All language subtitles for The Dillinger (1973)

TELLER: Three, four, five and six.

Don't hurry like that. I don't want
any mistakes made with my money.

If you make mistakes with my money,
I'll take my business elsewhere.

You wouldn't like that, would you, dearie?

TELLER: No, ma'am.

WOMAN: What are you smiling
at me for like that, young man?

I don't believe I know you.

MAN: No, ma'am, but whenever
I see money, I smile that way.

You've got a nice smile, too, Miss.

- I'd like to withdraw my entire account.
- TELLER: Your entire account?

- Yes, ma'am, the whole thing.
- TELLER: And your name?

- John. John Dillinger.
- (TELLER SCREAMS)

Hi, everybody, hold it right where you are.
This is a robbery.

Charley, get that back vault.
Harry, clear up the counters.

- Watch them, Homer.
- Let go.

- Everybody on your stomachs now!
- (FIRES GUN)

- When I say it, I mean it! Now!
- (FIRES GUN)

You, Miss, turn over!
This ain't no board of directors' meeting.

- Get in there.
- DILLINGER: Don't nobody get nervous.

Ain't got nothing to fear.

You're being robbed by the
John Dillinger gang, the best there is.

These few dollars you lose here today

are going to buy you stories to tell
your children and great-grandchildren.

This could be one
of the big moments in your life.

Don't make it your last.

(# "WE'RE IN THE MONEY")

# We're in the money

# We've got a lot of what it takes
to get along

# We're in the money

# The skies are sunny

# Old man depression, you are through,
you've done us wrong

# We never see a headline

# About a breadline today

# And when we see the landlord

# We can look that guy right in the eye

# We're in the money

# Come on, my honey

# Let's spend it, lend it, send it

# Rolling along

# We never see a headline

# About a breadline today

# And when we see the landlord

# We can look that guy right in the eye

# We're in the money

# Come on, my honey

# Let's spend it, lend it, send it

# Rolling along... #

PURVIS: 'On June 17th, 1933, in Kansas City,

'five of my finest men were ambushed

'escorting convicted bank robber
Frank Nash to the federal penitentiary.

'My men died like dogs in the gutter,
and I swore personal vengeance.

'Mr Hoover told me he wanted
these rats that did it exterminated.

'And that was my only job.

'Charles Arthur "Pretty Boy" Floyd.

'George "Machine Gun" Kelly.

'Lester "Baby Face" Nelson.

'Wilbur Underhill, the "Tri-State Terror".

'Handsome Jack Klutas.

'And of course, John Dillinger.'

Homer Van Meter, Harry Pierpont,
Charley Mackley, the old man,

that's the Dillinger gang.

Of course, there are others, but
those four are the ones who would stay.

We can't touch Dillinger, no federal offence.

Doesn't deserve to be there.

I don't want anybody up there
I can't legally shoot.

Shoot Dillinger and we'll figure out
a way to make it legal.

(LAUGHS) OK.

- Want a cigar, Sam?
- No, they're not good for you.

I like a Montecristo. They're wonderful.

Of course, I don't smoke these all the time,

you know, they cost half a dollar apiece.

Well, I hope not.

- You know who gave me these cigars?
- No.

Ray Caffrey give them to me

just before he got his head
blown off in Kansas City.

They were for my birthday.

And I intend to smoke one of these
over each of those men's dead bodies.

I ain't crazy, Johnny.

There was a fat little bank here back in '25.

The whole county was rich.

Everything was here in '25,
weren't it, Charley?

Shut up, Eddie. You're paid to drive the car.

Charley Mackley's robbed more banks
than you'll ever see in your life,

so shut up and drive the car.

Hi, there.

I said, "Hi, there."

- I heard you the first time.
- Oh, you did, huh?

(CHUCKLES)

You work here?

Hm-hm... I sure ain't in it for the pleasure.

Nice fella.

When did the bank close down?

Hm-mm, when they run out of money.
What do you think?

Everything just up and disappeared, huh?

What do you want to know for?

(MEN LAUGH)

Well, me and these here friends of mine
are on a three-state crime spree.

- Is that so?
- Yeah.

- Except we can't find no banks.
- That breaks my heart.

It's turning into a radio show.

Worse yet, we're running out of gas
looking for one.

Now, you fill that car up, you understand?

Fill it yourself.

(CHUCKLING)

I said fill it up.

MAN: Oh, what you gonna do now, Homer?

You can't do that.

Do something! What are you doing, huh? Huh?

- This son of a bitch is crazy.
- What are you doing?

Just give him some money
and let's get out of here.

EDDIE: He's gonna do it.

(LAUGHTER)

Here, I don't want your damn gas anyway.

MACKLEY: What did you give him
the money for, Homer?

Son of a bitch.

Step on it, I got his gumball machine.

Step on it, Eddie!

Who do you think I look like?

Well, you look like Douglas Fairbanks,
as a matter of fact.

- Can I have my drink back?
- They don't serve Indians in here.

- You said you's an Indian.
- Yeah, I'm half Indian.

The other half's French and that side drinks.

Hey, you.

- Who do you think you are, anyhow?
- Gone.

I'm Douglas Fairbanks. Sure as
you're standing there, that's who I am.

OK, you're Douglas Fairbanks.

You don't know who in the hell I am, do you?

Look, pal. You can be whoever you want.

As far as I'm concerned,
you're Douglas Fairbanks.

- Who?
- Douglas Fairbanks.

Wrong!

- I'm John Dillinger!
- Sure you are.

- Stand here.
- (WOMAN SCREAMS)

Put it up here! I'm John Dillinger!

Now stand up here. Put your money on the bar.

Come on, get it up here!

I don't like waiting around, you know.

Come on, Miss, get up here.

Dump it out. Now get over there on the floor.

- Er, you want me to get down?
- Shut up!

Don't you ever do nothing? Can't you listen?

- What's your name?
- Billie.

Billie Frechette.

- You're gonna come with me.
- Whatever you say.

Get down!

You get down there
and get that money off the bar.

All of you, look at my face,
you sons of bitches.

You're gonna remember this face.

I'm John Dillinger.

You're gonna pick up your newspaper
tomorrow and be reading it.

And you're gonna see my face.

I'm John Dillinger.

And I don't want you to ever forget it.

Give me that money.

Thanks.

WOMAN: That's mine! I won $10.

This here is Harry Pierpont.

Homer Van Meter. Charley Mackley.

That's Eddie, he's the driver.

Thieves and killers.

- You heard of them?
- Sure.

This is Billie Frechette, she's an Indian.
Don't ever give her a drink.

That's some dish.

Douglas Fairbanks, huh?

(BILLIE GASPS)

You stay there, is that clear?

- That clear?
- Yes.

That Indian's got beautiful legs.

Yeah, I like them fine.

Well, I don't care what they look like.

John picks up some broad
in the street, brings her up here.

I don't know who she is.
I don't like it and I don't trust it.

Easy for you to talk,
you've got Mary with you.

What's a man supposed to do, huh?

(LAUGHTER)

I rob banks for a living. What do you do?

Dillinger makes a fool of himself
over broads.

Treats them like movie stars.

I don't trust a man that makes
a fool of himself over women.

He's a fool for love. Dealer takes three.

Don't give me that dime-a-dance crap.
You're a whore.

Don't call me that.

Nobody's going to look down on you
for something like that.

Whoring's the oldest profession in the world.

There were whores
before there were bank robbers.

Nothing to be ashamed about,
if you get the right price.

- Don't do that again.
- Don't call me that, then.

What, whore?

- Bitch!
- (SCREAMS)

(SCUTTLING SOUNDS)

You see what I mean, huh? Huh?

Yeah. No discipline.
He lets himself go too easily.

I don't trust it.

One of these days,
a broad's gonna let him down.

A broad always does.

PURVIS: 'John Dillinger was
still out of my jurisdiction.

'I'd get my chance at him,

'but there were plenty of other
public rats on the federal list,

'and they had to be cleared out first.

'One of these was Wilbur Underhill,
also known as the Tri-State Terror.

'He'd gotten married in Illinois
the previous night

'and was enjoying his honeymoon
holed up in an abandoned farmhouse

'surrounded by state police
and federal agents.

'I arrived late,

'but had the intentions of delivering
my wedding present personally.'

- Hi, Sam.
- Sir.

How long since you seen him?

Well, he shot two state cops
about a half-hour ago.

We fired for 15 minutes straight.
Must be 2,000 rounds in there.

- PURVIS: What about the girl?
- COWLEY: She's in there.

She's gotta be dead, too.

Vest.

- What?
- Vest. Get me a vest.

Gloves.

Automatic.

I can't get to my cigar.

(COWLEY LIGHTS A MATCH)

(GUNSHOTS)

(HEAVY THUD)

(GUNSHOTS STOP)

MAN: Hey, Willie, come on. Let's go.

(RAISED VOICES)

COWLEY: OK, great, Chief.

That was the most courageous thing
I've ever seen in my life.

Guts. Sheer guts.

- How did the broad get it?
- He did it. Couldn't go without her.

That makes another one for you, Mr Purvis.

J. Edgar Hoover'll get
another feather in his hat.

Another scalp.

My cigar's gone out.

Well, if nothing gets in our way,

we'll be in Tucson by Tuesday night.

Get all the rooms in one hotel
but on different floors.

Have Billie check in an hour later
and the rest the next day.

If we all come in there together,
it'll look like a convention.

- What's wrong with her?
- MARY: She isn't going.

She wants to go back to her mother
up on the Indian reservation.

Well, what the hell's the matter
with her? That's all I need.

Billie. Billie, look at me.

Come on, look at Harry.

So you had a fight, huh? Huh?

- Mary and I have fights.
- She ain't going.

- PIERPONT: Does John know that?
- MARY: No.

Well, I ain't gonna tell him.

(CAR HORN)

Go on, get out of here.
I got a bank to rob. How do I look?

Oh, you look gorgeous.

Be careful, Harry, huh?

Get outta here.

MACKLEY: Let's make a little withdrawal.

DILLINGER: Let's hit it.

BOY: Hey, Billy, wait for me!

Stay where you are, Eddie.

- (ALARM RINGS)
- Oh, Jesus, God, we're in trouble.

- Stay calm, Eddie. They'll be out.
- Come on, come on.

Hold on, Eddie.

Jesus, Harry, let's go! Goddamn it!

- Come on, Eddie, let's go!
- Move it, let's go!

- Let's get out of here.
- Look out, Eddie!

(SHOUTING)

Goddamn it! Come on!

- I'm OK, I'm OK.
- Get over here!

- Hang on.
- WOMAN: Get the police!

Somebody get the police!

Eddie, just take it easy.

Eddie, watch it!

(GUNSHOTS)

Get out of here, Eddie.

Get out of there, you stupid son of a bitch.

DILLINGER: Where's Harry?
Come on, Harry, goddamn it!

Get down!

Scram, John, forget him.

Charley!

(SCREAMS)

(SIRENS APPROACHING)

(WOMAN SCREAMS)

(DOGS BARK)

(WAILING)

Get in.

Shut up!

PURVIS: 'Dillinger killed
his first man in East Chicago.

'A bank guard named O'Malley.

'And from now on, there was no turning back.

'His gang split up and fled west
to lick their wounds.

'And, as of yet, they had
committed no federal crime.

'But I knew then
that I'd get him sooner or later.

'I had the time.

'Time was one thing I had plenty of.'

When you bury me, Johnny, put a name with me.

I don't just wanna...
go under without no name.

Bullet went right through
your stomach, Charley.

If it hit a bone, you'd really be in trouble.

I don't just wanna go under with no name.

Come on, you ain't going nowhere.

DILLINGER: I put no name on this grave,

because Charley Mackley was a well-known man.

His name is like that of, er...
Butch Cassidy,

Sam Bass,

Cole Younger,

Jesse James.

If I put a name on this grave,
some old coot will come along someday

and just dig up old Charley's bones
and sell them to the tourists.

That's why there ain't no name on this grave.

He's just an old man.

Alone.

Under the ground.

Amen.

PURVIS: 'The next big break
I had was in Memphis.

'George "Machine Gun" Kelly.

'A small-time hood and petty bank robber

'who had risen to national prominence
for his part in the Urschel kidnapping.

'He was important to me
because he had a name everyone knew,

'even if he didn't deserve it.

'What's more, he gave us a name that day
that became part of the language.'

Don't shoot, G-Man, please!
Please don't shoot me, G-Man!

- You George Kelly?
- I'm Kelly.

Please don't do it, G-Man!

Purvis, FBI.

G-Man, huh?

I like that. "Government Man."

Mr Hoover's gonna like that, too.

G-Man!

DILLINGER: See that out there?

BILLIE: Where? It's all desert to me.

DILLINGER: No, there's a town out there,
just about the horizon.

That right there, that's Mexico.

BILLIE: Mexico?

- It's just waiting.
- Yep.

All my life, I wanted to be a bank robber,

carry a gun, wear a mask.

Now that it's happened, I guess I'm just
about the best bank robber they ever had.

And I sure am happy.

Is that what you wanted to be
when you were a kid?

Yep.

My buddies wanted to be firemen
or farmers or policemen,

something like that. Not me.
I just wanted to steal people's money.

I bet you wanted to have your picture
in every post office, too.

Sure did.

All we got to do, Billie,
is drive down that road.

We've got $70,000 in the back.

You could do it if you wanted to, Johnny.

All the way to Guadalajara.

Live the rest of my life like a pharaoh.

No, I couldn't do that.

Yeah, what would your public think?

(LAUGHS RAUCOUSLY)

DILLINGER: # I'm in love with you, honey

# Say you love me, too, honey

# No one else will do, honey

# Seems funny but it's true

# Loved you from the start, honey... #

PURVIS: 'Handsome Jack Klutas,

'a kidnapper and murderer.

'Ran with the Barker-Karpis gang.

'Had a college degree
and used to play football.

'He was one of the most
vicious killers of his day.

'I knew I'd never take him alive.

'I didn't try too hard neither.'

PURVIS: FBI.

(WOMAN SCREAMS)

(# "SKIP TO MY LOU")

Just for this picture,
I wish you would not smile. OK?

Er, now. All right, hold it.

We've got a good one.

I collect 'em.

Nice place, nice party, nice folks.

Cómo estás, amigo? And ay, ay, ay to you.

Gentlemen, I'd like you to meet Pearl.

She sings at the Golden Sombrero.

- Hey, Pearl.
- PEARL: Hi.

Showbusiness, huh?
I bet you have a glamorous life.

- This is Art Long.
- Hello.

- That's Sam Phillips.
- Hello.

I do business with them occasionally.

Oh, I'm sorry, that's their wives,
Trixie and Angel.

You kinda look like Dillinger, Mr Long.
Did anybody ever tell you that?

Oh, no, you mean
John Dillinger, the criminal?

Uh-huh.

Some folks think I look like
Douglas Fairbanks.

I like Dillinger better.

He does look like him.
I've told him a thousand times.

(# "TURKEY IN THE STRAW")

You know, John, with Charley and Eddie gone,

we're gonna need someone else.

I ain't ever seen a bank the three of us
couldn't rob. Have you, Harry?

Oh. You're starting to believe
that stuff they put in the newspapers.

Don't you?

You say them fellas give you this $100 bill

to carry their valises into the hotel, eh?

(TRANSLATES INTO SPANISH)

- And they was heavy, eh?
- (SPEAKS SPANISH)

And that's them standing
over there, for sure?

(SPEAKS SPANISH)

Take the combination of them fellas
standing over there

and them shiny cars

and them fancy-looking girls,

means they's all criminals.

Why do you say that?

Decent folk don't live that good.

Now you mosey on over there
and take a closer look.

- You get a good look at him?
- Close as I am to you.

- Him?
- No.

Oh, my God.

(# SLOW COUNTRY MUSIC)

I like that song.

Well, don't look at me.

Wanna dance?

- You know how?
- Of course I do. Kind of.

It's a 12-gauge, Mr Dillinger.

I'm Big Jim Willard.
I've killed 35 men in my day.

And I wouldn't mind if you were number 36.

So let's go, sonny.

Saint Paul, baby, Saint Paul.

(# "HAPPY DAYS ARE HERE AGAIN")

- Is that him?
- There he is.

I think he's in the second car there.

OFFICER: Post arms!

(SHOUTING)

(BARRAGE OF QUESTIONS SHOUTED)

REPORTER 1: Why ain't you
wearing a hat? Going collegiate?

Somebody stole my hat.

REPORTER 2:
What you think about the President?

I like him. I like the New Deal
and I like the NRA.

I like especially the help
he's been giving the banks.

What about social security?

Well... it could ruin the county.

If people want money, they oughta go to work.

Did you kill patrolman O'Malley?

I never killed anybody in my life.
I just steal money.

You've been known to carry a gun and use it.

- It is dangerous work.
- What do you think of this jail?

It's a nice place, nice people.

Ain't no jail can hold me.
It's an exercise in futility.

- Say that again.
- It's an exercise in futility.

What do you think of the DA?

I like him.
I like the police commissioner, too.

I think we're all gonna get along
fine here, don't you, ma'am?

REPORTER 3:
Put your arm around him, Mr Estill.

We got second column again.

"Federal Bureau of Investigation.

"Midwest Chief Melvin Purvis claims

"he'll have Pretty Boy Floyd within a month.

"Commends Texas Ranger
on the killing of Bonnie and Clyde."

Remind me to send that man a box of cigars.

You already did.

This sort of thing isn't good, you know.

- It isn't good at all.
- What kind of thing?

I mean this Dillinger punk
gets all the headlines.

Thank you, Dan.

We take second column.

That kind of thing is gonna have to change.

Make more personal appearances when you can.

Talk to people.
Let the public know who you are.

This whole thing isn't
just catching these rats.

That's all I want to do, and that's all
the Director wants me to do.

I don't mean to cast aspersions on J. Edgar,

but he was never a man
to shun the public eye.

BOY: Bang, bang!

PURVIS: Hey, kid! Kid! That's right, you.

- What are you playing?
- Cops and robbers.

- What are you? The cop or the robber?
- Robber.

Oh, crime doesn't pay.
I bet your dad told you that.

I ain't got no dad.

I'm sorry to hear that.

Every kid should have a dad.

- You know who I am?
- No.

- You really don't know who I am?
- No.

I'm Melvin Purvis, the G-Man.

You ain't him.

Want to see my badge?

- I bet you'd like to see my gun.
- Yeah.

I've got to unload it.

Not that I don't trust you,
but if something happened,

I'd always think of you
when I... looked at a little boy.

You got a little boy, too.

No, sir, I'm like you. I don't have anybody.

Here, hold it.

- How's it feel?
- Feels heavy.

When you grow up, it won't feel heavy.

You can have one just like it.

You can have a badge, too.

I wouldn't want to be a G-Man.

Well, why not?

Have to go to school to be a G-Man.

Well, you've got to go to school.

John Dillinger don't go to school.

John Dillinger's in jail!

(DILLINGER HUMS A TUNE)

(CHUCKLES)

Hi, boys.

- Open up, friend.
- That ain't real.

Wanna lose the top of your head finding out?

Put that shotgun over there.

Butt first or I'll blow your throat out.

Unlock it.

Don't look at it, unlock it!

- Step back.
- Where did you get that?

From my lawyer. What the hell
do you think a lawyer's for?

- Either of you boys married?
- I am.

All right, get in there, you're staying.

You eat this.

Let's go. Going with us, Jack?

- JACK: No, too tired.
- All right.

Evening, Mr Dillinger.

- Howdy. What's your name?
- Reed Youngblood.

- You're in for murder, aren't you?
- Yes, sir.

- Who did you kill, Reed?
- My wife and a Bible salesman.

I caught them "in flagrant dilecto".

Let him out.

He's done it!
The son of a bitch is gonna make it.

- More power to you, Johnny.
- John, open up these cells!

- Take me with you, Dillinger.
- Break out!

Keys.

All right, warden, the garage.

They won't shoot me
to get you in here, Johnny,

but I can't control
those National Guard boys.

Don't worry about a thing.
Hell, they'd like to see me make it.

Get over here. Get over here!

- Come out from under there, Mister.
- Can't you see I'm busy?

Haven't you got manners
or sense enough to know...?

DILLINGER: Better come on out
from under there, Cook.

I've seen you in the newspapers. You're him!

What's the fastest car here?

Commissioner Drubb's car is fastest,

but Mr Greave's Ford is strongest on hills.

I'll take the sheriff's car. He won't care.

- He sure will.
- But he's a friend of mine.

Now get behind that wheel before I kill you.

Yes, sir.

Get over there, Warden.

You three!

I want you to get out there
and open up that garage door.

We're leaving here in two minutes.

I want everybody out there at attention.

If they're not, I'm going to cut
the warden up like spaghetti.

- You get that?
- Yes, sir.

Tat-tat-tat.

Go on.

Give me a good headstart, boy.
It'd be more sporting.

(SIREN WAILS)

OFFICER ON PA: 'Nobody even think
of making a quick move.

'They got innocent men in them cars.
We'll get Dillinger, I guarantee that.

'You just hold still, just hold still.
You hear me? We'll get him.'

(# "HAPPY DAYS ARE HERE AGAIN")

- Let's go!
- Whoo!

Pull up here. I wanna go in that bank.

- I never seen a man with such gall.
- Back down that alley.

- (WOMAN GASPS)
- Hold it!

Whatever you're doing,
ladies and gentlemen, stop.

This is a robbery.

I'm John Dillinger, most recently
on display down at your local jail.

Don't be nervous.
Don't do anything you'll regret.

This is going to be
one of the big days in your life.

Don't make it your last.

Sack it up, honey.

(SOLDIERS WHOOP AND CHEER)

REED: Oh, God!

You know what you can get for this,
don't you, Youngblood?

Ha! I'm already a murderer.
So I might as well be famous.

(WHISTLES A JAUNTY TUNE)

Slow this thing down, will you?
You trying to get us all killed?

30 or 40 miles an hour is plenty fast.

One thing I got is time.
Time is one thing I got plenty of.

Depression? I ain't never heard of it.

- What are you doing there?
- I'm splitting up.

- This is where we part company.
- What are you splitting it up for?

Well, I get the most because
I'm the one with the most experience.

Reed here gets more because he's a con.

You boys did all right. More than
$300 apiece for you. How's that?

- You gotta be crazy.
- I ain't never seen such gall.

Do you think I'd take that money?

I'm sorry, fellas. I'd split it up better
but I ain't got much time.

- I ain't no fool.
- You won't keep that money?

I did the driving!

Well... Depression...

Things are hard.

Yeah. Hard times.

Hard times.

- Hard times.
- Hard times.

Reed, I'd take you with me,
but you ain't a pro.

I understand, Mr Dillinger.

I'll make it up to you.
Send you something for Christmas.

All right.

- He'll never live to see Christmas.
- I hope he does.

What about you? Want to come back with us?

We'll get you off of death row.

(LAUGHS)

REED: Whoa! Mr Dillinger!

- (GUNSHOT)
- Mr Dillinger!

I don't care if I do die,
I wanna die with you, Mr Dillinger!

I wanna be a bank robber like you,
Mr Dillinger!

Drive a fine car and wear fancy clothes!

(SHOUTING CONTINUES)

DILLINGER: Ay, ya, ya!

I don't want to be there when they get you.

Promise me that I won't have
to be there when they get you.

They're not gonna get me.

I just don't wanna see it.

I just don't wanna see it, Johnny.

They won't ever get me.

I may not live forever,
but I'd be a damned fool not to try.

- Hello. Melvin?
- PURVIS: 'Yes, hello.'

This is John Dillinger.

'Well, now, how are you, Johnny?'

I always felt that, er...

Well, I always felt that
we oughta talk occasionally.

'Good, good. I like to hear from you.'

I understand that...
I understand that you've been, er...

That you've got me on driving a stolen
car across a state line. Is that right?

Federal offence, that's what the papers said.

'That's right, kid.
Not much for a man of your ability.'

How did you like the crash-out?

- 'I liked it fine, Johnny.'
- Yeah, it was great, wasn't it?

'I've always wanted it that way.
Gives me a chance.'

How many men you got on me now, Melvin?

'Two, Johnny. Two good ones.'

- You and J. Edgar Hoover, huh?
- 'That's right, kid.'

Well, that's fine. That's fine, Melvin.
I like a man with confidence.

- 'Call whenever you like.'
- Sure been nice talking to you.

'You can reverse the charges
if you need, kid.'

Bye!

Son of a bitch.

What did he sound like?

- Who?
- Melvin Purvis.

Don't you ever mention that name again.

- Hello, Daddy.
- Hello, Johnny.

- How you been?
- Fine.

- Dad, this is Billie.
- It's a pleasure, Billie.

Johnny, I've never thought well
of what you've done.

I still don't think it's right
to break the law.

But times being what they are,

and if all these people think
so highly of you...

welcome home, son.

(CAR HORN BLARES)

(CAR HORN)

I think that's them, Reed.
Boy, that's some car.

Hi, Billie.

Hi, Harry.

Nice day.

- Reed!
- Ha-ha! Mr Dillinger, how are you?

Took you so long, I didn't think
you were gonna get here.

- Everybody here?
- Good to see you, too, Miss Billie.

- They're all right here. Come on down.
- What are we having?

Oh, what are we having, Homer? Chicken?

I don't know. We brought the potato salad.

BILLIE: Hi, Homer. Hi, Mary.

Mary...

Here, let me get this for you.

I don't believe you two have met.
John Dillinger.

Chuck Floyd, pleased to meet you,
Mr Dillinger.

My pleasure, Floyd. I've always been
a great admirer of yours.

(LAUGHS)

Well, you ain't no punk yourself.

What chased you out of Cookson Hills, Floyd?

A lot of things. They was getting
to my folks and it was hard on them.

Then Bonnie and Clyde ran
through there. Weren't safe for no one.

Bunch of mad dogs, that's what they were.

I ain't sorry to see them go.

Well, small-timers get into it
and ruin it for everybody.

You want to cut out
this mutual admiration society?

I want to get a couple of things clear.

Lester Nelson, John Dillinger.

Nelson. Baby Face Nelson, huh?

I don't like to be called that.
We might as well get that straight.

- I'll try to remember that.
- All right.

One thing: If we're gonna work together,

I want it understood
that I don't take no orders.

I believe this is Mr Dillinger's gang.

Ah! He ain't my leader.
I got my own way of taking banks.

I come in shooting, I kill everyone
in sight, I grab the dough.

Very easy, works very well.
You don't like it, get somebody else.

I'll tell you what.

Let's you and me go out there
and talk about that.

Anything you want, buster.

- Lester...
- Shut up.

Reed.

Have some chicken.

- There's one thing you gotta learn, kid.
- Yeah?

You wanna kill me, punk?

You wanna kill me, punk? You can't kill me.

- Get up!
- Stop it!

Get up!

Get up!

Stop it!

Leave me alone!

DILLINGER: You little punk! I'm immortal!

Punk!

Here! Take it, punk. Take it.

Pull the trigger. You can't do it!
You can't do it, can you?

I'm immortal, you punk! I'm Dillinger!

(TIRES SCREECHING)

(ALARM BELL RINGS)

Come on, Harry, let's go!

Who set that alarm?

Who set that alarm?

I'm gonna kill whoever did that!

I don't care if I gotta kill you or you!
Just so long as I get to kill somebody.

- Hey, there's law outside.
- Where?

Where? Get out of the way.

I got him! I got him!

Thank you, thank you.

DILLINGER: Hey...

What would you want
if I had all the money in the world?

BILLIE: There's nothing I really want,
Johnny. Except maybe...

DILLINGER: Maybe what?

BILLIE: Maybe go dancing again with you.
Yeah, that's what I'd want.

(DILLINGER CHUCKLES) All right.

If that's what you want,
that's what you'll have.

We'll go to Chicago and go dancing
at the Flamingo Club tonight.

- Yeah.
- BILLIE: You can't go to Chicago.

If I can go there to rob banks, I can go
there to dance with my girl. Can't I?

(BOTH LAUGH)

(# "BEYOND THE BLUE HORIZON")

Very good, thank you.

I would like to take this occasion

to toast the most beautiful woman
in the whole world.

(MURMURS OF APPROVAL)

- Is everything all right, honey?
- Everything's fine, dear.

Champagne makes me dizzy
when I drink it too fast.

It's the bubbles.

Garcon? Garcon!

I think we should have the roast leg of lamb.

It's the most expensive thing on the menu.

For that table there.

Magnum.

Sweet thing.

A friend sends his regards, Monsieur.

Take it away.

- Monsieur?
- Get it outta here.

PURVIS: 'I knew, sooner or later,
they'd make a mistake.

'It came in Mason City, Iowa.

'A fast-thinking local sheriff
spotted Homer Van Meter

'by a car outside the bank.

'Within minutes, they were armed,
ready and waiting.'

You bastards!

- They're on the roof, the roof!
- REED: It's a trap! Come on, baby!

Let's go, let's go!
Come on, they're on the roof.

Behind you, Harry, behind you!

Oh, Lord have mercy!

Hurry up. Get this goddamn car on the road.

(SCREAMING)

Come on! You can't touch me!

Come on!

Come on, let's get out of here.

Come on, I'll cover you, Mr Dillinger.

Get the car!

You've got your money. What do you want?

Mr Dillinger, come on!

I'll get you, boy.

Come on.

FLOYD: Watch out, Johnny!

Run over him!

Floyd!

- Oh, God!
- DILLINGER: Easy.

- FLOYD: You'll be all right, boy.
- BILLIE: Johnny?

- BILLIE: Is he all right?
- FLOYD: He's OK.

DILLINGER: The doctor'll be up here
in the morning.

Shot in the stomach.

FLOYD: It's OK.

MAN: What the hell was all that crap?

Ain't there no place
a man can get a night's sleep?

Rich society punks.

Jesus.

PURVIS: 'I had those rats now.
They'd been hurt at Mason City.

'They were tired and beaten and off-balance.

'At last I was getting a chance
at something I'd dreamed of.

'Pretty Boy Floyd,
Baby Face Welson, Van Meter,

‘Pierpont and John Dillinger,
all in one swoop.

'I didn't call on the local authorities.
I couldn't take that chance.

'It was ours or no one's.
Mr Hoover wanted it that way.

'We got lost twice and one car broke down.

'But towards dawn, we closed on in.

'This time, I knew I had that boy.'

Oh, God!

I wish to hell he'd pass out again.

He screams again, the hunters
downstairs will call the cops.

- What do you expect me to do?
- Finish him!

- I wouldn't ask any different.
- Oh, God, you can't do that.

Leave the boy be! He deserves a chance.

- (GROANS)
- A man deserves a chance.

PURVIS: All right now, men, I'll take
the front entrance with you four.

Sam, you take the far side.
Ned, the rear. Move in slow.

Now, we all know who we're looking for.
Wait until first light.

I want positive identification,
otherwise we'll be shooting each other.

Let's go get 'em.

(GROANS)

(METAL CLANKS, DOGS BARK)

- What the hell's going on out here?
- Who's there?

Feds all around us!

Watch out!

(SCREAMS)

Get that second-floor window.

(WOMEN SCREAM)

Bastards!

(WOMEN SCREAM)

Shut up, goddamn it!

- Over here, Georgie.
- Yeah. Give me another clip.

Get back in there.

I'll see you in Kansas City.

DILLINGER: I need some help
on this front window, Harry!

Where the hell's Pretty Boy?

PIERPONT: I got the ammo, let's go!
Jesus Christ!

PIERPONT: I got three cartons.

Homer, first floor!

- It jammed.
- Get down, get down!

Go on!

It's jammed! It's jammed!
Give me that. Give me that.

Son of a bitch.

(SCREAMS)

Hang on. Hang on there, baby.

Son of a bitch.

- By the wood pile, four of 'em.
- My foot!

NELSON: I see them, I see them.

They shot your toe off.

I need your help here, damn it.

Just get out of here, Johnny!
Get out of here!

- I'll come back for you.
- You don't have to say that.

- I'll be back for you.
- Whatever you say.

30-06! Anybody got any 30-06?

By the car!

Sorry about this, boy.

NELSON: Eat it, G-Men!

- Get in, let's go.
- Homer, get in here.

Help me!

Run, Johnny!

Run! Run!

Run! Run!

Stand against the wall.
Don't move again or you're dead.

I don't know anything about it.
I thought they was all millionaires.

Dillinger's girl.

Can't you see the lady's foot's hurt?
Here, Cowley.

Put your arm here.

You'll never get him.

Yes, I'll get him.

God, why doesn't it stop bleeding?
Why doesn't it stop bleeding?

I can feel a bone.

It hurts. It hurts.

Will you shut him up?

You better shut up yourself or I'll blow
the back of your goddamn head off.

I've never been hit bad before.

I gotta get to Kansas City, Mary.

Mary! Oh, Mary!

NELSON: What's that? What's up there?

(GUNSHOT)

I'm getting out! I'm getting out!

Don't shoot!

Don't shoot, I'm already hit...

Mary!

- Mary! Mary!
- (SCREAMS)

Son of a bitch!

Goddamn it, things ain't
working out for me today.

(GUNFIRE)

(TRAIN APPROACHES)

(WHISTLE BLOWS)

(COCKEREL CROWS)

(MAN GROANS)

Oh, this is so wicked.

No. No, you mustn't.

- I've never let anyone.
- One more kiss?

- No.
- What's a kiss?

No, I mean it, Leroy.

I'm going in, Leroy.
I can't stand it. This is wrong.

Not a sound, Leroy.

Now start this thing up.
Let's see how fast she'll go.

How are you, ma'am?

I'm kind of lost. I can't find the main road.

I'm kinda hungry, too. I need food.

And that jalopy out back...
I can pay you for it.

You're one of them, ain't you?

Yes, ma'am.

What about the car, ma'am?

Hell, boy. Hasn't run since '29.

I don't want no trouble.

Come on in, boy.

Boola-boola!

- Do you play football, Leroy?
- Sure. Varsity.

Oh, that's good. That's good.

What position?

- End. Er, left end.
- Oh, yeah?

I was a center.

Oh, yeah? For who?

State Pen.

(CHUCKLES)

You don't look big enough to be a center.

I was big enough, all right.
Don't you worry about it. You just drive.

VAN METER: Leroy, did you ever hear
the barbershop yell?

"Hit 'em on the chin, scrape 'em on the jaw

"Leave 'em, leave 'em raw, raw, raw!
On Wisconsin!"

(HE LAUGHS RAUCOUSLY)

(ENGINE SPUTTERS)

- What is it?
- Gas.

Must be gas.

Something must be wrong with the gauge.

You better be right,
you little son of a bitch.

Dry. Bone dry.

Must be something wrong with the gauge.

You better be right, boy.
Get your ass over there.

Look for yourself.

(ENGINE STARTS)

Son of a bitch.

Son of a bitch!

(GUNSHOTS)

Son of a bitch.

Oh, God, things ain't working out for me.

Just a bunch of goddamn farmers.

Son of a bitch!

Aargh! Help!

Help me, somebody!

Goddamn it!

Things ain't working out for me.

Help...

I think I'm shot in the lungs.
Will you get a doctor? Please?

Please?

(CARS APPROACHING)

You need a Bible.

I've sinned.

I have been a sinner, but I enjoyed it.

And I killed men.

But the dirty sons of bitches deserved it.

No matter how I figure it...

it's too late for no Bible.

Thank you just the same, ma'am.

MAN: There he goes!

Halt!

Aim!

Fire!

(FLOYD GROANS)

Are you Pretty Boy Floyd?

I'm Charles Arthur Floyd.

This is for Kansas City, boy.

I wasn't in on that. I swear.

You shouldn't be lying
when you're so close to your maker.

You...

You must be Purvis.

That's right.

I'm glad it was... you.

RADIO: 'Ace federal agent Melvin Purvis

'has turned the debacle at Little Bohemia

‘into a gang-smasher's turkey shoot.

'Baby Face Nelson,
Pretty Boy Floyd, Harry Pierpont.

'But where is the leader,

'public enemy number one, John Dillinger?

'John Dillinger is believed to be...'

(TURNS RADIO OFF)

Johnny!

- PURVIS: Are you comfortable?
- Yes, yes, this is fine.

(RUMANIAN ACCENT) My name is Anna Sage.
I'm a prostitute, a madam.

I run a house of prostitution.

You probably know already this, don't you?

That doesn't matter, Anna.
Would you like a Popsicle?

No, thank you.

- A Popsicle sure is refreshing.
- No, thank you.

Go on.

I am an alien. I have a criminal record.

I run a good house.
Many city officials are my clients.

I could make it hot for some of them,
if they try and deport me.

No one wants to do that.
Not if you'll help me. Go on.

About a month ago,

almost a month,

maybe more,

a man came to board in my apartment.

I have to take in boarders occasionally.

He said his name was John Lawrence,

that he worked
for the Chicago Board of Trade.

He was hiding from his wife.

Divorced, she was after him for alimony.

They all say that.
They just want to get around my girls.

You say this was about a month ago?

About a month, yes, that's right.

He took up with Polly.

That's Polly Hamilton, one of my new girls.

- Polly?
- Polly.

- He said she looks like an Indian.
- An Indian?

That's silly. She's just an ordinary girl.

An Indian. Isn't that something?

He take us to the movies, both of us.

That's when I found out, he...

He was Dillinger.

I see him in the newsreel.

I knew it, despite the hair, the moustache.

I... I asked him.

Did he tell you he was Dillinger?

He's a nice fellow.

I don't believe he ever killed anyone.
He couldn't have.

You won't harm him, if you can help it?

No, of course not.

I've grown rather fond of him myself,
in a strange sort of way.

You won't harm him, will you?
Please don't do that.

I wouldn't want harm to come to him.

I wouldn't have done this if...
if it wasn't for my situation.

- You understand?
- Certainly, certainly.

He likes to go to movies.

Are you sure you don't want a popsicle?

I'll take a red one.

So if I get a spot on my dress,
it won't show up too bad.

You look good in red.
Goes well with your hair.

Er, Manhattan Melodrama
is on now, starring Clark Gable.

It's been running about 25 minutes.

That'll be all right.
I just wanna see the end. Two.

No, I don't like it at all. Those are hoods.

- They don't dress like hoods...
- Take it from me.

I've been running this place since 1925,
and I know hoods. Call the police.

Stay out of this. FBI.
There's nothing to worry about.

Those men are all federal agents like myself.

- Is there gonna be shooting?
- No one's gonna get hurt.

- That's Melvin Purvis.
- Who's in here anyway?

Just keep it to yourself.
There's nothing to worry about, OK?

I want Hoover in Washington directly.

Tell him we have reason to believe

that Dillinger is in
the Biograph Theater at present

and that I'm taking appropriate action
without aid of local police.

This one is ours alone.

We'll try to take him
inside the theater or outside.

Whichever one presents
the least risk to bystanders.

Tell him this time I'm going to get him.

All right now, men, this is it.

Some of you were in law school
when I started chasing this one.

So let's do it and do it right. Pistols only.

We can't touch him in there,
there's too many people.

Now when he comes out of there,
he'll be with a woman dressed in red.

When I make positive identification,
I'll light my cigar.

Woman in red, lit cigar. That's your man.

Remember, wait for my cigar. Is that clear?

Johnny!

BILLIE: No! No!

MAN: Get some help over here!

WOMAN: Get the police! Get the police!

(BILLIE SCREAMS)

MAN: What's going on here?

(SHOUTING)

Break it up! Break it up!

POLICEMAN: Back off. On your way!

MAN: 'Dillinger was a rat

'that the country may consider itself
fortunate to be rid of.

'And I don't sanction any Hollywood
glamorization of these vermin.

'This type of romantic mendacity

'can only lead young people
further astray than they are already.

'And I want no part of it.'