger's window, exchange furious fire with Rice and
Rorer at the side of the lodge, forcing them back behind out
buildings. Splinters fly. Glass shatters. Gunsmoke is thick.
EXT. LITTLE BOHEMIA, BARROOM - NELSON, SHOUSE + VAN METER
fire back, forcing Purvis to cover.
PURVIS
Where the hell is Cowley?
Purvis - low - runs to the Chevrolet, opens the door. The
driver and one passenger are dead. A middle aged, unarmed man
steps out. Bullets zing around him. He promptly sits down on
the ground.,, dead drunk. These are not Public Enemies.
THE TEXANS
UNLOAD only on real targets. Bullets CUT through the trees.
SHADOWY FIGURE
darts from a side door and leaps over the porch FIRING a
Tommy gun. Bullets strike the trees around Purvis.
BAUM
Someone got out!
PURVIS
Is it Dillinger?
BAUM
I think so.
PURVIS
See if you can head him off. Go!
Purvis runs into the woods after the fleeing figure. Carter
Baum races off in a car.
84.
EXT. PINE WOODS - PURVIS
runs hard, glimpses the figure. He FIRES but misses, keeps
running, desperate...
INT. LITTLE BOHEMIA, SECOND STORY - ROOF - DARK NIGHT
Bullets TEAR into the wooden walls. Two Men jump out of a
back window, not clear who they are... Its chaos.
EXT. LITTLE BOHEMIA - THE TWO MEN
sprint down wooden steps to the beach, turn LEFT and run
along the lake behind the lodge, trading SHOTS with Rorer and
Rice. Rice is hit in the leg and cartwheels forward. Rorer
stays with him.
NOW WE SEE THIS IS DILLINGER
running but impeded by his shoulder wound. Hamilton helps
him. In the background, we SEE Van Meter and Shouse have also
bailed out of the house for the beach but disappear into
woods to the RIGHT.
DILLINGER + HAMILTON
run along the line of the lake, but in woods now.
WINSTEAD
runs through trees parallel to them but further away from the
water. He catches sight of two figures through the :trees
playing against the water from 100 yards away.
DILLINGER + HAMILTON
move fast. Not much brush to slow them. Dillinger senses,
reacts...
HARD CHARGING WINSTEAD,
from 50 yards FIRES his pump-action 10 gauge shotgun FOUR
TIMES.
DILLINGER + RED
in a burst of speed, cover behind heavier trees, which are
cratered by the heavy shot. And Dillinger, never stopping,
out the other side, is FIRING his Thompson at Winstead as.
WINSTEAD
(CONTINUED)
85
CONTINUED:
rolls forward under the two 5-SHOT BURSTS from Dillinger
and...
SLO--MO. WINSTEAD'S HANDS,
while rolling, feed three 10-gauge rounds into the loading
port of his shotgun, .and he rolls right up onto one knee,
bringing the 10 gauge onto the FAST MOVING glimpses thru
trees and he's FIRING at...
GHOSTS
because Dillinger and Red are beneath the brow of the bank,
moving fast, now, and Dillinger reloads as...
WINSTEAD
signals above and behind him. to...
HURT
who crossed at a higher point on the contoured landscape,
giving the,,-Texans cross fire possibilities, and...
DILLINGER
FIRES -- whrthe bank's cut by a ravine - exactly where
Winstead should be...
DILLINGER'S POV: NOTHING
Winstead's gone. And Dillinger knows the level of play has
been raised by the addition of whoever these men are. As he
and Red race across the ravine for the high ground
advantage...
HURT FIRES
Hamilton's legs give way. Dillinger hauls him up, still on
run...
DILLINGER
You hit, Red?
HAMILTON
I don't think so.
Dillinger looks at Red's shirt. A blood stain blooms just
above his belt. It's bad.
DILLINGER
Come on, Red. We can make it.
(CONTINUED)
86.
CONTINUED: (2)
On the high ground, past rock outcroppings towards a house.
Meanwhile...
EXT. WOODS - PURVIS - NIGHT
runs desperately after the shadowy figure. Now we SEE it's...
BABY FACE NELSON
who turns and FIRES at Purvis, who drops behind a. felled
tree. Ahead, Nelson sees car lights through the trees and...
EXT. ROAD - NELSON
tumbles down the bank onto the road. Nelson flags it down an
approaching car. It screeches to a stop. Its a Bureau car.
Did they think Nelson's an agent?
INT. BUREAU CAR - CARTER BAUM
is at the wheel. He realizes its Nelson. Nelson, aiming his
Tommy gun...
NELSON
I know you bastards wear bulletproof
vests, so I'll give it to you high and
low...
Nelson OPENS UP. Baum, hit, manages to fall out of,-te
passenger door and run.
EXT. PINE WOODS - PURVIS
hears distant shooting. He races for the road.
EXT. ROAD -- BAUM
twists, turns, fires a handgun, misses. Nelson FIRES again.
Three slugs tear into Baum's neck.
Baum topples over a white fence, lands on his face. Nelson
shoots Baum again.
INT. CAR - NELSON'S
in, pulls out.
Purvis spills down through trees. He FIRES, ineffectually at
the disappearing car. He rushes to Baum. A sick gurgling
sound is coming from his throat.
PURVI S
Carter!
(CONTINUED)
87
CONTINUED:
Baum's eyes flicker.
PURVIS (CONT'D)
Who was it? Was it Dellinger?
Baum shakes his head a fraction.
BAUM
(barely audible whisper)
Nelson.
Baum's eyes roll back in his head.
Purvis runs after the car. He dives through the woods to cut
it off at a turn in the road.
EXT. HOUSE - A CAR
is outside. A man's on the porch, having reacted to gunshots.
DILLINGER
Gimme the keys to that car!
He tosses them. Dellinger already has Red inside, starts it
and blastsr,...away from the house.
Winstead cjim:bing out of the ravine SEES the car pulling
away. It's gone. He and Hurt run for the shoreline to get
back to...
EXT. LITTLE BOHEMIA LODGE - WIDE - NIGHT
Tear gas billows out the windows.
WINSTEAD
(ARRIVING)
Cease fire! Stop shooting!
The shooting stops. There is no return fire from the lodge.
Winstead puts a handkerchief over his nose and mouth and
ENTERS
E/I. LITTLE BOHEMIA LODGE - WANETHA + NAN
coughing their lungs out and cowering behind the furniture.
No one else is there. Meanwhile...
INT. STOLEN BUREAU CAR, MOVING - NELSON
speeding, sees Two Men step into the road, raised weapons. He
slams on the brakes. The two men run up, shouting "Get out of
the car!"
(CONTINUED)
88.
CONTINUED:
Nelson bursts out laughing.
NELSON
You dumb bastards.
HOMER VAN METER + ED SHOUSE
streaked with mud jump in. Nelson takes off.
EXT. WOODS NEAR THE ROAD -- PURVIS
tumbles out of the woods onto the road just in time to see
Nelson in the stolen Bureau car disappear around the next
corner. He keeps running, desperately, futilely...
INT. PACKA.,.RD - COWLEY
drives. Madala is next to him, reading a map. Clegg and Smith
are in back. They see an oncoming car.
COWLEY
Who's that?
Cowley slows. The other car doesn't. Ahead Cowley slams on
the breaks.
MADALA
Somebody's on the road!
PURVIS
running towards them, jumps in the Packard.
PURVIS
Turn it around! .the car...
COWLEY
Who was in it?
PURVIS
(BREATHLESS)
Baby Face Nelson. He killed Carter.
Cowley u-turns and accelerates.
INT. STOLEN BUREAU CAR- NELSON
sees the Packard gaining on them.
NELSON
Who are these birds?
He pulls the wheel to the right.
89.
EXT. HIGHWAY
The Stolen Bureau Car is on the shoulder past a blind curve.
INT. PACKARD - COWLEY
blasts around the curve, tires screaming, passes the Stolen
Bureau Car. Now Nelson pulls out behind them!
COWLEY
Look out...!
INT. STOLEN BUREAU CAR - NELSON
accelerates, closing in on the Packard. He assaults the FBI.
NELSON
Let'em have it.
INT. PACKARD - PURVIS
PURVIS
`'aster, Sam!
EXT. ROAD ,SPLITS ...
becomes twbjanes of blacktop separated by a median with
trees. Trees are between them.
INT. PACKARD - PURVIS
sees Homer Van Meter steady his Thompson. Madala ducks.
Cowley hits the brakes, locks the wheels. Nelson's car surges
past, spoiling Van Meter's aim, Purvis FIRES. Madala FIRES.
INT. STOLEN BUREAU CAR - LOSING SPEED!
Packard's coming up on them. Nelson stomps on the gas.
NELSON
Hit the engine!
Nelson spins the wheel to veer off the highway onto a...
EXT. DIRT ROAD -- BUT NELSON'S CAR.
hits a berm, bounces high and rolls over.
INT. STOLEN BUREAU CAR - NELSON
struggles to free himself from under Shouse. Shouse's neck
has been broken. He is dead. Van Meter is clear and running.
(CONTINUED)
90.
CONTINUED:
NELSON
Come back here, help me, you son of a
bitch!
Homer doesn't. He's gone. The Packard hurtles towards him,
screeches, skids sideways, stops!
PURVIS, COWLEY + MADALA
are out. Purvis FIRES.
VAN METER
is cut down right away, hit 14 times. While...
NELSON
opens up with the Tommy gun, ripping
COWLEY
across the chest. As
MADALA ' S
12-gauge FIRES. Nelson, slammed in the chest, drops-to his
knees, fights on, as...
PURVIS'
Thompson and Madala's second round HIT at the same time. The
45s and double odd shot tear into Nelson's chest and slam
him back.
Purvis rushes to Cowley...
PURVIS
(moving towards him)
Rest quiet and you will be alright, Sam.
COWLEY
Call my wife and tell her.
INT. DILLINGER'S STOLEN CAR, PARKED IN A SMALL TOWN -
HAMILTON - DAY
is in agony. Dillinger gets in back beside him. He's bought
medical supplies from a drug store and whisky. He helps
Hamilton to a slug and. some pills.
HAMILTON
Not like you ain't seen a man die before.
(CONTINUED)
91.
CONTINUED:
He puts his bloody hand in Dillinger's.
HAMILTON (CONT'D)
(reading Dillinger's mind)
You gotta let...
(grimacing with pain)
You gotta let me go, John.
DILLINGER
Bullshit.
HAMILTON
And you gotta let Billie go too.
Flash of anger in Dillinger's eyes.
HAMILTON (CONT'D)
I know... you... never let no one down
you care about. But this... time... you
gotta let go...
Hamilton desperately searches Dillinger`s eyes for a
response.
Hamilton squeezes Dillinger's hand and grimaces in pain. He
lets out a'7-`gasp. His grip relaxes. Dillinger looks away...
A car pulls in next to his. As the DRIVER gets out, he
happens tc...giance at Dillinger's car.
DRIVER'S POV: TWO MEN
in the back of a car. One lying motionless, covered in blood,
the other looking dishevelled and distraught.
The Driver turns, restarts his car and pulls quickly away.
EXT. FIELD - NIGHT
Bleak and desolate. Dillinger is digging. Even a shallow
grave takes time.
He drags Hamilton's body to the grave. Streaks of dawn light
the sky.
DILLINGER
I'm sorry to do this to you, Red.
Dillinger empties boxes of lye bought from the pharmacy on
Red's face and starts shovelling earth on his friend's body.
92.
EXT. FIELD - DAWN
Dillinger sitting on a rock by the grave, whisky bottle in
hand, sweaty and cold at the same time. His stomach is empty
and his spirits are rock bottom.
He gets up, throws away the empty bottle, takes a last look
at the grave and walks to his car.
CUT TO:
INT. BLACK HUDSON, CHICAGO - JOHN DILLINGER ._ NIGHT
drives west on Troy. The neighborhood streets are cold and
empty. But ahead Dillinger sees...
1933 CHEVROLET 2-DOOR COUPE
parked at the curb. Two men are inside. Silhouettes against
steamed windows. They're waiting, watching.
EXTREMELY CLOSE: DILLINGER'S FACE
Impassive. He knows exactly who they are. He cruises past
without glancing and continues west...
INT. 1933 CHEVROLET SURVEILLANCE CAR - NIGHT
The men inside are Agents Reinecke and Rorer. Reinep wipes
the condensation from the windshield. Across the sty" =et he
sees Billie through her second story window. He makes a
notation. Rorer is asleep.
TNT. ASHLAND AVE. FURNISHED APARTMENT - BILLIE - NIGHT
checks her watch., rises past her window to turn on the radio.
Paul Whiteman's band signs off followed by a Geritol
commercial telling Radiol.and to stay tuned for the Will
Rogers commentary.
INT. ASHLAND APARTMENT, FOYER - BILLIE + NEIGHBOR,
also a dark haired woman. Billie slips her $20. She made her
a sandwich. Neighbor takes Billies place in front of the
window by the radio. Meanwhile...
EXT. REAR ALLEY - SNOW FLURRIES: BILLIE
in a man's overcoat and hat, crosses the alley to the rear of
the buildings opposite.
93.
EXT. ALLEY - A SECOND FBI CAR + AGENTS
watch the rear of Billie's building. Agents ignore a man
crossing the alley in the cold night.
INT. REINECKE'S CAR
RORER
What's she doing?
REINECKE
(LOOKS)
Listening to the radio...
EXT. WABANSIA AVENUE - BILLIE
emerges from the passageway between buildings in men's
clothes, looks over her shoulder, and crosses into the
street. She just stands there. Nothing moves under the
skeletal elms in the white snow.
THEN: LIGHTS
come on. They stab at her. She can't see in the glare.
BLACK HUDSOWI;PULLS THROUGH -- JOHN DILLINGER
opens the door. She jumps in. He's already pulling away...
INT. AGENTS''OFFICE - DAY
Madala, Clegg and the other agents are waiting for a briefing
to begin. Purvis enters.
PURVIS
Agent Cowley died this morning at 5:17am.
Grim reactions among the men.. ,their lost colleagues and
friends...
PURVIS (CONT'D)
Right now all of Dillinger's friends are
dead. He's out there alone. There won't
be a better chance to run him down.
RORER
He could be anywhere - California,
Florida...
PURVIS
He could be anywhere - but he is not.
What he wants is right here. Billie
Frechette.
(CONTINUED)
94.
CONTINUED:
Purvis looks up and sees the open door. Reinecke stands
there...a desolate look of failure. Purvis knows what's
happened. They lost Billie.
CUT TO:
INT. NBC RADIO STUDIO (LOS ANGELES, CA)- WILL ROGERS - DAY
smokes a cigarette in front of a ribbon microphone. The smoke
curls into the air. His commentary is intimate and folksy.
WILL ROGERS
(into ribbon microphone)
Well, they said they were going to get
Public Enemy #1. And they had John
Dillinger surrounded... They was all
ready to shoot him as soon as he came
out. But a bunch of folks came out ahead,
so they shot all them instead.
(radio audience laughter)
INT. DILLINGER'S BLACK HUDSON - BILLIE + JOHNNY - NEW YEAR'S
EVE
drive carefully, south on Clark St. Sidewalks are filled with
revelers and crowds.
WILL ROGERS(O.S.)
They will get Dillinger someday. Probably
when he's with a group of innocent
bystanders they're shooting down, and
he'll get killed by accident...
(PAUSE)
Meanwhile, President Roosevelt got
Congress to pass a second crime Bill...
INT. FRANK NITTI'S LIVING ROOM (CICERO, ILLINOIS) -- FRANK
NITTI - EVENING
listening to Will Rogers. He's sober.
WILL ROGERS(O.S.)
.which the example of Public Enemy
Number One has helped push through
Congress. It will make all criminal
enterprise across state lines a federal
crime...
Nitti's hand picks up a telephone and dials. He puts the
earpiece next to his ear. And he blows up.
(CONTINUED)
95
CONTINUED:
NITTI
(to D'Andrea)
Okie inbred sonsabitches ... backwoods
cocksuckers. They did this.
D'ANDREA
Did what?
NITTI
Karpis. That syphilitic idiot Babyface
Nelson. Dillinger. All of them. Another
interstate crime bill?!
D'ANDREA
What do we care? We don't rob banks.
NITTI
Everything is interstate. Wake up. That's
the point of being nationwide. Fix it.
INT. FBI - HOOVER'S OFFICE -- HOOVER -- NIGHT
listens.
WILL ROGERS (O.S.)
-.-v -so after they missed all the Public
Enemies at Little Bohemia, the Bureau
=axrrested their girlfriends. The FBI may
"bat get their man, but they always get
his woman.
(radio audience laughs)
J. Edgar Hoover does not.
INT. BLACK HUDSON - BILLIE + JOHNNY - NEW YEAR'S EVE
head south out of downtown on Michigan Blvd. A blast of horns
declares the death of 1933 and the birth of 1934.
INT. TELEPHONE COMPANY EXCHANGE- PURVIS - NEW YEAR'S EVE -
enters. They've got 15 recorders, now. It's a rat's nest of
cloth-insulated wiring. Most of the listening stations are
abandoned.
PURVIS SEES: AGENT MADALA
with headphones noting a conversation on a steno pad. Two
stenographers are still around. Each machine is labeled.
Madala listens to "PROBASCO." Next to him is "AUSTIN STATE
TAVERN." MOVE IN. WELL SEE THAT AGAIN...
(CONTINUED)
96.
CONTINUED
PURVIS
Agent Madala...
(can't hear)
Agent Madala!
MADALA
(headphones come off)
YESSIRL
PURVIS
Its New Year's Eve, Roger. Go home to
your family.
MADALA
Thank you sir.
Purvis leaves.
INT. PURVIS'S APARTMENT OFF MICHIGAN AVENUE - PURVIS - NIGHT
lets himself in. He's alone. "Auld Lang Syne" is heard in the
streets below. The apartment is dark. He stands for a moment,
letting the darkness wash over him. He allows himself one
shot of Bourbon. He moves to the large window overlooking the
city. He goes out onto the balcony in the cold air.- He sees
the sparkling lights, the traffic, the couples, the-revelers,
the relaxed celebration. Horns blow. Cheering can be heard
across the city. He is alone. It is 1934 in Chicago. He downs
the shot of bourbon.
EXT. ROAD THRU DUNES - DILLINGER + BILLIE - NIGHT
drive across the southern tip of Lake Michigan in te`Indiana
dunes. Dunes are lit by the silver moonlight. Her head is on
his shoulder. She loosely holds his arm. She drifted asleep.
Now she wakes. She realizes it is New Year's Day.
DILLINGER
Happy New Year, doll.
BILLIE
Happy New Year, baby.
He looks at her. Its a concerned look. She reads his mind.
BILLIE (CONT`D)
Johnny. I'd rather live on the run with
you, than live any other way.
That says it all. They are both quiet for a long beat.
DILLINGER
For how long?
(CONTINUED)
97.
CONTINUED:
BILLIE
However long.
DILLINGER
Next week? Next year? Alvin said this
wasn't gonna last. He was right. The
world has turned. Everything's different.
(BEAT)
And there's a sweet score. Enough money
to go away and stay away for a long time.
(BEAT)
So whattya say we lit out of here? Lit
out of here, altogether.
BILLIE
glows to the prospect. For the first time there's a tangible
future.
BILLIE
Cuba?
DILLINGER
Too close. How about we fly to Caracas
and then to Rio on Pan Am. Then an
oanliner to Manila or Singapore. We are
f6reign-looking to them. So they will
,have no idea who the hell we are. We can
go out dancing all night and have a lotta
laughs anytime we want...
BILLIE
I think that's a great idea!
They drive on into the pre-dawn of the year 1934.
EXT. DILLINGER FARM (MOORESVILLE, INDIANA) - SOMEHOW JOHN
DILLINGER - DAY
sits in plain view on a chair. His Thompson rests against the
wall. His sister, Audrey, is giving him a haircut. His
father, John Wilson Dillinger, drinks coffee next to him. The
January sunlight is so direct, it's like Spring.
DILLINGER
Not too short on the sides.
BILLIE
comes out the door. Dillinger's niece comes up with a Kodak
Brownie.
(CONTINUED)
98.
CONTINUED:
NIECE
Can we take a picture?
DILLINGER
Of course.
(to nephew, approaching)
You got an eye on those federal boys?
NEPHEW
Yes sir. They're over having breakfast at
Myra's Diner. They've been hanging
around, here, doing nothing for so long,
they just know this is the last place
you're going to show...
CLOSER: BILLIE
watches Johnny. This is who he would be if he had not had the
troubles in this life, a charismatic young man.
EXT. FIELD - BILLIE + DILLINGER SR. - LATER
walk through winter wheat.
BILLIE
That how he was when he was a boy?
Carefree and laughing...?
JOHN SR.
Not right when his mother died. But after„-
awhile, yes.
BILLIE
You love him, don't you?
She touches his arm. He looks back at the house.
JOHN SR.
He grew up a motherless child... After he
was there he never had a woman's comfort.
So I loved him but didn't know how to
raise him. And that's the truth.
(PAUSE)
When he come out of that prison, he had
so many worries. Restless. Bitter. He had
a desire to get even.
A covey of quail flush out of the wheat.
JOHN SR. (CONT'D)
Well, now he has gotten even. And he has
seen the country. And he has you. So, he
is carefree.
(MORE)
(CONTINUED)
99.
CONTINUED:
JOHN SR. (CONT'D)
(BEAT)
But what is next for you and Johnnie?
BILLIE
To try to live somewhere else.
JOHN SR.
(knows more)
Well, if it goes okay, good. Whatever
happens, he has been my boy. And I have
loved him in my heart, always. Right or
wrong, no matter what.
He is as straight and truthful as the land is flat. She takes
his hand and they walk through the fields.
EXT. CHICAGO'S CROWDED DOWNTOWN STREETS - DILLINGER +
BILLIE -- DAY
in the black Hudson. We've entered mid-scene.
DILLINGER
:Eartender's name is Larry Streng.
BILLIE
`--W re ' s the apartment?
DILLINGER
Oakley and Potomac. He'll give you the
keys.
They drive north over the Clark Street Bridge. Dillinger
gives her an envelope.
DILLINGER (CONT'D)
5,000 dollars. It buys us a month, but
we're not staying that long.
EXT. AUSTIN STATE TAVERN - 416 NORTH STATE STREET -
DI.LLINGER'S CAR - DAY
pulls to the curb on the east side of the street. Billie gets
out, walks through the crowds, down the sidewalk and crosses
the street to the bar. MOVE IN on the sign. This is the
location we saw being tapped at the Telephone Exchange.
OVER DILLINGER'S SHOULDER
watching the distant front of the tavern into which Billie
disappeared. Then...
FOUR BUREAU AGENTS, REINECKE + MADALA
(CONTINUED)
100.
CONTINUED:
run right past Dillinger's Hudson. They join 12 more agents
flooding into the Austin State Tavern from the other side.
INT. CAR - DILLINGER
is shocked. Frozen. Inside...
INT. AUSTIN STATE TAVERN - REINECKE
roughly handcuffs Billie.
REINECKE
(SHOUTS)
Who brought you? How'd you get here?
BILLIE
.I took a taxi.
EXT. TAVERN - REINECKE + MADALA LEADING OUT BILLIE
There's20 of them, now. She's totally surrounded.
INT. HUDSON - DILLINGER
races around the block. Comes up on the same side of the
street as the tavern behind the Federal cars.
THE THOMPSON
in his lap. He checks his 45.
HE SEES.. .HER
There she is. Where's an opening? His eyes dart.
MORE CHICAGO POLICE
arrive. It's now a sea of blue.
CLOSER: DILLINGER
20-30 men surround her.
BILLIE
.hauled towards a Bureau car by Reinecke. He tips her off
balance. He bounces her off the door pillar on purpose.
Dillinger sees all this.
DILLINGER
can do nothing. Tears of frustrated rage stream down his
face. Later, he would say he "cried like a baby."
101.
EXT. STATE STREET -- DILLINGER + THE HUDSON
are waved away, irritatedly, by uniformed Chicago police
trying to clear traffic. Dillinger's Hudson drives off into
the distance.
INT. BANKER'S BUILDING - BILLIE - NIGHT
under a bare lightbulb.
REINECKE
If you tell us all about him, maybe
you'll get a break. Maybe you end up
doing a couple of months on a work farm.,
like a girls' home or something.
ANOTHER AGENT
Where is he? Where were you meeting?
Where were you hiding out?
REINECKE
...or we drop you in a black hole. And you
et to shit and piss on the floor and
then lie in it all night in the dark with
the bugs and the rats.
Billie's eve'lids fall. She drifts off. Reinecke kicks her
awake.
REINECKE (CONT'D)
(SHOUTS)
Where is he?!
Billie startles! CLOSER on her chair.
BILLIE
I have to...
He kicks the chair again. She's being denied a toilet. The
humiliation is part of the pressure. Billie's embarrassed.
Billie urinates on the chair now and the floor. Another Agent
makes a face...
OTHER AGENT
What was that movie, "Squaw Girl"...?
Reinecke has gone out to get water for himself.
INT. OUTER OFFICE - REINECKE
drinks from a water cooler. In the background are a dozen
agents with Tommy guns in every corner as if Public Enemy
Number 1 will assault at any moment.
102.
INT. INTERROGATION ROOM - REINECKE
re-enters.
REINECKE
Lady, you're stinking up my office. Where
were you supposed to meet him!
He slaps her. Billie's shoulders collapse.
REINECKE (CONT'D)
I can't hear you.
BILLIE
(nods, very low...)
We were supposed to meet...at our
apartment...
REINECKE
Where?
BILLIE
On Addison. 1148...
REINECKE
When?
BILLIE
Now.
INT. 1148 W. ADDISION, APARTMENT - WIDE ON DOOR - DAWN
Its shot off its hinges. A half-dozen AGENTS invac e.'One gun
goes off. Everybody is about to open up until they realize
its one of theirs.
REVERSE: THE APARTMENT INTERIOR
It is dead empty. Reinecke looks at the dust on the floor. No
one's been here for a month.
CUT TO:
INT. COOK COUNTY JAIL .- PURVIS
walks past holding cell with assorted informants, hookers,
family members. As he passes one we HOLD ON...
INT. CELL - PROBASCO
in a metal chair, hands at his side handcuffed to the floor.
He shouts. A large man slams him across the abdomen with a
lead-filled sap. Another agent waits indifferently.
103.
INT. WOMEN'S SECTION - DRUNK TANK - PURVIS
enters and crosses through...he can't help but SEE.
PURVIS POV: LIANE HAMILTON
Hamilton's sister, 17, stares vacantly from the corner.
Bruised, filthy, dress ripped, she's among a sordid group of
30 older women: tough hookers, drunks, a couple of tough
dykes in men's lace-up boots. Liane catches Purvis' eyes.
He walks on...
INT. B OF I OFFICE, INTERROGATION ROOM - REINECKE'S
furious. He walks up to Billie, handcuffed, and slaps her
across the face, two, three times. Hard. Her ear, her nose
bleeds. He almost knocks her out.
REINECKE
Where is he!
BILLIE
(low voice)
Well...
(rising strength)
he's way the hell away from here by
,Tow, isn't he?
She looks up at him. And she drops the little girl act. She
sent them on a wild goose chase to give her man time to get
away.
BILLIE (CONT'D)
(CALM)
You wanted to know where he is, you dumb
flatfoot? You were too scared to look
around. You walked right past him on
State Street. He was at the curb in that
black Hudson.
(BEAT)
You asked me "how I got there?" I told
you I took a taxi. And you believed me?
(LAUGHS)
He dropped me off and was waiting for me.
And you walked right past him.
He's furious. Her Native American beauty doesn't soften
Reinecke. He visualizes smashing the bones in her face with
his fist.
104.
EXT. OUTER OFFICE - PURVIS + WINSTEAD
arrive. Dolores rushes up.
DOLORES
Mr. Purvis, you have to stop this. Those
men cannot abuse a woman in that way.
Purvis, with Winstead following, moves to the interrogation
room.
INT. INTERROGATION ROOM - BILLIE
BILLIE
(to Reinecke)
.and when my Johnny finds out how you
slapped around his girl? You know what
will happen to you, fatboy?
She looks Reinecke square in the eye. Reinecke swings...
WINSTEAD
grabs his wrist, turns him, Reinecke resists, Winstead nearly
breaks his wrist.
WINSTEAD
Bad idea.
PURVIS
Uncuff her.
Reinecke tries to pull away. He can't. The smaller man is
built of steel cable.
Rorer uncuffs Billie.
PURVIS (CONT'D)
Restroom's down the hall.
Billie tries to rise. Stumbles.
BILLIE
I can't stand utp.
Purvis doesn't hesitate. He picks her up in his arms and
carries her through the office to the restroom in the
corridor. She puts her hand over her eyes in embarrassment.
PURVIS
Miss Rogers...
Doris Rogers follows them.
105.
INT. JAMES PROBASCO'S HOUSE ( 2509 NORTH CRAWFORD) - PIQUETT -
DAY
in the kitchen, waits. He's agitated. So is PROBASCO. Rear
door opens. Probasco jumps. In comes Dillinger...
Dillinger throws him an envelope.
DILLINGER
$5,000. You run her down.
(BEAT)
Lake County jail or Cook County? I want
layouts, blueprints. You visit her. Tell
her I'm coming for her. I'll get her out.
PROBASCO
You need a car? A place to stay? Wanna
stay here?
Is Probasco is trying to lure Dillinger here?
DILLINGER
I'm fine. I got a place.
INT. BARREL OF FUN NIGHTCLUB - MARTY ZARKOVICH - NIGHT
walks in.
ANNA SAGE
in a woman's business suit, hat and sunglasses in the dark
bar, reacts. Zarkovich sits next to her.
ANNA SAGE
Immigration say they send me back to
Romania.
Zarkovich, the crooked cop, takes Anna's hand. The 40 year
old madam is the true love of his life.
ZARKOVICH
You know what to do.
He turns her chin so that her eyes look right into his.
ZARKOVICH (CONT'D)
Plus there's a $25,000 reward.
ANNA. SAGE
We split.
(CONTINUED)
106.
CONTINUED:
ZARKOVICH
O'Neill's got to be cut in, too. So it
splits three ways.
ANNA SAGE
Can they fix the deportation?
ZARKOVICH
These guys can fix anything.
CUT TO:
EXT. 707 WEST FULLERTON STREET - NIGHT
In car #1 is Marty Zarkovich and Melvin Purvis. In car #2 is
Cowley and O'Neill. They wait.
LOW THICK BRANCHES
cast a deep pool of dark shadow concealing Anna Sage.
ANNA SAGE
hesitates. Then she approaches and enters Purvis' car. It
pulls out.
EXT. LAKEFRONT - PURVIS' CAR - NIGHT
is parked by "the rocks" where the lakeshore's been,infilled.
Its totally deserted.
ANNA SAGE
I want guarantee.
PURVIS
If you aid us apprehending John
Dillinger, I will do everything I can to
influence Bureau of Immigration to let
you stay in America.
ANNA SAGE
No good.
PURVIS
That's all there is.
ANNA SAGE
(SUSPECTS)
I think you do this. I think you tell
Immigration. to pick me up and to send me
back to Romania.
(CONTINUED)
107
CONTINUED
PURVIS
How do you socialize with him?
ANNA SAGE
We go out. Maybe tomorrow night. Maybe
not. Maybe in a week. A month. Maybe
never.
PURVIS
I will not guarantee what Immigration
will do. What I can guarantee is what I
will do. If you do not cooperate, you
will be on a boat out of this country in
48 hours. Do not play games with me.
Anna hesitates, caves in to Purvis.
ANNA SAGE
Every Sunday night, we go out.
PURVIS
Who's "we"?
ANNA SAGE
e. Him. One of my girls, Polly Hamilton.
PURVIS
How will we know?
ANNA SAGE
I call you Sunday when I know.
INT. POOLHALL PAYPHONE - MARTY ZARKOVICH - NIGHT
enters. SEE his car at the curb with Anna, solemn in the
passenger seat. He drops a nickel and dials. Listens. Then.
ZARKOVICH
She's piayin` ball.
NITTI
Be there. Make sure.
!NT. NITTI`S OFFICE - FRANK NITTI
is the co-author of this betrayal. For a moment Nitti looks
regretful.
ZARKOVICH
They are plenty serious all on their own.
(CONTINUED)
108.
CONTINUED:
NITTI
They're serious when they make speeches.
Then they screw it up. You make sure.
ZARKOVICH
Yes sir.
EXT. BLUFF OVERLOOKING TRAIN STATION (STEVENS POINT,
WISCONSIN)- U.S. MAIL CAR - DAY
is attached three cars back from the locomotive.
PULLBACK: Dillinger and Karpis watch it. Dillinger's
appearance is different. He's grown a moustache.
KARPIS
The mail will carry the full whack this
Tuesday.
DILLINGER
Why Tuesday?
KARPIS
That's the day they ship two weeks of
payroll for seven large factories around.
Rockford.
(points to roads)
Route 14 and Route 11. Two ways in; two
ways out. Harry handles the door and the..::,
safe...
WIDEN to include: HARRY CAMPBELL - ruddy face, large bodied.
Also here is Freddie and Dock Barker and Jimmy Prohsco.
KARPIS (CONT'D)
Dock cuts the telephone lines five
minutes before we go. You and Harry and I
go in strong. Dock comes down the pole
and becomes the lookout. Jimmie and
Freddie drive.
DILLINGER
(studying layout)
What do you figure?
KARPIS
$1.5 to $1.7 million. About $300,000
each.
(that's $4.5 million each
adjusted for inflation)
Karpis is quiet. They are both feeling the ghosts of their
friends...
(CONTINUED)
109.
CONTINUED:
KARPIS (CONT'D)
Sorry about Red.
DILLINGER
Thanks.
KARPIS
Nelson was a hot-head. I liked him for
some reason.
DILLINGER
You were in a minority.
KARPIS
Had a talk with him once, at
Czernaky's...
DILLINGER
Yeah?
Louis Piquett arrives and Dillinger interrupts..
DILLINGER (CONT'D)
You see her? She okay?
PIQUETT
Yes.
He hands Diilinger a letter. Dillinger opens it.
BILLIE (V.0.)
Don't try and break me out. I am too well
guarded. Milan Prison is too tough. Two
years is not a long time, anyway. Go
away someplace where you're safe like
Mexico and wait for me. We will be
together again. Your true love in life,
Billie.
And the air goes out of him.
PIQUETT
She told me what was in it.
Dillinger's distracted ...Karpis continues.
KARPIS
I reminded him...
DILLINGER
Reminded who?
(CONTINUED)
110.
CONTINUED: (2)
KARPIS
Nelson. .that he told me if he ever got
$20,000 together, he'd up and quit
forever...
(BEAT)
After he hit the Janesville bank I said,
"Yeah, so...?"
(BEAT)
He said, "After I started, I couldn't
stop."
DILLINGER
Well, I can. We do this Tuesday, I'm gone
on Wednesday.
KARPIS
I thought about heading to Varadero Beach
in Cuba, outside Havana. You been there?
DILLINGER
For me, it's maybe Mexico.
And that's the answer. Dillinger plans to score the train. Go
to Mexico. Wait for Billie.
INT. ANNA SAGE APARTMENT - ANNA SAGE - SUNDAY
She is nervous. She hears a key in the lock. Spins., Door
opens. John Dillinger walks in...
ANNA SAGE
Jimmy, you're back...
We understand that Dillinger's been harbored here all along.
And he goes under the name Jimmy Alexander.
DILLINGER
looks through the apartment like he always does. He goes to
the sink and starts running cold. water on his wrists to cool
down.
DILLINGER
Tell you what, doll. You and Polly and
me, we'll go out to a movie tonight and
get in the refrigeration.
POLLY HAMILTON enters from a bedroom down the hall, dressed
to go out.
(CONTINUED)
CONTINUED:
ANNA SAGE
Where you want to go?
(to Polly)
Jimmy take us to the picture show.
DILLINGER
(to Anna)
Marbro or the Biograph...
(to Polly)
Where you goin'?
POLLY
Take the street car downtown to get my
waitressing license.
DILLINGER
I'll take you. Its too hot in here.
ANNA SAGE
I get us some butter and make fried
chicken for dinner.
We SLIDE onto Dillinger with his wrists under the water. He
turns off the tap and starts out...
INT. PURVIS,' OFFICE - CLOCK: 3PM
PHONE RINGS. ,Purvis snatches it up.
ANNA SAGE (O.S.)
We go tonight. I don't know if to Marbro
or to Biograph.
(hangs up)
PURVIS
Miss Sage...
She hung up.
PURVIS (CONT'D)
It is tonight, Marbro. Or the Biograph...
AGENT MADALA
Biograph's on Lincoln north of
Fullerton...
They're split...
INT. AUBURN - DILLINGER. + POLLY - DAY
pull to the curb and stop. Surprised, Dillinger looks out the
window with an ironic expression...
(CONTINUED)
112.
CONTINUED:
POLLY
Be right back...
REVEAL he is parked right in front of the Chicago Police
station on 11th and State. Sunlight cuts through the gaps
between downtown's skyscrapers and illuminates Dillinger. He
smiles...
DILLINGER
I'll go in with you.
INT. 11TH AND STATE STREET STATION, LOBBY - DILLINGER
strolls into the police station like he owns the place. Polly
chatters away. He doesn't hear her, We SEE what Johnny
sees...
DILLINGER POV: REGISTRY
"Licenses Examination" is on the 8th Floor. "Detective
Bureau" is on the 6th.
CU: DILLINGER
Here, in the belly of the beast. The lopsided grin behind the
dark glasses over the moustache...
DILLINGER
How long will you be?
POLLY
It might take ten minutes.
DILLINGER
I'll meet you back here...
He waits as she boards an elevator. As her doors close,
Dillinger follows a group of police, bail bondsmen, and
civilian workers into a second elevator.
INT. SIXTH FLOOR, LOBBY - ON DILLINGER
entering the "Detective Bureau" and we MOVE with him past
desks and detectives in the open plan office. He walks with
cocky assurance.
Now he turns down an aisle between desks because he's spotted
on one of the glass dividers a sign that exerts a magnetic
pull on him. It designates the elite...
"DILLINGER SQUAD"
JOHN DILLINGER
(CONTINUED)
113
CONTINUED:
heads right for it.
ECU DILLINGER'S HAND
brushes under his jacket his .45, checking..
WIDE - JOHNNY
enters this section of desks. Shafts of light illuminate
papers. A DETECTIVE we may have seen at Midway Airport right
past him...
Wall charts, crime photos from Crown Point, the American
Bank, other banks, Billie, mug shots of all his crew, are
posted on walls. Photos of Dillinger are on desks. It's as if
it was a shrine to him.
IN A CORNER SIX OR SEVEN DETECTIVES
listen to the ninth inning of a White Sox game. Three others
work through reports in shirt sleeves. One glances his way.
Johnny nods. Detective nods back.
JOHNNY
crosses thr4gh it all, strolls in the lion's den, walks in
the belly ;ofthe beast - among the hunters. His audacity
elevates h-,It is triumph. With all their resources, modern
technology".`and organization, they cannot lay a glove on him.
He is better than they are.
His gratification is internal. He leaves behind, as he exits,
a wake of absurdity. He passed through and they didn't even
know. History was made. Like a ghost, has gone.
EXT. CHICAGO POLICE STATION - AUBURN - POLLY - DAY
enters from the station and jumps in. As Dellinger drives
off.
DILLINGER
You pass?
POLLY
I have to go back. They needed a blood
test.
INT. PURVIS OFFICE - WIDE: BRIEFING - SUNDAY LATE AFTERNOON
We SEE the East Chicago cops and the ex-Texas Rangers
Winstead, Campbell and Hurt. Twenty other agents are in the
small office. 110 degrees outside.
(CONTINUED)
114.
CONTINUED:
PURVIS
Is it the Marbro or the Biograph? We will
be deployed at both. Whichever one he
shows at, I will be outside that theater
when Dillinger exits. I will give the
signal to move in by lighting a cigar.
ZARKOVICH
Anna Sage will wear a white blouse over
an orange skirt. That's how we're gonna
know it's him.
WINSTEAD
What's playin'?
PURVIS
Excuse me?
WINSTEAD
What's playin' at the Marbro? What's
playin' at the Biograph?
It hadn't occurred to anybody to find that out.
MANDALA
(from newspaper)
Marbro...a Shirley Temple movie called
"Moptop." Biograph is playing a gangster-,
picture starring Clark Gable. "Manhattan:::
Melodrama."
WINSTEAD
John Dillinger ain't going to a Shirley
Temple movie.
PURVIS
Sergeant Zarkovich and Special Agent
Winstead will be at the Biograph.
As will I and Special Agent Madala.
(BEAT)
Virgil Peterson, coordinate the Marbro.
The rest of you will wait here until it's
determined which theater.
Looks between Zarkovich and Capt. O'Neill. They have to
INSURE Dillinger is killed, not captured.
CUT TO:
115.
INT. ANNA SAGE APARTMENT, BATHROOM - DILLINGER - EVENING
shaves. His watch is open in front of him. In the inside of
the case is a picture of Billie. He washes the soap from his
face. He looks at her...
INT. BEDROOM - A LOCKED CASE
Opens. From it Dillinger pockets a Colt 380 automatic and
loads $3,000 into a moneybelt from rubber-banded bundles and
puts it around his waist.
CUT TO:
EXT. MARBRO THEATER - SOPSIC - NIGHT
On a pay phone. Patrons buy tickets. He listens...
SOPSIC
Not yet.
EXT. BIOGRAPH - AGENT BROWN
puts down the pay phone. Mouths "not yet" to..
INT. CAR: VIS
down the street in a parked car.
In the driver's seat is Reinecke. He's tense, trying to stay
calm. On his upper lip sweat beads. Does he remember the
words of Billie about what Dillinger would do to him?
CU: PURVIS
watches the crowds thin as showtime nears. He gets out of the
car. Is Dillinger a no-show? Another failure? Another
eviscerating memo from Hoover?
THREE FIGURES BRUSH PAST HIM. A woman's orange skirt. Its
Anna Sage, Polly Hamilton, and John Dillinger. They sweep to
the ticket booth, pay, and join latecomers rushing inside so
that they don't miss the start of the movie.
PURVIS
is stunned. Dillinger passed three feet from him.
INT. THEATER
It's packed. Anna Sage had to sit separately on the aisle
some rows back.
(CONTINUED)
116
CONTINUED:
Johnny and Polly sit three rows from the screen."Manhattan
Melodrama," starring Clark Gable, William Powell, and Myrna
Loy begins.
EXT. BIOGRAPH - TICKETSELLER
is quizzed by Purvis.
TICKETSELLER LADY
The movie runs an hour and 34 minutes and
it started about 3 minutes ago so that
means it will all be over in an hour,
30...
Purvis turns away. Agent Brown whispers in his ear...
AGENT BROWN
They're on their way over here from the
Marbro.
INT. THEATER -- DILLINGER + POLLY
absorbed in the movie.
ON SCREEN: District Attorney (William Powell) listens to his
secretary. She is against her boss inviting gangster Blackie
Gallagher (Clark Gable), his childhood friend, to his
wedding...
SECRETARY
Remember what happened to that District
Attorney in the Midwest. Just for having
his picture taken with some gangster...?,
The movie is referring to John Di.llinger's Crown Point photo
session with his arm around Prosecutor Robert Estill.
DILLINGER
laughs out loud. The irony is that the gangster who inspired
this Hollywood moment is sitting right here watching this
movie.
EXT. BIOGRAPH - 19 BUREAU AGENTS + 5 EAST CHICAGO COPS
arrive and Purvis deploys them out. Except after Little
Bohemia, he doesn't tell Winstead what to do...
WINSTEAD
(LOW)
Clarence and I are going to be in that
doorway.
(MORE)
(CONTINUED)
117.
CONTINUED:
WINSTEAD (CONT'D)
30 feet south of the theater entrance.
Gerry, you get in that car at the curb
about 75 feet north...
PURVIS
In case he walks north?
WINSTEAD
He ain't gonna head north. He's gonna
walk south and cut through that alley
back to her place. Gerry, when you spot
him through your rearview-you come up
on him from behind.
The "cowboys" are the only men not deployed by Purvis. They
call their own shots.
EXT. REAR ALLEY - THREE BUREAU AGENTS
take up positions near a rear exit. Another two go further
down.
CLOSER: A REAR DOOR
from the basfement opens. A trash can is put out by a JANITOR.
He sees the=two groups of men in the alley and quickly closes
the door.
INT. MANAGk'S OFFICE - JANITOR
enters.
JANITOR
They're comin' to stick us up again.
He's talking to CHARLIE SHAPIRO, the Essaness theater
manager.
CHARLIE
Where?
JANITOR
In the alley...
EXT. BIOGRAPH - CHARLIE SHAPIRO
approaches the ticket seller.
CHARLIE
(LOW)
Irene. Anything strange?
(CONTINUED)
118.
CONTINUED:
IRENE
(WHISPERS)
There's a sweaty little man that keeps
asking when the movie's gonna end...
across the street, there's three, four
men and there's two more around the
corner-why are they wearing suitcoats
on such a hot night?
CHARLIE
Pretend like nothing's going on...
He leaves the booth, taking the cash receipts.
INT. MANAGER'S OFFICE - CHARLIE SHAPIRO
on the phone.
DESK SERGEANT'S VOICE (O.S.)
District 37, Sheffield Avenue...
CHARLIE
Get some detectives over here, this is
Charlie Shapiro at the Biograph. They're
gonna stick us up again...
DESK SERGEANT'S VOICE (O.S.)
How do you know, Charlie?
CHARLIE
I see them getting in position, like
they're waiting 'til the movie's over...
EXT. BIOGRAPH ALLEY - AGENT SURAN
The alley suddenly is illuminated by headlights from two
directions. A rear door opens and before the car stops, a
CHICAGO P.D. DETECTIVE has stepped off the running board with
his sawed-off shotgun in Agent Suran's face.
SURAN
Wait, wait...! Hold it! Federal Agent!
CHICAGO P.D. DRIVER/SGT.
Before you shoot him, get his I.D.
CHICAGO P.D. DETECTIVE
Who the hell are you?
SUB N
Department of Justice. Bureau of
Investigation!
(CONTINUED)
119.
CONTINUED:
CHICAGO P.D. DETECTIVE
What do you think you're doing here?
SURAN
Were on a federal stakeout! Put that gun
down and back those cars out of the
alley. But stay close because we may need
you.
CHICAGO P.D. DETECTIVE
You may need us?" Fuck you, college boy.
Let's see your goddamn badge!
Suran's looking down both barrels.
INT. BIOGRAPH - SCREEN: MYRNA LOY
MYRNA LOY
I love you more than anything, Blackie,
you know...?
She stops.
DILLINGER'S
mesmerized' her eyes and soft skin. We SEE in his hyper
reality thee satin tones on the screen. Myrna Loy's
insouciance,;like Billies, speaks to him. Meanwhile...
EXT. LINCOLN BOULEVARD - AGENT MCCARTHY + EAST CHICAGO COPS
SOPSIC + STRETCH
empty their pockets, trying to identify themselves to TWO
HUGE CHICAGO P.D. DETECTIVE who've drawn down on them.
Zarkovich starts arguing, not believing this is happening.
More Chicago PD arrive. Meanwhile...
INT. CAR - PURVIS
starts across the street to straighten out the Chicago P.D.
Sergeant. While...
CUT TO:
INT. BIOGRAPH - SCREEN: BLACKIE GALLAGHER (CLARK GABLE)
walks the long walk through the cell block...
JOHN DILLINGER
the actual Public Enemy #1 watches the celluloid gangster
walk to the electric chair...
(CONTINUED)
120.
CONTINUED:
PRISONER
See ya, Blackie.
CLARK GABLE
stops at the cell.
CLARK GABLE
Die the way you lived. All of a sudden.
ECU: DILLINGER'S EYES
startle, Is this a message?
CLARK GABLE
CLARK GABLE (CONT'D)
Don't drag it out.
GRAIN STRUCTURE OF THE FACE OF GABLE
speaking these important words...
CLARK GABLE (CONT'D)
.that doesn't count for anything.
There's no more point to it.
CU: DILLINGER
He sees inwards. And he knows it won't happen. Them=E no
Mexico with Billie. There's no freighter to Manila.- He will
die. This day, this month, next month. He knows that in this
instant.
JOHN DILLINGER. LOOKING UP AT THE SCREEN.
In this Hollywood version of life, the power of cause and
effect operates on the end, as inescapably as gravity. It's a
core truth. This is the only end for Blackie Gallagher. And
its as true for john Dillinger in his life as it is for
Gallagher. Actions and historical forces have made his time
be up.
Dillinger SLOWS the flickering images. His concentration
slices time into component parts. Gable exchanges last good-
byes. He warns his D.A. friend, Ronald Coleman, not to
commute his sentence. The images play on Dillinger's face.
They take him over-alone in the packed theater while 25
Federal Agents and five East Chicago cops wait outside.
BLACKIE GALLAGHER
(CONTINUED)
121.
CONTINUED: (2)
enters the execution chamber.
CUT TO:
EXT. BIOGRAPH - PURVIS
glances at his watch. He rips a match from the matchbook,
ready to light the cigar.
The lobby is empty. The dim music of the finale leaks out.
EXT. DOORWAY - WINSTEAD + CLARENCE HURT
wait. Winstead coolly watches Purvis.
INT. CAR - REINECKE'S
right hand shakes. He can't control it. He grips the steering
wheel to make it stop.
EXT. BAKERY STEPS - ZARKOVICH
ignores the Chicago detectives.
CUT TO:
INT. BIOGRZPH - ANNA SAGE
looks at the backs of heads in the rows in front of her. She
doesn't want to miss Dillinger if he leaves.
A celiblock. The cellblock lights dim, a convict says...
CONVICT (O.S.)
There he goes. They're giving it to him
now.
CU: JOHN DILLINGER
The grin. End title music. People stirring. The house lights
come up. Johnny doesn't move. He seems liberated. Released
somehow. People in front and behind him start to exit. He
sits there, holding onto his thoughts for a moment.
CUT TO:
EXT. BIOGRAPH - PURVIS
anxiously scans faces emerging from the theater.
EXT. ALLEY BEHIND BIOGRAPH - SPECIAL AGENTS
are alert in case Dillinger exits a rear door.
122.
EXT. BIOGRAPH LOBBY - POLLY, THEN DILLINGER + ANNA
file out. Polly takes his arm. Anna is behind him and off to
the side. They're in a loose knot of people.
PURVIS
sees him. He lights his cigar. It's the signal to move in.
ACROSS THE STREET: RICHMOND + ZARKOETICH
don't see the signal because the Chicago P.D. detective is
now shouting at Zarkovich.
PURVIS
lights a second match. And as he lights his cigar, he looks
up to see...
JOHN DILLINGER
look right at him. BUT Dillinger does not recognize Purvis.
INT. CAR - REINECKE
saw the signal. He's out of his car.
DILLINGER, POLLY + ANNA
turn left at the sidewalk heading south, like Winst"ad said.
They pass doorways. Reinecke approaches from 20 feet behind.
ACROSS THE STREET: ZARKOVICH
looks up... sees Dillinger walking away. If Dillinger's taken
alive, he's dead. The Chicago cop puts a hand on Zarkovich`s
chest...
REAR SHOT: POLLY, DILLINGER + ANNA SAGE
down the sidewalk past shadowed doorways.
WINSTEAD + HURT
WINSTEAD
(COOL)
That's Dillinger. Straw hat. Glasses.
Hurt crosses the sidewalk in front of Dillinger and walks
north. He'll turn and position himself behind Dillinger on
the right. These guys are pros.
123.
E.X.T. BAKERY STEPS - ZARKOVICH
shoves the Chicago Sergeant out of his way and races across
the street...
EXT. SIDEWALK - REINECKE
approaches Dillinger from the rear. He's 15 steps behind
him. Purvis is ten steps behind Dillinger, on the left close
to the wall. Now Purvis reaches for his gun.
ECU: REINECKE
draws his weapon. He stares at the back of Dillinger's head.
Has getting closer. Sweat runs into Reinecke's eyes. This
isn't the firing range with a paper target. This isn't
theory. This is the beast. The beast is a gunfighter. The
beast is better than you. You beat-up his girl. Your shot
will miss...
DILLINGER IN LARGE PROFILE
now passerWinstead in the doorway. Purvis is raising his 9mm
Browning. Reinecke stalls. He doesn't want to be first.
WINSTEAD
steps out f, the doorway, now, and falls in up the center of
the sidewalk. Reinecke's eyes are riveted on Dillinger...
AND JOHN DILLINGER
senses something.
REAR SHOT: DILLINGER'S NECK + HEAD IN SLO-MOTION
Subconsciously his brain processes what his peripheral vision
took in that his intuitive defenses don't like about this
landscape. He turns...
DILLINGER SEES REINECKE
Reinecke's hand holding the gun is frozen in the air. He's
paralyzed. He lacks the power to pull the trigger.
DILLINGER'S EYES
There's the man who slammed Billie into that car. Dillinger's
lethal intent focuses on this one target. In milliseconds...
DILLINGER DRAWS
(CONTINUED)
124.
CONTINUED:
turning towards Reinecke. Reinecke has hijacked his
attention. Dillinger hasn't picked up the others.
PURVIS
pulls the trigger. Nothing. He left the safety on. He fumbles
with it.
PURVIS
H--halt!
DILLINGER
sees all of them RIGHT NOW. He pushes the .380 in SLOWED TIME
towards Purvis.. .and bumps into a pedestrian named Ella
Natasky.
ELLA NATASKY
starts to fall. Dillinger turns his attention to her for a
millisecond. He's a gentleman. His impulse is to reach for
her to steady her...
CHARLES WINSTEAD
shoves aside the paralyzed Reinecke, pushes past Purvis,
leans forward and shoots John Dillinger in the back of the
head. The heavy 45 round punches through Dillinger's,brain
stem and exits underneath his right eye.
John Dillinger stumbles into the alley opening and starts to
fall. A second shot from Winstead and two more from Clarence
Hurt hit him now. They don't matter.
JOHN DILLINGER
falls through the air.
EXTREMELY CLOSE ACROSS THE COBBLESTONES: JOHN DILLINGER'S
FACE
crashes into the FRAME. One lens of his eyeglasses breaks.
The brim of his straw hat snaps. The hat falls away. He
struggles, but can't move. He breathes. He tries to speak..
WINSTEAD
stands over him. Purvis snatches the .380 automatic out of
Dillinger's hand.
.WINSTEAD
sees Dillinger's trying to say something.
(CONTINUED)
125.
CONTINUED:( 2)
JOHNNY'S LIPS
try to form speech and Winstead's ear is next to his mouth.
We and Winstead hear...
DILLINGER
.tell Billie...
Only Charles Winstead hears the rest.
PURVIS
unloads Dillinger's gun. His gun-handling of Dillinger's gun
is a lot better than his gun-handling of his own under
stress.
PURVIS
What did he say?
WINSTEAD
I couldn't hear him.
PURVIS
You look after this. I need to call
Washington.
Zarkovich`houlders through the gathering crowd of
PEDESTRIAN
s=and newsmen, sees the head wound, the glazing
over of Diflinger's eyes. He knows he's safe.
JOHN DILLINGER'S EYES
get dreamy, then they seem to focus far away. Then they seem
to focus not at all.
PURVIS (CONT'D)
Cover his face and keep the damn
photographers away.
AERIAL: LINCOLN AVENUE
Purvis starts away and we SEE the Biograph marquee, the
trolley tracks in the cobblestone street, the alley, and the
hundreds of people moving towards the locus of the dead John
Dillinger.
CUT TO:
126.
INT. CANAL STREET DRY CLEANERS (NEW ORLEANS) - HOOVER -
ANOTHER DAY
watches Tolson who is at the window. Tolson gets a sign.
Hoover straightens his collar. He brushes lint off his pants
leg. Tolson waits. Hoover waits.
EXT. CANAL STREET HOTEL - DOOR
opens. Alvin Karpis comes out. In the hot, humid New Orleans
air, his suit coat is off...he carries it under his arm. He
crosses the street towards his Lincoln Coupe. His eyes land
on a man on a bench across the street looking at him over a
newspaper. And while crossing the street, Alvin slows down.
THE MAN IS CHARLES WINSTEAD
The newspaper hides a sawn-off, 10 gauge Winchester lever
action shotgun.
ALVIN LOOKS TO HIS LEFT: CLARENCE HURT
leans on a lamp post. His body hides a 351 Winchester rifle.
NOW ALVIN KARPIS
freezes. He doesn't hesitate. He opens his hands to
demonstrate he is holding nothing and lets his jacket; fall to
the ground. He knows instantly who they are and that.,,they
intend to kill him. Karpis' eyes dart to the roofto is°.
Snipers on both. In this instant, Karpis knows he is done.
One objective races into his mind: stay alive.
KARPIS'
stretches out his arms, wide. Winstead has dropped the
newspaper. The sawed-off 10 gauge is aimed squarely at
Alvin's chest. Karpis is displaying he is unarmed. Winstead
approaches warily step-by-step. His weapon would cut Alvin in
half. Clarence, the rifle at his shoulder, inches forward.
The ex-Texas Ranger gunfighters with real trigger-time have
taken Alvin Karpis.
ALVIN KARPIS
I am unarmed.
WINSTEAD
Don't even breathe sudden.
WINSTEAD ± CAMPBELL + HURT
are 10 feet from him. Clarence pats him down. Karpis is
clean.
(CONTINUED)
127.
CONTINUED:
The Texans cover Alvin and move him to the sidewalk near his
car.
HURT
Put your hands on the roof of that
Lincoln.
(he does)
Other agents come running in. Someone's yelling: We got him!
We got him. Bring him in." While they wait...
WINSTEAD
Where you from?
ALVIN KARPIS
Canada, but mostly Chicago.
(to both)
You?
WINSTEAD
Fort Worth, thereabouts. Clarence is from
Tyler.
(PAUSE)
Well, Alvin. You're a sly old dog. If
,you'd a even had that jacket on...
A ring ofc tints with their revolvers out, now converge
around Karpis.
HURT
(to Agent)
Any handcuffs around here?
They don't have any. They had not planned on needing them.
One agent is excited. His gun pointed at Karpis shakes.
AL V I N KARP I S
Mind asking that man to...
HURT
(to Agent)
Put that down.
The agent drops his gun.
EXT. STREET - HOOVER
in his white suit and Tolson rush in from the dry cleaners
where they were stashed. The agents part. They suddenly stand
in front of Alvin Karpis. Hoover's 38 Chief Special is at
his side.
(CONTINUED)
128
CONTINUED:
TOLSON
(PROMPTING)
"You are under...
HOOVER
You are under arrest for the...Wahpeton,
South Dakota bank robbery.
Tolson waves to an agent across the street.
WIDE ON THE CORNER: REPORTERS + PHOTOGRAPHERS
are now released and rush towards us.
HOOVER
regains his composure.
HOOVER (CONT'D)
I heard of your fishing prowess. i
myself, always wanted, to catch a
marlin...
ALVIN KARPIS
You're thinking of my partner, Harry
Campbell.
HOOVER
Are you relieved its over? I'm sure you
are.
(PAUSE)
You know you will feel much better once
you get everything off your chest.
(PAUSE)
Why don't you tell me where Harry
Campbell is?
After a moment..
ALVIN KARPIS
Who do you think you're talking to?
Hoover is silent.
SPECIAL AGENT
(to Winstead)
There's no handcuffs.
WINSTEAD
Give me your tie.
REPORTERS + PHOTOGRAPHERS
(CONTINUED)
129.
CONTINUED: ( 2)
Hoover separates from Karpis.
NEWSMEN
Mr. Hoover! Director!
HOOVER
Karpis said he'd never be taken alive,
but I took him without firing a shot.
(BEAT)
That marks him as a yellow rat. He was
scared to death when I arrested him.
(BEAT)
That's all I got to say.
Suydam and the special publicist, COURTNEY COOPER address the
reporters.
SUYDAM
I'll answer any questions.
REPORTER #1
Mr. Hoover captured Karpis?
SUYDAM
Mr. Hoover personally placed Alvin Karpis
= eier arrest today. Karpis reached for a
rzf le, but the Director was too fast.
CUT TO:
INT. CLYDE TOLSON'S OUTER OFFICE - MELVIN PURVIS - DAY
waits. It looks like he's been waiting for awhile. People who
pass act as if he is invisible. They look right through him.
TOLSON
The Director will see you now.
INT. HOOVER'S OFFICE - HOOVER - DAY
Purvis stands in front of the desk. On the right of the desk
is a plaster death mask of John Dillinger.
HOOVER
(without looking up)
Agent Purvis.
PURVIS
Yes sir.
HOOVER
(sees Purvis stare at death
MASK)
(MORE)
(CONTINUED)
130.
CONTINUED:
HOOVER (CONT'D)
A medical student in the morgue made that
cast of Dillinger's face. It's a reminder
of the war we continue to wage against
the punks and hoodlums...
Purvis looks at Hoover. This was the golden boy who Hoover
came to despise.
PURVIS
One thing I learned was that John
Dillinger was an outlaw and my Adversary.
But he was no punk. And he was no
hoodlum.
(BEAT)
Another is that I have no future in your
Bureau. And I don't desire one. I quit.
Purvis tosses his badge on Hoover's desk and walks out.
Hoover couldn't care less.
INT. MILAN WOMEN'S PRISON - GRANITE WALL - DAY
PAN LEFT and fall EXTREMELY CLOSELY onto the face of Charles
Winstead. He waits.
WIDER - WINSTEA.D
is in an interview cell.
INT. CELL BLOCK - TRACKING A WOMAN'S FEET
in prison issue shoes down the cellblock corridor. ARM UP. It
is Billie Frechette. She walks with two guards behind her.
INT. INTERVIEW CELL - DOOR OPENS
Billie enters. She's surprised to see Winstead.
WINSTEAD
How are you doing, Billie?
BILLIE
(SITS)
If you come here to ask me more damned
questions. "Where's this one or that one?
Did I know Vern Miller? Who did what...?"
Winstead shakes his head no.
(CONTINUED)
131.
CONTINUED:
WINSTEAD
I didn't come here for you to tell me
something. I came here to tell you
something.
CLOSER: BILLIE
She sees in Winstead's face, the look of people she grew up
with. Billie senses none of the cunning of the lawyer/special
agents she's been dealing with. She leans forward, indicates
a cigarette out of Winstead's pocket.
He hands her one and lights it.
BILLIE
Okay, Mr. Winstead. What do you got to
tell me?
Winstead leans forward.
BILLIE (CONT'D)
(CONTINUOUS)
They say you're the man who shot him?
WINSTEAD
'M'at's right. One of them.
BILLIE
6 why are you coming here to see me? To
see the damage you done?
WINSTEAD
Because he asked me to.
This gets Billie's attention and she looks more closely at
Winstead.
WINSTEAD (CONT'D)
When he went down, he said something. And
I put my ear next to his mouth and what I
think he said was this. He said...
(BEAT)
" .tell Billie for me...Bye Bye
Blackbird..."
Billie has to rise and turn away from Winstead so that he
doesn't see her overcome with emotion. Winstead knows this.
It is the measure of this man that he respected the privacy
of John Dillinger's message and only told her.
THE END
