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Public Enemies Movie Script

Writer(s) : Ronan Bennett, Michael Mann, Ann Eiderman

Genres : Crime, Drama, Thriller

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                                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