yes, sir. three months ago.
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.
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.
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.
arrives, takes red's position. red goes for the pon,.c.
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.
walter's dead 'cause you screwed it up, you son of a bitch!
thank you, ma'am. dillinger's lopsided smile is charming.
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,
i'm sorry, honey. pierpont, homer and makley head towards the plymouth.
its all here.
hey, red, call oscar.
you get a hold of zarkovich?
jammed twice, oscar., .main spring's too tight.
and it rides up and to the right on full auto.
good and so are you. christmas is coming early this year. extra cake's in here for you and anna.
marty, tell me that me and my boys are okay.
i want to sit here with you and listen to the radio, baby.
let's play a game, mr. president. its called spin the dial. (starts stopwatch, shouts to
that your money there, mister?
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.
folks, stay calm and stay low. pierpont grabs two; dillinger takes one, creating a human shield around them --
(to boyard and two of the
sees anna patzke's shivering from shock and the cold. he puts his coat on her. he plops his hat on her head, too.
something to remember me by. she laughs, nervously, and a little thrilled at being where she is.
(going along with it that depends.
you'll worm your way out of that in about ten minutes. anna looks over at dellinger.
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.
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
don't like kidnapping.
the public don't like kidnappers.
i do. i hide out among them.
: 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.
say, by the way, if someone got pinched here, who can get'em out real fast?
what about this train?.
where you gonna go?
were having too good a time today. we ain't worryin' about tomorrow yet.
keep me in mind on the train. karpis leaves. dellinger can't see billie anymore.
homer stayin' steady?
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.
without women, i might as well have `stayed in stir. anna sage approaches with a young girl for red.
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.
what's your name?
buy you a drink? billie looks at her girlfriend, she nods, billie rises.  as they cross to the bar.
is that french?
jack harris. music changes to "bye bye blackbird."
i don't know how. she smiles a pretty smile at him.
my, but you are pretty.
where's flandreau.?
father's french, what's on the other side?
from south dakota, indian's likelier than italian. she looks at him.
i'm not most men.
i'm catching up.
on life, meeting someone like you. 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.
what are you gonna have?
well. i rob banks. then he leans back in his chair and regards her.
that's where all these people here put their money.
'cause i can't lie to you. she studies him carefully.
i feel like i know you.
some of the places i been ain't so hot. where i'm going is a lot better. wanna come along?
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.
that's 'cause you're beautiful. a blonde woman, elegant and ice cold, stares at billie, a depression-era child in her dress.
listen, doll, that's 'cause they're all about where people come from. only thing important is where somebody's going.
to the top. he's irresistible.
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 , solid with big hands. he's smiling.
go wait outside. i'll be right there. billie turns and walks out of the restaurant.
how you been, gil?
looks like a barber.
see you. gilbert.
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.
you ran out on me.
i 'you're going to be my girl, you have swear you'll never do that again.
i'm waiting.
well, i will never run out on you. and that's a promise.
keep the tip. 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.
you're with me now.
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.
yeah. since yesterday. from a back bedroom 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.
i got something for you.
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?
you want to get to know me?
egyptian cotton. since we been out i go for the finest stuff. as much as i can get, as fast we can get it.
nowhere. what do you mean?
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.
what's wrong with the other ear?
where's he now?
a criminal mastermind.
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.
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.
vaults the five foot divider railing and trains two 45s on the tellers.
get over to the vault! everybody! go on!
well drive out separately.
billie and i want to hit the gulf coast on the way to arizona.
well be there.
what? she is quiet for a moment.
you going somewhere, doll, am i?
you want to leave?
well, i don't want you to leave. so it won't be that way.
who the hell gave you a crystal ball?!
homer what?
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?
, € ng.
that would be swell. some friends of mine should be here already. j.c. davies and mr. long?
you want company?
first time you ever put me off. you getting tired of me?
get dressed. right now. he turns and runs into.
what happened?
where they taking you?
where's billie? thenthey're gone. they now move dillinger through.
now these arizona boys, here?
sorry about that fellow barton.  .one who got killed at the sherone apartments. is he getting to purvis?
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.
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.
i'll see you down the road. from ten feet away.
oh, yeah? we will see about that.
i was joking about the "we'll see about that." i'll let you boys keep me in this jail awhile.
`where to?
why? i have absolutely nothing i want to do in indiana.
about as glad as indiana is to see me. everybody laughs.
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.
one minute and 40 seconds flat. dillinger nods and turns away. he - not the sheriff - ends the press conference.
you come highly recommended by alvin karpis. what can you do for me?
the electric chair. there's none of dil linger's cocky joie de vivre. thaw-'s for reporters.
atta boy, counsel.
-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.
boys, get in there. dillinger, youngblood and cahoon set off down the corridor.
call the warden.
anything you say.
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.
alright, which of these here cars is the fastest, and you're going with, so don't.  lie.
we're taking that.
wow. mr. youngblood, are we clear now?
okay, folks. dillinger checks his rearview mirror, then the speedometer. he's impressed.
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." relax folks.  dillinger ajoys the speed. he starts to hum. then.
watches cars, people, then.
it's me, baby.
i can't talk long. are you okay?
i promised i'd look after you, didn't i?
and you believe me, don't you? you know i will look after you.
say it. say you know it.
say it.
love you, baby. dillinger ends the call. hamilton waits in a hudson at the curb.
hiya sport.
where's carole?
says who?
i don't get it.
about what?
we're looking for oscar. is he home?
i sure am sorry, ma'am. was it an. accident?
oscar had "tools" of mine, he was repairing them.
i went to east chicago to lay low. the welcome mat was not out. and i kept hearing your name.
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.
but they won't.
i'm popular.
i don't know.
red told you. after we take the bank, we bust out pierpont and makley.
where's the bank?
walter forgot . when you're desperate, 'f iat's when you got no choice.
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.
where in the hell's all the big money?
son of a bitch!
m.on! shouse cant find his place on the.git.
how'd you find this place? dillinger looks at wanetka. he's uneasy. he trusts nothing about it.
how much? nobody wants to answer. hamilton meanwhile uses atropine sulphate to clean dillinger's wound.
that would be less than $800,000, right? right!
leave my money and get out. van meter, nelson and shouse exit.
we gotta cut loose from nelson.
no. we don't get out of here in the morning, we're going to wind up dead.
i need two more guns, red. over we hear the sound of someone screaming and calling out --
fires -- whrthe bank's cut by a ravine - exactly where winstead should be.
you hit, red?
come on, red. we can make it.
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.
bullshit.
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.
happy new year, doll.
for how long?
next week? next year? alvin said this wasn't gonna last. he was right. the world has turned. everything's different.
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.
not too short on the sides.
of course. you got an eye on those federal boys?
:eartender's name is larry streng.
oakley and potomac. he'll give you the keys. they drive north over the clark street bridge. dillinger gives her an envelope.
5,000 dollars. it buys us a month, but we're not staying that long.
can do nothing. tears of frustrated rage stream down his face. later, he would say he "cried like a baby."
$5,000. you run her down.
i'm fine. i got a place.
why tuesday?
what do you figure?
thanks.
you were in a minority.
yeah? louis piquett arrives and dillinger interrupts.
you see her? she okay?
reminded who?
well, i can. we do this tuesday, i'm gone on wednesday.
for me, it's maybe mexico. and that's the answer. dillinger plans to score the train. go to mexico. wait for billie.
looks through the apartment like he always does. he goes to the sink and starts running cold. water on his wrists to cool down.
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.
marbro or the biograph.  where you goin'?
i'll take you. its too hot in here.
i'll go in with you.
how long will you be?
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.
you pass?
laughs out loud. the irony is that the gangster who inspired this hollywood moment is sitting right here watching this movie.
sees all of them right now. he pushes the .380 in slowed time towards purvis.  .and bumps into a pedestrian named ella natasky.
tell billie.  only charles winstead hears the rest.