Retribution by Jeremy Gabryszak

Retribution by Jeremy Gabryszak Amber Medrano Characters are based on real people but story is fictional

Revisions by Jeremy Gabryszak

Current Revisions by Jeremy Gabryszak, 9/13/13

Jeremy: 12211 N Oakwood Dr, St John, IN, 46373; Amber: 3005 Enterprise Parkway, South Chicago Heights, IL, 60411 Jeremy: Home-219/484-9778; Cell-708/217-1702 Email: moviexpert14@yahoo.com ÂŠ Copyright 2013 Jeremy Gabryszak Amber Medrano

EXT. ILLINOIS - PURVIS FARM - CORNFIELD - NIGHT JOHN DILLINGER III, or Johnny, 21, lies on his back at the front of the corn field. He is a handsome man with short black hair but has a black eye, slight bruise on his forehead, and some cuts on his cheek. Johnny has three bullet wounds in his chest. He coughs up blood but slightly smiles. JOHNNY (V.O.) There’s always this talk about seeing a light before you die. Or your whole life. It’s hard to think straight when you’re breathing blood bubbles. The only thing that is coming back to me is the events that led me right to this piece of natural Illinois earth. FADE TO BLACK. SCREEN IS BLACK There is the breaking news beacon on a radio. RADIO (V.O.) Breaking news. Breaking news. We have confirmed reports out of Chicago that Public Enemy John Dillinger has been shot to death outside Biograph Theater. I say again, Public Enemy John Dillinger is dead at the hands of the FBI and Chicago police. FADE IN: INT. NORA’S HOUSE - KITCHEN - MIDNIGHT - 7 YEARS EARLIER SUB-TITLE: 7 YEARS EARLIER Johnny, 14, wipes a table down as he stares at the radio. He goes back to cleaning when he hears his mother NORA crying in the other room. Johnny walks to the doorway and peeks out and sees Nora with her face buried in her hands. JOHNNY Mom, are you okay?

Nora looks up at him. Her eyes red from tears but she manages a smile even though their is anguish in her face. Nora, 30, is a beautiful tan skinned woman with short dark red wavy hair. She stands up and walks over to Johnny, who has a look of confusion. JOHNNY (CONT’D) Are you crying cause they killed Mr. Dillinger? NORA Yes, that’s why. Why don’t you go to bed, it’s already late. Johnny puts his hand up to stop her from leading him out of the kitchen. NORA (CONT’D) I’ll finish up. JOHNNY It’s more than that. Why are you really crying? NORA I can’t talk about this now. JOHNNY Oh Jesus, the hiding... NORA John Herbert! I will not have you blaspheme in this house. Johnny’s face is tense but he shakes it off. JOHNNY I’m sorry, mom. I just wish you would tell me things instead... There is the sound of brakes squealing outside. Nora runs to the window and peeks out. NORA Oh my god. Outside the window, four men with guns get out of a car and walk up to the door. NORA (CONT’D) (whispering) John, hide.

JOHNNY Who is it? NORA (whispering) Please, hide. Right now. Listen to me. JOHNNY No. I’m not hiding until you tell me what’s going on. Nora’s face tenses with anger until there is a crash against the door. NORA (whispering) They are men that want us dead. JOHNNY Why?! NORA Because Mr. Dillinger is your father that’s why. Johnny stands, speechless. Nora slaps him across the face. NORA (CONT’D) Now, hide! Johnny runs out of the room. Machine gun fire sprays across the door and window. Nora falls to the floor, screaming. The door is kicked open to reveal CLYDE TOLSON, armed with an M1903 Springfield Rifle. Tolson, 34, has black hair that is combed to the right side and slightly big nose. RICO follows. Rico has red Irish hair and piercing blue eyes. He also has a slightly big nose. Tolson looks in the living room and hallway as Rico stares down a shaken Nora, who starts to slowly stand up with her hands raised. Tolson walks up next to Rico. TOLSON I don’t see him. (to Nora) Where is he?

NORA We played this song and dance before. Didn’t you guys kill him in Chicago? TOLSON We’re talking about his boy. Nora has a look of surprise but she quickly smiles. NORA Who’s boy? TOLSON Don’t play games with me. You damn sure shouldn’t play games with Mr. J. Edgar Hoover. NORA Is that what he wants you to call him in bed now? Tolson’s face goes red and he steps forward and kicks Nora in the stomach. Nora keels over in pain. He grabs her by her hair and yanks it back. TOLSON We know you had Dillinger’s boy, you common whore! Tell us where he is or you die. NORA As long as my son is alive, you can fuck yourself! She spits in Tolson’s face. He throws her down by her hair. Tolson takes a handkerchief and wipes the spit off of his face. Nora looks up with tears in her eyes but her face is defiant. NORA (CONT’D) Just shoot me and get it over with. TOLSON Shoot you? Who said we were going to shoot you? Rico? RICO Yes, boss.

TOLSON Interrogate her. Don’t be afraid to get a little rough. Rico puts on shiny brass knuckles. He punches her across the mouth, causing blood to spill out. Rico starts punching and stomping her in the ribs. JOHNNY (O.S.) No! Johnny tackles Rico to the ground and starts punching him in the face. Tolson hits Johnny in the side of the head with his rifle. TOLSON Get in here and restrain him! Two more AGENTS run in and handcuff Johnny. The agents are HAUSER and COMBS. Hauser has slicked back wavy red hair and a pointed nose. Combs slightly messy combed back black hair with some gray and a beard. They lie on him but his squirming still bounces them up and down. Tolson grabs Johnny by his hair and chin and forces his head up. TOLSON (CONT’D) We were going to bring your father back here so you can watch him die. It didn’t go as planned so we’ll have to settle for this. Tolson smiles and nods at Rico who continues to punch Nora. Johnny screams in agony as he watches his mother get beat to death. EXT. ASYLUM - FRONT GATE - LATER DR FRIEDMAN paces in front of the gate. Friedman, 55, has hair combed to each side, bifocles, a pointed nose, and gravel voice. DR FRIEDMAN I take it this a worthwhile patient. Worth my time. Out of the shadows steps J. EDGAR HOOVER and FRANK NITTI. Hoover, 39, has slicked back salt and pepper hair.

Nitti, 48, has his hair combed to the both sides and has a small moustache. NITTI For what we pay you, you shouldn’t care what type of patient he is. DR FRIEDMAN The “patients” I have is all your goons looking to escape jail time. This will be a patient that I actually have to rehabilitate. J. EDGAR We don’t want him rehabilitated. We want him destroyed. Broken. I want him to the point of cutting his own wrists. We bring him back and drive him there again. DR FRIEDMAN What purpose does this achieve? J. EDGAR I want him to know that even though he is the spawn of a scourge, he will not follow in said scourge’s path. I want him to know that I systematically destroyed all he is before he dies. NITTI Nicely put. A car pulls up. Tolson steps out and walks up to Hoover with his arms out. Hoover lightly shakes his head and extends his hand. Tolson, disappointed, shakes it. Nitti looks at the two of them and rolls his eyes. Johnny is dragged out of the car by Rico. His face is bloody and he can barely stand. Johnny can only open his right eye. NITTI (CONT’D) Jesus, can you have saved some for the Doctor? Nitti grabs Johnny’s face and lightly lifts it up.

NITTI (CONT’D) Hey, no hard feelings. But this is the way the cookie crumbles. Hoover walks up and looks at Johnny. J. EDGAR Your father wanted to destroy everything I created. Now I repay the favor, systematic... His words are cut off by blood getting spit into his face. Hoover eyes light up with anger and he back hands Johnny. Rico and the other agents drag Johnny inside the gates. Hoover moans when he sees blood on his hand. Tolson quickly pulls out his handkerchief. TOLSON Oh no, I wiped spit off with this. J. EDGAR But there’s blood on me! Find something. Nitti hands him his handkerchief. NITTI (annoyed) Here. Use mine. Tolson quickly cleans the blood off of Hoover’s hands and face. When Hoover’s face is clean, Tolson pinches his cheek. Nitti shakes his head, disapprovingly. NITTI (CONT’D) You guys make me puke. Let’s get out of here before someone sees us together and wonders what’s going on. The three get in their cars and leave. INT. ASYLUM - “TREATMENT” ROOM - MOMENTS LATER Johnny is strapped to stretcher standing up. He looks around frantically. It is on a edge of a pool filled with ice water.

DR FRIEDMAN Some call my methods barbaric in nature but it’s the only we can break the strong but abnormal mind or make the fragile strong. Friedman takes his bifocles off and nods his head to the left. A tall, muscular, bald man with rotten teeth cranks a wheel and the stretcher is lowered into the ice water. DR FRIEDMAN (CONT’D) Don’t worry about the blood on your face. The water will clean it right off. Johnny takes deep breaths as he is lowered into the water. As he goes under, the blood is wiped off of his face. Johnny jerks around and the stretcher is raised back up. As he comes out, he screams. DR FRIEDMAN (CONT’D) A little cold isn’t it. Better get used to it. You’re going to be here for a long time. Again. The stretcher is lowered. MONTAGE - SEVEN YEARS OF INSTITUTIONALIZATION -Sub-Title: FIRST YEAR. John slits his wrists with a piece of glass. Two ORDERLIES grab a hold of him and he is treated by Dr Friedman. -Sub-Title: SECOND YEAR. John is given electric shock treatment. -Sub-Title: THIRD YEAR. John is handcuffed to a meat hook and hangs in the air. He is beaten by the big bald man. -Sub-Title: FOURTH YEAR. John is strapped to the stretcher and dipped into the ice water. -Sub-Title: FIFTH YEAR. John is injected by syringe into the neck. Faces of clowns laugh. John laughs maniacally. He looks and sees his mother’s beaten body and she weakly calls out to him. John screams in agony. He is then transported back to the alley of the Biograph and sees the clowns shoot his father to death. -Sub-Title: SIXTH YEAR. John is strapped down to a stretcher with a light shined bright into his eyes.

Hoover steps into the light. Only his silhouette is seen as his face is shrouded in darkness. HOOVER Fight all you want. You will lose. I promised that I’d systematically destroy your father. Now I systematically destroy you. Hoover steps away. Rico walks in and puts his face up close to Johnny. RICO You have a lot more fight than that mother of yours. Rico laughs and walks away. -Sub-Title: SEVENTH YEAR. Johnny sits in a corner of his cell. His hair long and with a beard. It is dark until a light brightens up the room. A silhouette of a man with a fedora and suit stands on one side of the room. DILLINGER Son. I know you have several questions and you never got any answers. One day you will. You have to keep fighting. I’m proud of you. You have one thing that all Dillinger men have. You never give up. Rise and rise again until the lambs becomes lions. END MONTAGE INT. ASYLUM - JOHN’S CELL - SEVEN YEARS LATER Johnny, now 21, faces the wall. His hair is cut short and he has stubble. The door opens behind Johnny and he turns around. Doctor Friedman, now with gray and some white in his hair, stands in the doorway, cleaning his bifocles. DR FRIEDMAN You ready to surrender. JOHNNY No.

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DR FRIEDMAN You are too stupid. Now you move onto a new home at Mr. Hoover and Mr. Nitti’s request. JOHNNY I appreciate your hospitality. INT. INDIANA STATE PRISON - PROCESSING - DAY Johnny is thrown into a room naked. He is sprayed with a hose and delousing powder is thrown on him. His face is now clean shaven. Johnny is handed his prison clothes and led to the cells. INT. INDIANA STATE PRISON - LUNCH AREA - LATER Johnny has his tray of food and walks in the mess hall. Prisoners stop and look at him. Four prisoners at one small table watch him more attentively. The leader of the group stands up. The leader is LUCCI. Lucci has a buzz cut and broken nose. The other three have black hair with stubble. Their names are Carlo, Abe, and Berto. Johnny sits at an empty table. People stare at him in awe and some have recognition on their faces. Johnny starts eating. Carlo sits in front of him. Johnny stops and sees Berto and Abe sit on the other sides of the table. JOHNNY How you guys doing? Carlo stands up and leans forward and spits in Johnny’s food. Lucci walks up behind Johnny. LUCCI Well if it isn’t John Jr. Nitti told us to make your stay very welcome. JOHNNY Nitti?

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CARLO He told us about your mother. About how Rico decided to fuck her with a busted up face. Johnny quickly stabs Carlo in the eye with his fork. Carlo screams in agony as Johnny grabs the tray and slams it up into Lucci’s face. Johnny quickly stands up and hits Berto in the throat with the tray. Abe blind sides Johnny with a punch to the face. Johnny back hands Abe in the balls. He then knees Abe in the face. Lucci is about to hit Johnny. WALTER (O.S.) Stop! Everyone turns to look and see WALTER DIETRICH. Walter is a round faced guy with stubble and really short gray hair. WALTER (CONT’D) Back away. Lucci and his crew all back away from Johnny. Walter walks up to Johnny who has a look of confusion. JOHNNY Who are you? WALTER I’m Walter Dietrich. JOHNNY Walter Dietrich? WALTER You heard of me? JOHNNY My fat...John Dillinger told me about you. WALTER Still find it hard to accept? JOHNNY I guess it’s all weird to me. I knew he took care of my mom and taught me things but I never filled in the blanks. And I never will.

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Walter puts his hand on Johnny’s shoulders and starts leading him out of the mess hall. INT. INDIANA STATE PRISON - HALLWAY - CONTINUOUS Johnny leans against a wall, cradling his jaw. Walter lights a cigarette and offers Johnny one but he shakes his head disapprovingly. WALTER Good. It’s a nasty habit that I don’t wish on you. Your father picked it up unfortunately. JOHNNY I thought you were dead. Dil...my father told me that you died when he broke out of prison. This prison to be in exact. WALTER Yeah I know. When I got shot, I was hanging on the car by the thread of my fingers. I thought that if your father tried to rescue me, he’d get caught so I let go. I was treated and put back here, more popular than ever. JOHNNY How did you know who I was? WALTER You kidding. I looked at your face and just saw your dad. He had that same look on his face when he first came here. When I first started talking to him, all he would talk about was you. JOHNNY Me? WALTER Yeah. He was so excited to be a father but he was disappointed that he would not see you grow up. When he escaped the first time, that was his main goal was to see you. JOHNNY I didn’t meet him til I was twelve but he never told me who he was.

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WALTER He thought it was for your own protection but somebody knew. Johnny raises his head and looks at Walter more attentively. WALTER (CONT’D) Don’t even think for a second that it was me. JOHNNY Why did they want me and my mother dead? WALTER It was a mutual agreement between Nitti and that fat swish Hoover. They didn’t just want Dillinger dead. They wanted to wipe out his bloodline. That’s probably why Lucci and his goons are here. JOHNNY They kill my grandfather, too? WALTER No. Your grandmother is dead and your grandfather is too old to even create a new bloodline so they didn’t need to worry about him. I did hear that your father might be alive somewhere. But who knows? Maybe these assholes just want to fuck up your life and hopefully break you. JOHNNY They already fucked up my life. They beat my mother to death in front of me. They may or may not have killed my father who I’ll never get to know as more than a childhood friend. I was tortured for seven years in an asylum. They’ve gloated about destroying me but I’m still here. WALTER You’re going to need more than your brass balls if you want to survive against them.

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JOHNNY What can you teach me that I don’t already know? WALTER Charm. JOHNNY What? INT. INDIANA STATE PRISON - WALTER’S CELL - NEXT DAY Walter sits on his bunk and watches Johnny walk back and forth. WALTER Well, you do walk like a human and not a convict kid. JOHNNY What does that have to do with anyone? WALTER Men are only recognizable by two things. Their walk and their eyes. As long as they don’t see your eyes, they won’t know who you are. But you’re walk is a dead giveaway. JOHNNY Any other words of advice with handling my disguise? WALTER Make sure your wear a nice suit with a good hat. JOHNNY I never really wore a hat before. WALTER Better start. INT. INDIANA STATE PRISON - WEIGHT ROOM - NIGHT Johnny is walking down the hallway, leading into the weight room. JOHNNY Walter?

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Johnny walks in and sees Walter dead on the weight bench with the barbell, on his throat. Carlo appears from behind and wraps a chain around Johnny’s throat. Johnny puts his hand up. Berto runs up with a shiv. Johnny throws his legs up and kicks Berto in the face, knocking him on the ground. He starts throwing his head back repeatedly into Carlo’s face. Carlo’s face gets beaten and he becomes dazed and lets the chain go. Abe grabs a heavy weight and swings it at Johnny. Johnny ducks and the weight smashes Carlo’s head. Johnny quickly grabs the shiv on the ground and stabs it into the top of Abe’s head, killing him. Johnny then picks up the weight and slams it down on Berto’s head, killing him. INT. INDIANA STATE PRISON - HALLWAY - CONTINUOUS Johnny stumbles down the hallway. He starts punching the wall. Johnny breaks down crying and falls on his knees. He has flashes of his father and mother’s dead bodies and now Walter’s. Johnny stops crying and forcefully wipes his eyes. He stands up and smooths the wrinkles out of his clothes. Johnny walks down the hallway but his posture is more erect and confident. INT. INDIANA STATE PRISON - JOHNNY’S CELL - MIDNIGHT Johnny sleeps under the blanket on his cot. The door unlocks and Lucci steps in, barefoot. He pulls out a large screwdriver and starts stabbing what he thinks is Johnny but it is a bunch of pillows under the blanket. Under the bed, a dumbbell raises in the air and slams down on Lucci’s bare toes. Lucci screams in agony as Johnny rolls out from under the bed. Johnny quickly stands up and grunts as he slams the dumbbell into Lucci’s teeth. Lucci is about to scream with a mangled mouth but Johnny smashes his head in with the dumb bell.

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INT. INDIANA STATE PRISON - LUCCI’S CELL - CONTINUOUS Lucci’s cell is right across from Johnny’s. The door is open when a guard walks by and sees the grisly remains of Lucci’s body. The guard blows a whistle. Across the hallway, Johnny peeks out through the food slot. More guards run down the hallway and see the dead body. The WARDEN, a tall, hefty man with thinning salt and pepper hair, walks to the cell. He covers his mouth. WARDEN Jesus. Nitti is not going to be happy about this. Get him in a body bag and call Friedman. Tell him to get the ovens running. Johnny breaths in and out of his nose. JOHNNY (to himself) Friedman. EXT. INDIANA STATE PRISON - DOCK AREA - CONTINUOUS A body bag is loaded into a van that is driven by Friedman’s bald assistant but he is missing his teeth now. INT. INDIANA STATE PRISON - JOHNNY’S CELL - CONTINUOUS The door is cracked open. A guard slowly opens it and sees a massive blood pool on the floor. There is a faint blood trail in the hallway that leads from Lucci’s cell to Johnny’s cell. On the bed, there is a body under the covers and a big blood stain where the head is supposed to be. The guard quickly pulls the blanket away to see Lucci’s dead body. He runs out the cell and the alarm blares. INT. CREMATORIUM - OPERATING ROOM - LATER The body bag is put on the table. Dr Friedman reads a tag on it.

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DR FRIEDMAN Make sure the oven is ready. The bald assistant opens the door of the furnace and hears the hiss of the gas. Behind him, a blade stabs through the bag and cuts downward. The assistant walks over to the bag and a hand quickly shoots out and stabs him in the neck. He gags as blood sprays out and he dies on the floor. Dr Friedman walks back in and sees his assistant dead. He runs to a desk and opens the drawer but hears the sound of a gun hammer cocking. He turns and sees Johnny aiming a pistol at him. JOHNNY Looking for this? DR FRIEDMAN Listen. I was paid to do my job. I did save your life. I’m sorry for what happened but it is Nitti and Hoover that you want. JOHNNY Oh they are next. But I’ll start with you. Johnny hits Friedman in the head with the pistol. He starts hitting Friedman in the face with the butt of the gun. Johnny opens up the furnace. He puts Friedman on a silver stretcher that is on the rollers leading into the crematorium. Johnny pushes Friedman into the furnace and slams the door. DR FRIEDMAN You can’t do this! JOHNNY Tell that to God if you don’t burn in hell first. Johnny turns the lever and the fires burn Friedman alive. He screams in agony as Johnny walks out. EXT. DILLINGER HOUSE - FRONT DOOR - AFTERNOON The kitchen is seen through the glass of the door. Johnny wears a boy’s hat and a beat up brown jacket.

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Johnny peeks in and sees JOHN DILLINGER SR. John Sr, 71, wears glasses and has combed back white and gray hair and puffy cheeks. He is chopping up meat on a cutting board when Johnny taps on the window. JOHN SR Go away. Johnny taps again. John Sr slams the knife down and walks up to the window. Johnny takes his hat off and John Sr’s face goes blank. He quickly opens the door. JOHN SR (CONT’D) Oh my god. Is it you? JOHNNY Yes. INT. DILLINGER HOUSE - DINING ROOM - CONTINUOUS Johnny scarfs down meat and potatoes. John Sr and STUMPY, 50, a black man with leathery brown skin and bald, stare. JOHN SR You should slow down, you’ll choke. Johnny swallows the food in his mouth down. JOHNNY Sorry. It’s been forever since I had good food like this. JOHN SR When I heard about your mother being killed, I thought they buried you in the cornfields. JOHNNY I wish they did. I was put in an asylum until about a week ago. Then they put me in Indiana State. JOHN SR Same jail as your dad. STUMPY Why were you put in an asylum?

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JOHNNY Because I told people I was John Dillinger’s son. So it was justified. JOHN SR Who killed your mom? JOHNNY It was some Irish fed but the leader of the group was Clyde Tolson. STUMPY Who’s that? JOHN SR Right hand man to the head of the FBI. (to Johnny) How did you hear the name? JOHNNY When they dragged me into the asylum, I heard Hoover and Nitti say it. JOHN SR Nitti was there? JOHNNY At the asylum, yes. They had this doctor on his payroll. Friedman. STUMPY I know him. I was put in there and he messed me up really good. I always wanted to pay him back. JOHNNY The best you can do now is piss on the ashes. JOHN SR Why you say that? JOHNNY Because that’s all that’s left of him. JOHN SR So Nitti and Hoover were working together on this? (MORE)

20. JOHN SR (CONT'D) That means they must have been together when they killed your father.

JOHNNY Walter Dietrich told me it was all about wiping away the bloodline. He did say there was a rumor that my father is alive. JOHN SR Walter Dietrich? You seen Walter Dietrich? I thought he was dead. I mean that’s what your father told me. JOHNNY He is now. Nitti’s goons killed him. They tried to kill me but I beat them to the punch. John Sr rubs his face in frustration. JOHNNY (CONT’D) So is the rumor true? JOHN SR No. Your father was killed in that alley. He did not want any of this for you. I’m sorry about this. JOHNNY I’m sorry I never got to know him. But that does not mean I cannot do right by him. JOHN SR What do you mean by that? JOHNNY I am going to be bleed Hoover and Nitti dry until they give me the murderers of my father and mother. Then I kill them. John Sr and Stumpy stare at Johnny. Stumpy’s face is shock but John Sr’s face is blank. JOHNNY (CONT’D) I know that’s not what you guys wanted but it is the right thing to do.

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JOHN SR It’s the stupid thing to do. But it is right. If you are going to go through with this, you are going to need some things. Come with me. INT. DILLINGER HOUSE - JOHN DILLINGER BEDROOM - CONTINUOUS Johnny walks in and sees the bed is made but some dust on it. JOHNNY Don’t use this room anymore? JOHN SR Not in a while. Actually, it was your dad you used it last. He didn’t sleep much. The people that got killed really bothered him. JOHNNY It did? JOHN SR Don’t believe all those stories. He wasn’t some psychopath who got pleasure from murder. I taught him to never let anyone back him into a corner. If you do, you fight back. I guess he took my advice and it seems to follow. JOHNNY I was wondering if I could stay here a couple of days. JOHN SR You stay as long as you like. Oh, I have some things you might need. John Sr opens the closet to reveal cleaned and pressed suits. On the top shelf, there is matching fedoras. John Sr takes a mahogany box down from the shelf and hands it to Johnny. Johnny opens it up to reveal two Colt M19A1’s. JOHNNY Are these...? JOHN SR Yeah. He left them here. They were his lucky guns. Johnny lightly caresses the guns.

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JOHNNY You have any ammunition. JOHN SR In the basement. FADE TO: INT. DILLINGER HOUSE - JOHN DILLINGER BEDROOM - NIGHT Johnny puts bullets into clips. There are several pairs of clips loaded with bullets on the floor. Johnny takes one of the guns and starts cleaning it.

FLASHBACK - JOHNNY CLEANING GUNS WITH HIS FATHER Johnny, 13, smiles as he scrubs the inside of his gun. He looks up at his dad, JOHN DILLINGER, who smiles back. John resembles Johnny but has a moustache. BACK TO SCENE Johnny loads the clips into both guns and clicks the slides back into place. He aims the gun at the door. FLASHBACK - JOHNNY SHOOTING GUNS Johnny shoots up a sign, hitting it each time. John Dillinger has a look of disappointment. Johnny turns around, his face beaming. Dillinger forces a smile and gives his son a thumbs up. INT. DILLINGER HOUSE - KITCHEN - MORNING Johnny sits in the chair with an apron on. His hair is short like Dillinger’s. John Sr looks at Johnny’s hair and nods his head approvingly. JOHN SR Looks good. Now the face. JOHNNY What’s wrong with it?

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JOHN SR The scruff. Get rid of it. Stumpy puts shaving cream on his Johnny’s face. He takes out a shaving razor. Stumpy’s hand shakes really bad as the razor comes close to Johnny’s face. Johnny stares at the razor with his eyes wide open. JOHNNY You know, I’ll just go to a barber. He tries to sit up but John Sr pushes him back down. JOHN SR Nonsense. Get a free and close shave. JOHNNY Not too close I hope. INT. HOOVER MANSION - OFFICE - SAME TIME Hoover, wearing a robe, gets his shoulders rubbed by Tolson. TOLSON How you feel? J. EDGAR Very good. Thank you, Clyde. Rico walks in with a phone on a silver platter. J. EDGAR (CONT’D) What is it now, Rico? RICO It’s Mr. Nitti. He is panicking about something. J. Edgar rolls his eyes and takes the phone. J. EDGAR (into phone) Francisco? Just slow down. INT. NITTI HOUSE - DINING ROOM - CONTINUOUS Nitti’s hair is disheveled.

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NITTI (into phone) I will not slow down. You said everything is under control. That everything was set up perfectly. I guess you were wrong. INTERCUT NITTI HOUSE/HOOVER MANSION J. EDGAR What are you talking about? NITTI The pest problem. The seed problem. J. EDGAR The Dillinger boy? NITTI Well, he’s not a boy. My guys got Dietrich but it seems this problem took care of my guys. J. EDGAR He didn’t get killed? NITTI Worse. He escaped. Hid inside the body bag of one of my guys. J. EDGAR Tell Friedman to be alert. NITTI Already did. Except I was talking to black ash. It seems this boy burned him in his own furnace. Stuck a shiv in his assistant’s throat also. J. EDGAR He’s going to want to run. We’ll pick him up eventually. NITTI That’s it. You aren’t worried that he’ll come after us. J. EDGAR Does he even know who we are? He does not know our names and he was too beat up to even see us. So calm down and do not call me here again.

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Hoover slams the phone down. Nitti’s hands shake as he hangs up the phone. INT. UNION STATION - PLATFORM - NEXT DAY A shiny shoe steps down from the train. It is Johnny with a new dark blue suit and fedora. Johnny’s face is clean shaven and he wears shades like his father. INT. PURVIS FARM - LIVING ROOM - SAME TIME MELVIN PURVIS, 38, sits and reads paper. He has slicked back dark hair with some streaks of gray. His nose and chin are pointed and defined. Purvis’ eyes focus on a news story. INSERT - NEWS ARTICLE HEADLINE BLOODY PRISON BREAK. Officials are still looking for unidentified prisoner who killed four convicts in his escape from Indiana State Prison. Sources claim the prisoner resembled young John Dillinger. BACK TO SCENE Purvis stares at the article. MARIE (O.S.) Melvin. Purvis looks up with a look of surprise. His wife MARIE stands in the doorway with her hands on her hips with a look of annoyance. Marie, same age as Purvis, is beautiful with short brown hair. MARIE (CONT’D) I asked could you get some milk and bread on the way home. PURVIS Will do.

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MARIE Why are you so enthralled in the crime section? I thought you were done with that business. PURVIS I am. Just got caught up in an article. Marie walks over and snatches the paper. She reads the article and lets out a annoyed breath. PURVIS (CONT’D) I’m not going back. MARIE That’s not what’s bothering me. You have to let this go. PURVIS What...I know. I’m sorry. MARIE You keep looking for a new Dillinger. You need to let it go. He’s gone. PURVIS I know. I’m just looking to save the next one. But that fat asshole kicked me out cause I stole his glory. Marie chuckles. MARIE Watch your language around the kids. PURVIS I will. I seen the crematorium was closed down. MARIE Yeah. Someone burned that strange Mr. Friedman. I heard people saying it was that escaped prisoner that did it but who knows. Purvis has look of confusion. He shakes it off and kisses Marie goodbye.

27.

INT. PURVIS & CO. - OFFICE - LATER The office has a desk with a desk lamp. There is a white floral vase on a table by the window. Purvis looks over a file. He rests his chin on his hands. SECRETARY walks in and hands a file to him. SECRETARY More on the Stillman case. PURVIS You hear any word about that prison break? SECRETARY Yeah. I heard that the men killed were all associates of Frank Nitti. There are rumors that the doctor burned in his own furnace was involved with Nitti as well. PURVIS Well he runs a crema...Doctor? SECRETARY Yeah. He was a the head doctor at the asylum before he was discharged for allegedly accepting bribes to get gangsters out of jail time. That and he devoted all his time to torturing some patient. PURVIS You have any articles on that? SECRETARY No. The public records might. PURVIS Okay. Iâ&#x20AC;&#x2122;ll take a look. EXT. CHICAGO - STREET - LATER Purvis looks at a sheet of paper and looks up at a sign. INSERT - BUILDING SIGN PUBLIC RECORDS

28.

BACK TO SCENE Purvis walks in as Johnny walks past him. INT. PUBLIC RECORDS - MOMENTS LATER Purvis reads records. INSERT - FRIEDMAN’S RECORD UNIDENTIFIED PATIENT Young patient experiences delusions. He was led to believe that he is the son of John Dillinger. BACK TO SCENE Purvis sits up and rubs his mouth. He stares at a picture of fourteen year old Johnny. Purvis opens up a book that contains newspaper articles. He comes across a front page article of the death of John Dillinger. Purvis compares the photo of John Dillinger to the picture of young Johnny. PURVIS It can’t be. Purvis is about to close the article book but he looks at an article on the corner of the front page. INSERT - SMALL REPORT WOMAN FOUND BEATEN TO DEATH IN HER HOME. SON MISSING, FEARED DEAD Norma Fernandez was found beaten BACK TO SCENE Purvis closes the book and rubs his forehead. FLASHBACK - PURVIS LOOKING AT DILLINGER FILE WHILE HE WAS FBI Purvis looks at a list of known Dillinger accomplices. Norma Fernandez’s name is on the list. BACK TO SCENE PURVIS Jesus, is it possible?

29.

Purvis opens up the article book and looks at Dillinger’s picture. PURVIS (CONT’D) You went and had a god damn son didn’t you. EXT. CHICAGO - STREET - SAME TIME Johnny continues walking until he sees three men in fancy suits dragging a butcher out of his shop. They start beating him up and the butcher’s wife screams at them to stop. A cop leans against his squad car with a toothpick bouncing in between his teeth. He laughs as the goons take money out of the butcher’s pockets. One of the goons, who is wearing a dark red suit, puts a silver money box in his car. BUTCHER’S WIFE That’s all we have you crook! The red suit goon turns around and punches her in the nose. JOHNNY (O.S.) Hey! The red suit goon turns around and Johnny grabs him by his nuts. The goon squeals as Johnny then grabs him by the neck and slams his head through the front passenger window of their car. Another goon, wearing a white suit, quickly pulls out a switchblade. Johnny quickly pulls out a razor and slashes the goon’s wrist. The goon grabs his wrist and Johnny kicks him in the chest hard, sending him falling back through the front window of the butcher shop. The last goon, olive blue suit, tries to punch Johnny but he blocks it. Johnny sees the cop about to swing the billy club down. He quickly moves the goon in his way so he gets cracked on the head with the club. The goon is knocked out and slams the goon’s head back into the cop’s face. The cop is senseless and Johnny grabs him by the belt and neck and slams his head through the other back passenger window of the goon’s car.

30.

The cop now hangs in the window next to the red suit goon. Johnny reaches in each goon’s pocket and the cop’s pocket and takes out wads of money. He opens up the front passenger door, causing the red suit goon to fall on his back. Johnny takes the money box out and hands it the beaten up butcher and his wife, who has a bloody nose. JOHNNY (CONT’D) I think this is yours. BUTCHER’S WIFE Thank you. The butcher nods his head. The wife screams as the white suited goon fires his gun at Johnny, which shoots the fedora off of his head. JOHNNY Now that was a mistake. Johnny pulls out both Colts and shoots the white suited goon in both shoulders. The red suited goon pulls out his gun. Johnny shoots him in the gun hand and in both knee caps. The goon screams in pain. The cop pulls himself out of the window and slowly pulls out his gun. Johnny knocks him out with a punch across the face. Purvis runs outside and sees Johnny. He stares Johnny down who looks back at Purvis’ look with interest. Purvis reaches into his jacket but he has a look of confusion. He looks in his jacket and sees nothing. Johnny smirks and runs up to a taxi driving slowly by. He jumps on the taxi and gets in. INT. TAXI - CONTINUOUS Johnny pulls his gun out. JOHNNY Drive. INT. PAYPHONE - LATER Johnny breathes out through his nose.

31.

JOHN SR (V.O.) Hello? JOHNNY (into phone) It’s me. INT. DILLINGER HOUSE - KITCHEN - SAME TIME JOHN SR (into phone) Hey, how was your first day? INTERCUT PAYPHONE/KITCHEN JOHNNY Stopped three Nitti goons from robbing a butcher. JOHN SR Kill them? JOHNNY No. They’re going to the hospital though. There was some fed or somebody that showed up when I took care of business. Get this. I think he forgot his gun. JOHN SR What did you do? JOHNNY Nothing. Something didn’t feel right about it. But it seemed like he knew me from somewhere. JOHN SR What did he look like? JOHNNY Slicked dark and gray hair. Pointed chin and nose. Probably around forty. JOHN SR Sounds like Melvin Purvis. JOHNNY Purvis? The G-man who hunted my dad?

32.

JOHN SR One in the same. Except he’s a lawyer now. JOHNNY He still thinks himself an agent. Why else would he reach in his coat? JOHN SR You need some help in finding Nitti’s piggy bank. JOHNNY Know of anyone? JOHN I heard he was work for Nitti dad out a lot. Karpis.

SR in Chicago doing but he helped your His name is Alvin

JOHNNY I’ll look into it. I need to get a room for the night but I don’t want to chance it at a hotel. JOHN SR I have a place in mind. EXT. BOARDINGHOUSE - FRONT DOOR - NIGHT John knocks a few times on the top and side frame of the door. The door opens and a Derringer is aimed at him. JOHNNY Hey! Is this the Flanery boardinghouse? The opens more to reveal SHEILA, 22. Sheila has her hair tied back but it is somewhat messy like she just got out of bed. She is beautiful with dark auburn hair and greenish blue eyes. SHEILA We haven’t been a boardinghouse in months. It’s just a house now since Nitti and his crew scared off most of my customers.

33.

JOHNNY What’s with the gun? Don’t they have more than that? SHEILA I was almost raped last year by a drunk who came in with no cent to his name. That’s why I carry a gun. JOHNNY I have money and I’m not a drunk. I have no interest in raping anybody. My mother raised me better. Sheila starts to close the door. SHEILA I’m sure your mother was very nice but I don’t think I can accommodate you. JOHNNY My mother was Nora Fernandez. Sheila opens the door back up. INT. BOARDINGHOUSE - BEDROOM - CONTINUOUS Johnny takes unbuttons his shirt. He has a muscular physique but he has a couple scars on his chest and slight burn on his back. Sheila walks in with towels. She stops and stares at Johnny. He turns around and smiles. JOHNNY Thank you. Sheila has smile but with a hint of embarrassment. SHEILA I’m sorry. Here’s some towels. Do those hurt? Johnny looks at his scars and burn. JOHNNY Not anymore. Sheila walks up and touches the scar with her finger but quickly backs away.

34.

SHEILA I’m sorry. JOHNNY I never complain about girl’s touching my chest. Been around nothing but guys for a little more than seven years. SHEILA We were wondering what happened to you. JOHNNY We? SHEILA Me and my mother. She died a few years ago. JOHNNY Her and my mother were friends? SHEILA I knew her, too. Your mother really helped us when we were struggling. My mother used to always comment that you were mini Dillinger. If we only knew. JOHNNY Too bad I didn’t know. I don’t really remember you guys, though. SHEILA I actually remembered you. You were so quiet and you really loved your mother but you weren’t a mama’s boy. Johnny scratches his head. His eyes go wide. JOHNNY She Ye? Sheila buries her face in her hands. SHEILA Yes. JOHNNY Oh my god. You really changed.

35.

SHEILA Oh I have? JOHNNY I mean in a good way. You look beautiful. SHEILA With my bed head? You’re fooling me? JOHNNY No I’m serious. Sheila looks at Johnny’s chest and back. SHEILA Well, I’ll let you get to bed or whatever. JOHNNY Thank you again. SHEILA So what are you doing in town, Johnny? JOHNNY I’m getting even for my parents. SHEILA How? JOHNNY Hit him where it hurts. SHEILA Well, you can stay here but only if you pay me with legal money. JOHNNY Remember that money that my mother helped you guys out with? SHEILA Yes? JOHNNY You think that was legal? Johnny winks.

36.

EXT. BROTHEL - FRONT ENTRANCE - AFTERNOON ALVIN KARPIS, 44, walks out of the entrance. Karpis has hair slicked back tight against his head. There is some streaks of gray but it is mostly dark. He has a moustache. Karpis is wearing a grey tweed suit, flat rimmed Panama hat, and bifocle shade. JOHNNY (O.S.) Mr. Karpis? Karpis turns around and looks at Johnny. His face goes blank. KARPIS Jesus. Joh...John? JOHNNY Not exactly. INT. BAR - CORNER BOOTH - LATER A wine glass is put in front of Karpis with a wine bottle. KARPIS Sorry. I never got into the whole whiskey or beer thing. JOHNNY That’s okay. Neither have I. KARPIS Man, I heard about the rumors but I thought they were all lies. Lies to get the criminals going of the second coming. JOHNNY Second coming? Christ? KARPIS No. Second coming of Dillinger. JOHNNY I’m not looking to take up a crime wave. KARPIS Really? Why are you here?

37.

JOHNNY I want to go after Nitti and Hoover. Any of their holdings. I heard you were the guy that knows stuff like that. Karpis smirks. KARPIS I might be. I have no problem giving you Hoover’s stock. But I work for Nitti now. I handle some of his businesses and kidnappings. Why would I want to ruin a good thing and give you that information? JOHNNY Because you secretly hate Nitti. You want to pay back Hoover for embarrassing you. You know Nitti won’t let you. And I’m no snitch so he wouldn’t have any idea that it was you. Also, you and my dad were friends. Karpis pours himself a glass of wine and downs it. KARPIS So if I’m caught, I can say I was drunk and persuaded. Your dad was a good man but I’m not. A big mischievous smile comes over his face. KARPIS (CONT’D) Which is why I’ll give a few spots and maybe a few people you can “talk” to. INT. BANK - LOBBY - NEXT DAY Johnny wearing a dark suit, fedora, and overcoat walks up the stairs. A RECEPTIONIST waves to him. RECEPTIONIST Can I help you? JOHNNY I need to talk to the manager. It’s about a deposit with H&N holdings.

38.

RECEPTIONIST I see. She presses a button under a desk. In the corner, a secret door opens and a short, balding skinny man with a large Adam's apple waves Johnny over. INT. BANK - SECRET OFFICE - CONTINUOUS BANK MANAGER This is unexpected. I wasn’t expecting a deposit until Wednesday. JOHNNY Actually... There is the sound of a hammer of a gun clicking. The manager quickly turns around and sees Johnny aiming his Colt. JOHNNY (CONT’D) I’m making a large withdrawal. Everything you’re holding for H&N holdings. BANK MANAGER How did you find out about this? JOHNNY That’s none of your concern. Johnny throws a bag at the manager. The manager starts angrily throwing money into the bag. BANK MANAGER They’re going to find you. JOHNNY Good. I want to have a personal talk with them. BANK MANAGER They’re going to fuck your life up. JOHNNY They already have. You got any more cockamammy threats? The bank manager slams the bag down on the desk. JOHNNY (CONT’D) Have a nice day.

39.

Johnny walks out and the manager presses a button under the desk. INT. BANK - LOBBY - CONTINUOUS Johnny walks by the desk. The receptionist quickly pulls a pistol out of her desk. Johnny quickly spins around and hits her across the face with a bag. A MAN IN A SUIT is about to pull a gun out but Johnny quickly aims his Colt. JOHNNY Do you value your life? The man throws his gun away. Johnny walks up with a smile. JOHNNY (CONT’D) Good choice. Johnny hits him in the stomach with the bag. INT. SECOND BANK - LOBBY - LATER Johnny walks into the lobby and fires a shotgun in the air. People start screaming. JOHNNY Ladies and gentlemen. I’m only after money that belongs to J. Edgar Hoover of the wonderful FBI. Tellers get money and put it into a bag. Johnny takes it. A farmer and his wife have money in their hands. JOHNNY (CONT’D) What’s that? FARMER Our money. Just don’t hurt us. JOHNNY Put that away or I will hurt you. I’m after Hoover’s money. No one elses. (to everyone) You hear that! I’m after Hoover’s money! All the good people keep theirs. Johnny walks to the door.

40.

JOHNNY (CONT’D) If he asks what happened, tell him John Dillinger sends his regards. INT. CIGAR STORE - GAMBLING DEN - NIGHT Johnny walks in with his head down. The CLERK walks up to the counter. The clerk has large classes with a little scope one of the lens. JOHNNY (talking in gravel voice) Need some special cigars. CLERK Password. Johnny quickly puts the Colt to the clerk’s throat. JOHNNY (in normal voice) Lead. Johnny leads the clerk to the back. INT. GAMBLING DEN - SECRET DOOR - CONTINUOUS The clerk lightly shakes his head disapprovingly. Johnny pushes the gun into his neck. The clerk knocks. A slot opens up and a pair of eyes see the clerk. The door starts to open and Johnny kicks the clerk into the door. INT. GAMBLING DEN - DEN - MOMENTS LATER The door knocks the guard down. Johnny walks in with both Colts drawn. Money is gathered on the table by a group of stunned Nitti goons. Johnny points at it with the gun. JOHNNY I want that all into this. Johnny throws a large canvas bag to them.

41.

NITTI GOON #1 I don’t think you have it in you, tough guy. Johnny lets out a breath through his nose. He shoots the goon in the head, killing him. JOHNNY But I get an A for effort. The rest of the goons quickly load money into the bag and throw it back. NITTI GOON #2 You’re a dead man. JOHNNY Runs in the family. Johnny runs off. INT. CHICAGO - OUTSIDE OF CIGAR STORE - CONTINUOUS Johnny runs into a car and starts it. The clerk jumps on the door with a pistol and fires. Johnny quickly ducks down and shoots his Colt. The bullet blows the viewer into pieces before going through the lens into the clerk’s eye. Johnny stares in shock until the sound of police sirens get closer. People gather in the streets. Johnny sees the police cars and drives off. He takes a handful of money and throws it out the window. People run into the streets to grab the money. The police cars swerve and crash into each other to avoid hitting people. INT. PURVIS FARM - LIVING ROOM - SAME TIME Marie comes in, tying up her robe. Purvis sits on the chair staring at the file of Johnny. MARIE Melvin, is everything okay? PURVIS No. I’m afraid what you said earlier has come true.

42.

MARIE What? PURVIS About another Dillinger. I’m afraid I’ve found him. And he’s another Dillinger. MARIE Someone looking to take his place? PURVIS I mean...he’s had a son. I seen him in the street. MARIE You were there when that butcher shop attack happened. It said on the news that someone attacked three alleged mobsters and a cop. PURVIS It was him. I don’t think he knew me but the face. I can never forget that face. That arrogance. MARIE You see? This is what I mean. You keep looking for a trouble. PURVIS I was at public records when this happened. I did not plan it. Just happened to be a bad coincidence. MARIE What were you doing at the public records? PURVIS I..um...was looking into a case. MARIE What were you really doing, Melvin Horace Purvis? Purvis lowers his head. PURVIS I had to see for myself. MARIE Why?

43.

PURVIS Because this kid’s life was destroyed and I didn’t want him to be destroyed more. Purvis is about to speak but he waves it off and walks out. Marie jumps at the door slamming. INT. BOARDINGHOUSE - PAY PHONE - MOMENTS LATER Johnny, wearing a white tank top with his dress pants, sits by the phone. JOHNNY (into phone) So how mad are they? INT. BROTHEL - OFFICE - SAME TIME KARPIS (into phone) Well, Nitti shot a goon for asking him to repeat a question. He tends to mumble and be out of breath when he gets mad. Hoover had the bank clerks put in jail under the impression they were communists. INTERCUT BROTHEL/BOARDINGHOUSE JOHNNY So nothing worse than usual? KARPIS Well, the den workers you didn’t kill, Rico killed them. And I heard it wasn’t pleasant. JOHNNY Rico does not do pleasant. KARPIS But I think it is time to take it easy. You drawing too much of a name for yourself. JOHNNY That’s what I want.

44.

KARPIS No you don’t. You get too big for yourself and Hoover and Nitti will dig the trenches. Hoover and Nitti are already in talks to fortify themselves. JOHNNY Maybe I want to draw them out in the open. KARPIS That might work with Nitti but Hoover is smart. He won’t go out in the open. Hell, when he arrested me I already had six guns on me and disarmed before he made his arrest. JOHNNY You have anything else? KARPIS Jesus, you don’t listen do you? Your dad was just as bad. I told him not to trust her. JOHNNY Who? KARPIS Anna Sage. And Deputy Stone. They’re the rats you gave him up. Stone worked with Nitti and Hoover with talking Sage into setting your dad up. JOHNNY Where are they? INT. ANNA SAGE HIDEOUT - KITCHEN - AFTERNOON ANNA SAGE, 52, talks on the phone. DEPUTY STONE, 50 walks in. Anna has curly grey and hazel hair that tied into a bun. She wears a dark orange dress. Deputy Stone has a beat up brown carpet looking sport coat over a blue button up shirt that defines his belly. He wears dusty blue pants. Deputy Stone has long hair slicked back but is balding.

45.

ANNA (into phone) Okay. I’ll be careful. DEPUTY STONE Who is that? Anna slowly hangs up the phone. ANNA That was our friend. He’s telling me that John Dillinger’s son is coming to talk to us. DEPUTY STONE What son? He had no kids. Deputy Stone opens his jacket to reveal a shoulder holster. ANNA What are you doing? DEPUTY STONE If this supposedly has put a scare in you, then it’s time for me to do the scaring. Deputy Stone opens the door to reveal Johnny in a suit and fedora with bifocle shades. Anna gasps. Deputy Stone turns and looks and his face goes white. DEPUTY STONE (CONT’D) Oh my god. Johnny walks purposefully towards him. Deputy Stone quickly tries to pull his gun out of his holster. He accidently pulls the trigger and the bullet skins his side and ass. Stone screams in agony as Johnny grabs him by the hair he has left and throws him outside onto the ground. EXT. ANNA SAGE HIDEOUT - YARD - CONTINUOUS Johnny slowly walks towards a crawling Stone. Stone looks up at a well and starts to painfully crawl faster. Johnny fires a shot by his ear. Stone screams in agony as he falls over grasping his head. JOHNNY I hope you weren’t going for this. I found it in the well.

46.

Johnny sees the line where the bullet skinned Stone. He puts his foot on the line, causing Stone to grunt. JOHNNY (CONT’D) You still deaf? Stone just breathes panicked breathes as he looks up at Johnny. Johnny stomps his foot down on Stone’s mouth and nose, causing him to bleed. He grabs Stone by his testicles and hair and throws him against the well. Johnny walks over and sees the well is overflowing. JOHNNY (CONT’D) Or did you want some water? I can happily oblige. Johnny grabs Stone by the hair and dunks his head into the water. Stone’s arms wave around. Johnny kicks Stone’s feet out from under him. Stone’s arms slowly stop flailing as he drowns. Johnny steps back and starts to have panicked breathes as Stone’s body slowly falls to the ground. Anna stands frozen in the doorway. Johnny takes his hat and glasses off. He takes his jacket off and folds it neatly under the hat. Johnny walks purposefully toward the door as Anna shuts and locks it. He walks up to the door and kicks it open. INT. ANNA SAGE HIDEOUT - KITCHEN - CONTINUOUS Anna screams as the door flies open. Johnny rolls up his sleeves. JOHNNY I’m going to ask some questions. Whether you want me to ask them nicely or directly is up to you. ANNA What do you want? JOHNNY Why did you set up my father? ANNA Your father? So it is true? Who is your mother?

47.

JOHNNY What business is that of yours? ANNA Nora Fernandez? JOHNNY You ratted her out, too! Johnny back hands Anna hard across the face, sending her falling to the floor. ANNA (crying) They were going to deport me! JOHNNY You getting freedom from your country is not does not justify my mother getting beat to death. Johnny grabs her by the hair and slaps her hard. JOHNNY (CONT’D) Everything my mother and father went through. I’m going to give to you, Nitti, and Hoover. Ten Fold! Johnny punches her a couple of times in the face. He is poised to punch her again. FLASHBACK - JOHNNY’S MOTHER Nora crying out as she is beaten by Rico. Johnny screams in agony, watching her die. BACK TO SCENE Johnny stands up and stares at his bloody hands that shake. He balls them up to tight fists and the shaking stops. Johnny pulls a wad of cash out of his wallet and throws it at Anna. JOHNNY (CONT’D) Pack your shit and leave town. If I see you anywhere near Chicago or in the state of Illinois or Indiana, I’ll finish what I started. INT. BOARDINGHOUSE - BEDROOM - NIGHT Johnny stumbles into the bedroom. He falls on the bed.

48.

All the killings Johnny has committed flashes before his eyes. He sits up and breaks down crying Johnny quickly stands up and takes his jacket off. He sees a wash bowl and starts frantically washing his hands and face. Johnny starts washing his neck and rips the shirt off, sending buttons flying everywhere. He leans against a wall and slides down to the floor. Johnny closes his eyes. DILLINGER (V.O.) You have to keep fighting. I’m proud of you. You have one thing that all Dillinger men have. You never give up. Rise and rise again until the lambs becomes lions. Johnny opens his eyes. He wipes the tears away. The door opens and Sheila peeks in with a smile. Her smile quickly washes away when she see Johnny sitting on the floor. Sheila kneels down. SHEILA You okay? JOHNNY Not really. SHEILA Are you hurt? JOHNNY Yes. SHEILA What did you hurt? Johnny’s voice cracks up. JOHNNY My soul. Sheila sees blood on Johnny’s hand. SHEILA Did you hurt your hand? JOHNNY It’s not my blood.

49.

Sheila stands up and starts to slowly back away. JOHNNY (CONT’D) She’s still alive. SHEILA She? Now I am worried. JOHNNY It was Anna Sage. SHEILA The woman in red? JOHNNY The dress was dark orange. It just looked red in certain light. Stupid bitch was still wearing it. SHEILA What have you been doing? I came in to change the blankets and there’s a two bags full of money. JOHNNY Should you be snooping in my things? SHEILA Well, this is my house and I’m nicely letting you stay here. That doesn’t mean you’re running an illegal business here. JOHNNY I’m not. I told you about hitting them where it hurts. I was going to burn it when I was done. SHEILA Well, you don’t have to. Johnny smiles with red eyes. JOHNNY Oh? Did you take some of it? SHEILA Just a year’s rent. JOHNNY A year?

50.

SHEILA You don’t know how long this escapade of yours will take. JOHNNY Fair enough. Can you help me up? SHEILA Sorry but I don’t trust you. JOHNNY You don’t have to worry. I didn’t try to kill you for taking any of the money. I’m only hurting the people responsible for killing my parents. I’ll never hurt you. Sheila walks up and holds her hands out. She starts to pull Johnny up but he slips and pulls her to the floor with him. They both laugh hysterically. Sheila buries her face on his chest, giggling. Johnny giggles but stares at Sheila. Sheila looks up at him and they stare each other for a second. SHEILA Um...I better let you get to bed. JOHNNY Uh...yeah. I’ll see you tomorrow. Sheila quickly gets up and walks into the door. She quickly opens the door and walks out, shutting the door. INT. BOARDINGHOUSE - HALLWAY - CONTINUOUS Sheila leans against the door. She puts her ear up to the door. INT. BOARDINGHOUSE - BEDROOM - SAME TIME Johnny has his ear against the door. He smiles and goes to bed. EXT. BIOGRAPH THEATER - ALLEY - NEXT DAY Johnny, wearing his suit, carries a bouquet of flowers to the middle of the alley. He kneels down and lightly places them on the ground.

51.

Johnny bows his head. He quickly raises it back up and his eyes look to the left. Johnny turns around and sees Purvis, wearing a overcoat and hat, standing behind at the entrance of the alley. PURVIS You too, huh? INT. RED LION PUB - BOOTH - CONTINUOUS Johnny stares at Purvis who looks all around him, but occasionally looks at Johnny. PURVIS I can’t look at that stare in your eyes. It’s too scary. JOHNNY I was told these are my father’s eyes. PURVIS That’s what I mean. I saw those same gleaming eyes when he looked at me in the prison cell before he was extradited to Indiana. JOHNNY He actually told me about that. PURVIS He told you about the wooden gun? JOHNNY The way he told it, there was a real gun but he made up the story about the fake gun to make you guys look more ridiculous. Purvis snorts and bust up laughing. PURVIS I actually believe that. If your father was good for something, it was making people feel stupid. He ever tell you the one about the cop at the World’s Fair? JOHNNY Actually, my mother and I were with him. (MORE)

52. JOHNNY (CONT'D) He was posing with her and had the cop take pics with them as well. I wanted to take a picture also but he said I couldn’t. Something about it being a adult joke. I guess him and my ma were just trying to protect me.

PURVIS I’m very sorry about that. About your father and mother. JOHNNY Did you kill them? PURVIS Weren’t you there when your mother was killed? Did you see me? I honestly had no hand in that. I didn’t even know it happened til recently. Johnny lowers his head so his eyes are more direct at Purvis. JOHNNY It was some idiot named Tolson. PURVIS What? JOHNNY Tolson was there that night. PURVIS (skeptical) What? At your house? JOHNNY Two other agents and him sat on me and held my head so I could watch this Irishmen beat my mother to death. And when it was done, they beat me and threw me in an asylum. PURVIS Was the doctor, a Doctor Friedman? JOHNNY Yes. PURVIS Did you kill him?

53.

JOHNNY What do you think? Purvis rubs his mouth. PURVIS Something about this doesn’t sit right. JOHNNY Like your boss and the head of the outfit were the ones behind my wonderful introduction to adulthood. PURVIS Hoover? Nitti? You can’t be certain? JOHNNY It was them. Nitti gloated. Hoover tried but I spit a bloody gob in his face. Watched squirm and cry until Tolson had to wipe it off. Purvis grinds his teeth and lightly slams his hand down on the table. PURVIS I want this to be a lie! JOHNNY Wake up. It’s the truth. If you are truly sorry for what happened to my parents, then help me. PURVIS I might not have any love for J. Edgar Hoover or Frank Nitti but I can’t just give their location so you can put one between their eyes. JOHNNY I’ll find a way, eventually. PURVIS They eventually will have dinner. Maybe at their homes or maybe Congress Hotel. It might possibly be evening time around seven thirty. Purvis nods his head and leaves.

54.

INT. BOARDINGHOUSE - KITCHEN - EVENING Sheila stirs a pot. Johnny walks in carrying a dark blue sport coat and a black silk sport coat. He is only wearing a dress shirt but has no pants on. Sheila turns and is startled. SHEILA I guess you want to continue our conversation from last night. JOHNNY Huh? Oh. No, I was wondering which color you think works for a fancy get together. SHEILA You got a date? JOHNNY With destiny. And hopefully run into some old friends I havenâ&#x20AC;&#x2122;t seen since my incarceration. Sheila lets out a sigh. SHEILA Well, the blue brings out your eyes more. But black makes you bad ass. I go with the black if you want to make an impression. JOHNNY Thank you. Johnny is about to walk out. SHEILA Are you going as yourself or a disguise? JOHNNY Possibly a disguise. SHEILA You have a name picked out? JOHNNY I need one? SHEILA For a disguise to work, yes. How about Herbert?

55.

JOHNNY My middle name is Herbert. SHEILA Exactly. JOHNNY I guess it works. SHEILA I’m trying to think of a surname that would work. JOHNNY I already got one in mind. The name of a another father of mine. INT. CONGRESS HOTEL - RECEPTION - NIGHT Johnny walks in with his hair neatly combed back and wearing a fake moustache. He lights a cigarette and looks around. A SOCIALITE COUPLE walks up to him. SOCIALITE HUSBAND Hello, young sir. JOHNNY Hello, yourself. SOCIALITE HUSBAND I’m Mr. Chuck Campbell and my wife Diedre. SOCIALITE WIFE How do you do? JOHNNY I’m good. SOCIALITE HUSBAND And you are? JOHNNY Herbert Dietrich. Rockerfeller Holdings. SOCIALITE WIFE Woo. That’s a name dropper. I bet you been raking the bucks lately.

56.

JOHNNY Oh I have been known to make a few killings in the money market. Johnny lets out a fake laugh with the couple. SOCIALITE HUSBAND Just don’t let Mr. Alphonse hear that. JOHNNY And who is Mr. Alphonse? SOCIALITE HUSBAND Right there in the corner. Johnny looks over and sees Nitti and Hoover talking. A big smile comes over his face. JOHNNY Well, I might have to converse with the gentlemen pretty soon. SOCIALITE WIFE Owe some debt, I’m afraid? JOHNNY I’m afraid he owes me plenty. Is that by chance J. Edgar Hoover with him? SOCIALITE HUSBAND One in the same. JOHNNY Well, Mr. and Mrs. Campbell. I would love to chat about my pillaging and plundering but I’m also on business. It was very nice to meet you both and I need to talk to Mr. Alphonse and Mr. Hoover about my future killings in the market. The couple laughs as Johnny shakes the husband’s hand and kisses the wife on the cheek. Johnny walks away, wiping the fake smile off of his face. INT. RECEPTION - CORNER TABLE - CONTINUOUS A champagne bottle with a towel wrapped around the bottle is hovered in front of Hoover and Nitti.

57.

NITTI We didn’t order that. There is the sound of a gun hammer clicking. The barrel of the Colt sticks out from the towel. Both men fall back in their seats from fright and look up to see Johnny. Johnny sits down. He places the towel over the gun but the barrel still lightly sticks out. JOHNNY If I would have shot both of you, I wonder if I would have said something smart. This champagne is a real shot to the mouth. This bottle can surely make a killing. J. EDGAR What do you want? JOHNNY I like you watching you squirm. Am I systematically destroying the both of you? NITTI You keep doing what you’re doing and you’re going to find yourself being systematically destroyed. JOHNNY Is that right? By who? Him? You? Are you guys willing to get your hands dirty? Well, I know he’s not. The way he cried like a baby when blood got on him. J. EDGAR You ever hear the Confucious quote about revenge. He said when you’re on a quest for vengeance always dig two graves. Johnny stands up and puts the Colt against Hoover’s chest. He takes Hoover’s rolex and Nitti’s rings. NITTI You’re making a big mistake. JOHNNY I guess being born was a mistake. You guys had to remind me of that. (MORE)

58. JOHNNY (CONT'D) Now I’m making sure you see it was a mistake to kill my parents. (to Hoover) That quote means something because there is two of you.

Johnny takes handcuffs and handcuffs both of them together. JOHNNY (CONT’D) (to Nitti) A souvenir I picked up from one of your cops. Johnny puts the gun inside his jacket and quickly walks away. He bumps into someone and takes a valet ticket. Tolson walks out of restroom, buttoning up his coat. He looks at Johnny quickly walking out. J. EDGAR Clyde! Tolson quickly turns and sees Hoover stick his hand in the air, which brings Nitti’s hand in the air since they are handcuffed together. NITTI It’s him! EXT. CONGRESS HOTEL - FRONT ENTRANCE - CONTINUOUS Johnny walks out as the VALET brings the car up. VALET Here’s your car, sir. JOHNNY Good timing. Johnny hands the valet a fifty dollar bill. VALET (enthusiastically) Thank you! Johnny smiles and gets in and starts to drive away. Tolson runs out the door. Tolson whistles and Combs, one of the agents from Nora’s murder, sticks his head out. TOLSON Thompson!

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Combs throws Tolson a Thompson submachine gun. He fires at the back of Dillingerâ&#x20AC;&#x2122;s car. INT. STOLEN CAR - SAME TIME The rear window is shattered within seconds. Johnny ducks down as bullets whiz by him and hit the windshield. There is the sound of metal clunking as bullets hit the back of the car. INT. CONGRESS HOTEL - FRONT ENTRANCE - CONTINUOUS The Thompson runs out of ammo. TOLSON Shit. Tolson quickly tries to pull the drum off. INT. STOLEN CAR - SAME TIME Johnny pulls out his Colt and aims back. He fires as his foot stays on the gas. INT. CONGRESS HOTEL - FRONT ENTRANCE - SAME TIME Tolson dives behind a car and bullets hit the car and ground. INT. STOLEN CAR - CONTINUOUS The Colt runs out of ammo. Johnny goes to reload it when he looks forward. His eyes go wide as he crashed into a parked car. The windshield shatters and some glass fragments scratch his face. INT. CONGRESS HOTEL - FRONT ENTRANCE - CONTINUOUS Tolson reloads the Thompson. He walks up to the crashed car and unloads on it. The car explodes. Tolson runs up to the car and sees the driver side door open. He looks around frantically.

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TOLSON Damn it! INT. BOARDINGHOUSE - FRONT DOOR - LATER There is constant knocking on the door. Sheila, tying up her robe, runs up to the door. SHEILA Okay! She opens it and gasps. Johnny lies against the wall. He has a bruise on his forehead and a few bloody scratches. JOHNNY Evening. I had a slight accident and you wouldn’t by chance have a hiding spot would you. Sheila grabs Johnny by his tie and pulls him inside. She quickly slams the door. INT. BOARDINGHOUSE - KITCHEN - MOMENTS LATER SHEILA Can you move that table please? Johnny pushes the table off of a rug. Sheila lifts the rug to reveal a trap door. She opens it. SHEILA (CONT’D) My grandfather used to hide his moonshine down here. So many years, no one found it. JOHNNY Thank you, grandfather. There is pounding on the door. SHEILA Get in. JOHNNY Okay. Johnny gets in the hiding space and Sheila close it and covers it up. Sheila messes up her hair and sits down in the doorway of the kitchen.

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There is the sound of the door being busted open. Sheila starts screaming and crying. SHEILA He tried to have his way with me! A cop runs up and kneels down by her as two cops run by. COP #1 Where did he go? SHEILA (crying) He went out the back. The cop follows the others. Sheila sobs as she turns to watch the cop leave and quickly runs and gets Johnny out of the hiding spot. INT. BOARDINGHOUSE - BEDROOM - MIDNIGHT Johnny sits on the bed as Sheila kneels by his side. He cringes as she wipes alcohol on the cuts on his face. SHEILA Quit being a baby. For some tough guy you act like a little girl. JOHNNY I’m sorry I just tend to be hurt when I get into a major collision. Johnny winces and holds his back. SHEILA Oh my god. Are you sure you’re alright? JOHNNY Yeah. I just need somebody to rub my back. Johnny takes his shirt off. Sheila is speechless. SHEILA I can do that, if you need me, too. JOHNNY Sure. Sheila starts rubbing his back as Johnny has mischievous smirk.

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SHEILA There? JOHNNY No. A little lower. Like here? Johnny points to the spot right between his lower back and ass. Sheila hesitantly puts her hands there and rubs. JOHNNY (CONT’D) Oh, that feels good. Sheila stops rubbing and jabs Johnny in the ribs. JOHNNY (CONT’D) Ow! SHEILA You fucking faker. Sheila playfully tugs at Johnny’s hair. He gets on top of her and starts tickling, making her laugh hysterically. SHEILA (CONT’D) Stop! JOHNNY What are you ticklish? SHEILA I’m not wearing anything under this? JOHNNY You mean you’re naked? SHEILA (embarrassed) Yes. Johnny lightly grabs her breasts. JOHNNY Honk. Sheila throws him off of her and gets on top of him. JOHNNY (CONT’D) You want to honk my breasts. Sheila starts tickling him. Johnny’s face cringes in anger but it cracks up as he laughs.

63.

SHEILA Now look who’s ticklish. Johnny sits up and kisses Sheila passionately. She quickly gets off of him. JOHNNY Jesus. I’m sorry. Sheila lightly shuts the door and locks it. She turns around and unties her robe. Johnny quickly stands up as Sheila lets the robe fall off of her to reveal her naked body. He walks up to her and they start kissing more passionately and intense. Johnny kisses her neck and starts kissing down Sheila’s stomach. Her face is euphoric FADE OUT. INT. BOARDINGHOUSE - BEDROOM - CONTINUOUS Johnny, now naked, carries Sheila, who has her arms and legs wrapped around him, over to the bed. They slowly get on the bed and have sex. FADE TO BLACK. INT. BOARDINGHOUSE - BEDROOM - EARLY MORNING Johnny sits up against the headboard of the bed. The blanket covering his lower half. Sheila sleeps on her side, covered up to her chest. He stares down at her and lightly puts her hair behind her ear with his finger. Johnny turns and stares out the window. Sheila wakes up and looks over and sees Johnny looking away. SHEILA Morning. JOHNNY Morning. SHEILA You okay? JOHNNY Yeah.

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SHEILA You don’t look it. Was it that bad? JOHNNY No it was wonderful. I’m just worrying of following in his footsteps. Sheila wraps the blanket around her and gets up on her knees. She runs her fingers through Johnny’s hair. SHEILA Your father? JOHNNY My mother and father were friends from the neighborhood. After a while, my father started liking my mother more. One night, my father had come in through the rain cause he robbed some convenience store. My mother wanted to protect him and the closeness brought them together. Johnny sighs and rubs his forehead. JOHNNY (CONT’D) And I was the result. He went to jail right after that and me or my mother didn’t see him until I was twelve. But the times I did see him, it wasn’t for long because he was on the run. SHEILA Why is that bothering you now? JOHNNY Because we are friends and I like you more. Here I come hiding from the law and we come together. Just like them. Now I’m probably have to go to jail or on the run and leave you behind. I don’t want to do that. SHEILA You won’t. JOHNNY How can you say that?

65.

SHEILA You’re more stronger than anyone I know. If you have to go on the run after finishing what they started, then I will go with you. JOHNNY You will? Sheila gives him a lingering kiss on the lips. Johnny slowly gets on top of her and kisses her back more passionately. INT. DILLINGER HOUSE - FRONT DOOR - MORNING John Sr, wearing a coat, brings in some small cut up logs. He has a hatchet in one of the pockets. JOHN SR Hey, Stump? I got more logs for the stove. That damn axe was rusted I had to use this hatchet. John Sr puts the logs on the counter. JOHN SR (CONT’D) Stumpy? Do I have to put the logs in to your lazy bastard? John Sr walks into the doorway that leads into dining room. INT. DILLINGER HOUSE - DINING ROOM - CONTINUOUS John Sr has a look of shock as he sees Stumpy slumped in the chair with a slit throat. On the wall, out of sight, is Hauser, the other agent involved with Nora’s murder, holding a gun. Combs sneaks up behind John Sr with an ice pick. John Sr quickly turns around a buries the hatchet in Combs’ skull. Combs eyes go up to stare at the axe as blood oozes down. HE screams and his eyes roll back as he slowly falls to the floor. INT. DILLINGER HOUSE - KITCHEN - CONTINUOUS John Sr looks at Combs’ dead body. There is the sound of a gun hammer clicking.

66.

John Sr jumps out of the way as the gun appears around the corner and starts firing. He quickly grabs a small log and slams it down on Hauser’s wrist. Hauser screams in agony as he drops the gun. A bone pops out of his thumb. John Sr pulls Hauser into the kitchen and starts hitting him with the log. Hauser blocks one of the log shots with his good hand and punches John Sr in the side with his bad hand. He yelps and shakes his hand as John Sr grabs him around the throat. Hauser elbows John Sr in the stomach and pushes his face against the stove. JOHN SR Idiot. You have to light it first. John Sr grabs Hauser by his hair and slams his head against the stove. He grabs another log and hits Hauser on the side a few times. JOHN SR (CONT’D) Who sent you? John Sr slams the log down on Hauser’s knee causing him to scream in pain. JOHN SR (CONT’D) You sons of bitches kill my son! Hauser quickly stands up and hobbles painfully to the door. John Sr runs up and grabs him by the collar. Hauser kicks John Sr’s knee and hobbles out the door. John Sr opens the door to run after him. EXT. DILLINGER HOUSE - FRONT DOOR - CONTINUOUS JOHN SR I’m not through with you yet you motherfucker. John Sr stops when he sees a smiling Tolson tip his hat and Rico aim his Thompson and start firing. John Sr falls against the doorway, screaming, as he is riddled with bullets.

67.

EXT. BARBER SHOP - LATER A towel is wrapped around Karpis’ face. The towel is removed and Karpis has his eyes closed with an euphoric smile on his face. A hand grabs his throat, causing his eyes to shoot open. It is Purvis. PURVIS Where is he? INT. BOARDINGHOUSE - BATHROOM - CONTINUOUS Johnny sits in the tub with Sheila. She sits in front him but lies back on his chest. He kisses her head and neck. SHEILA I see you like this bath. JOHNNY Yeah. I like it this much. Johnny pinches her side and she elbows him in the stomach, causing him to grunt. JOHNNY (CONT’D) I was getting turned on. SHEILA Oh I’m not turning you on? JOHNNY Not if you keep beating me. SHEILA How does this help? She leans her head and kisses him. JOHNNY That works. Johnny kisses her back and starts kissing her cheek and goes down her neck. As he gets to her shoulder, there is a noise in the background. Johnny backs up and looks at the door. SHEILA What’s wrong?

68.

JOHNNY Somebody’s here. Johnny quickly gets out of the tub and pulls his pants on. He takes a Colt out of the shoulder holster hanging on the wall. Sheila quickly gets out and grabs a towel and wraps it around her. INT. BOARDINGHOUSE - STAIRCASE - CONTINUOUS Johnny swings around the railing with his gun drawn. Purvis falls on the stairs with his hands up. PURVIS Jesus! I’m not armed! JOHNNY What are you doing here? INT. BOARDINGHOUSE - KITCHEN - CONTINUOUS Johnny, wearing a white tank top with his pants, sits with his hand across his mouth. His eyes are red. Sheila sits down and hugs Johnny. His face cringes as he lightly cries some more. PURVIS I’m very sorry. It’s not hard to say that they’re doing this to send you a message. JOHNNY You say that there was another dead man in the home. PURVIS Yeah. An ex-FBI named Combs. Always worked with Tolson and Rico. Johnny looks up at the mention of Rico’s name. JOHNNY You know Rico? PURVIS Oh yeah. A poor excuse of an agent. JOHNNY He murdered my mother.

69.

PURVIS I figured that. If Hoover and Nitti wanted Tolson to handle something that horrible, he would send Rico to do it. Unfortunately, I didn’t have the power to do anything about it. JOHNNY Was he one of the shooters? Purvis mouth opens as he is about to say something. He swallows. PURVIS I don’t know. Purvis looks away with a look of guilt. JOHNNY What do they want? PURVIS They want you to stop. JOHNNY They tell you this personally? PURVIS No. Karpis did. You shouldn’t tell him everything about what you are doing or where you are staying. This man is fucking weasel and wouldn’t think twice about selling you out to save his ass. The fact that I found you, doesn’t mean that they won’t. JOHNNY Is that all they want? They want me to stop? Purvis sighs. JOHNNY (CONT’D) It’s worse than that? PURVIS They want you in jail. They promise they won’t try anything but you have to do the time.

70.

JOHNNY I’ll do this on one condition. Can you, only you, make sure that Sheila is safe. Sheila has a stunned look. SHEILA I can take care of myself. I don’t need protection. JOHNNY Yes you do. These guys have artillery that will cut you half. I don’t want anything happen to you! You mean too me.

heavier in to much to

SHEILA Why? JOHNNY Because I love you that’s why. Sheila is speechless. PURVIS I’m going to take you to the police station to turn you in. JOHNNY Don’t bother. Watch her and I’ll be fine. INT. BOARDINGHOUSE - BEDROOM - MOMENTS LATER Johnny has the dark blue suit on. Sheila walks in. SHEILA That really does bring out your eyes. JOHNNY That’s why I’m wearing it. Johnny heads to the door and Sheila stands in his way. SHEILA You don’t have to do this. We can run away.

71.

JOHNNY Then what? We run for the rest of our lives. What if you got captured along the way? Purvis told me what they did to Billie Frechette in custody. All because she was with my dad. Imagine what they’ll do to you because you are with me. SHEILA I can take it. JOHNNY I can’t! SHEILA If you love me. If you care about me so much, you wouldn’t do this. JOHNNY Don’t do that. Johnny tries to walk around her and she starts slapping and hitting him. He attempts to block the hits and grabs a hold of her hands. SHEILA You god damn bastard! Sheila breaks down in Johnny’s arms as he rocks her. A tear comes out of his eye. JOHNNY I am following in his footsteps. Johnny closes his eyes. INT. POLICE STATION - FRONT DESK - AFTERNOON Johnny walks in the police station, wearing an overcoat. Cops work on stuff on their desks and the cop at the front desk writes stuff down in a book. Johnny has his hands in his pockets. JOHNNY Hello?! No cops pay attention. Johnny whistles loud. The cops look up and start frantically grabbing for their guns.

72.

JOHNNY (CONT’D) I’m here to do something my father never did. Each cop nervously aims their guns. Some pull the hammer back on their guns. Johnny slowly takes his hands out of his pockets. Some of the cops gasp. Johnny’s hands are empty and he raises them. JOHNNY (CONT’D) I’m giving up. INT. HOOVER MANSION - OFFICE - SAME TIME Hoover looks over fingerprints with a magnifying glass. The phone rings. He rolls his eyes and answers it. J. EDGAR It better be important. Hoover’s face goes blank and he drops the phone. J. EDGAR (CONT’D) Clyde! EXT. POLICE STATION - FRONT ENTRANCE - LATER A brand new Cadillac drives slowly by the entrance. A crowd of reporters and spectators stand in the street. INT. HOOVER’S CAR - SAME TIME Hoover drives slowly. Tolson sits in the front seat as Rico sits in the back. J. EDGAR I guess your message got to him but I wanted it clean! TOLSON I was going to do that. How the hell did I know that his old man still had fight in him?

73.

RICO I was just a last resort. Besides the job got done. J. EDGAR That’s not the point. There’s a lot of questions being asked. Of me. Francisco. There is some commotion. J. EDGAR (CONT’D) Oh no. There are flashes of cameras. J. Edgar puts on a fake smile and waves. J. EDGAR (CONT’D) (through his teeth) These idiots are going to make me blind. A tomato hits his windshield. J. EDGAR (CONT’D) What the...find that little commie and arrest him! INT. POLICE STATION - ATRIUM - CONTINUOUS Johnny stands on the Hoover’s side as microphones are in front of him. There is constant flashing of camera bulbs. Everything is silent as Johnny looks off to the right and stares at Rico. Rico is watching Hoover but looks over and meets Johnny’s gaze with a smile. The sound comes back. REPORTER #1 Director Hoover, when did you know that he might be the son of John Dillinger? J. EDGAR Well, we are not jumping to that conclusion until a full blood test can give us proven results. REPORTER #2 Well, we don’t need a test. Just look at him.

74.

Johnny smirks. There is a lot of chatter and persistent bulbs. J. EDGAR Being his son or not, does not give you the authority to break the law. This man has robbed, beaten, and killed people. We have him for crimes all over the city and in rural areas. REPORTER #3 Mr. Hoover? J. EDGAR Director Hoover, please. REPORTER #3 What do you have to say about the recent killing of John Dillinger’s father? J. EDGAR It is very sad and my heart goes out to any member of the Dillinger family. My best men are looking into it. REPORTER #1 Director Hoover, would it be possible to talk to this “son.” J. EDGAR By all means. Hoover steps aside with a look of annoyance. JOHNNY Hello. REPORTER #2 What do we call you? JOHNNY My name is John but my mother called me Johnny. REPORTER #1 Who is your mother, if you don’t mind me asking? JOHNNY I kinda mind. All I can say is...

75.

Johnny looks over at Rico. JOHNNY (CONT’D) She’s no longer with us. Tolson and Rico smile. REPORTER #3 Johnny, do you know for certain if you are John Dillinger’s son. JOHNNY Actually, no. I’m actually J. Edgar Hoover’s black sheep son. I’m just having daddy issues. The reporters laugh. Hoover is fuming. JOHNNY (CONT’D) I’ve always known. REPORTER #1 Can you give us any words of advice your father, if John Dillinger was your father, may have given you? JOHNNY Always root for the Cubs. The reporters cheer and spectators cheer. REPORTER #3 Director Hoover?! J. EDGAR Yes. We need to wrap this up and get this man to processing. REPORTER #3 How about a photograph? Hoover smiles and puts his arm around Johnny. Johnny rests his arm on Hoover’s shoulder and points his finger like a gun. Johnny walks up to Tolson and shakes his hand. He smiles for the camera and points at Tolson. Johnny squeezes and twists and cracks some bones in Tolson’s hand. Tolson moans and rubs his hand as Johnny walks up to Rico. REPORTER #1 Shake his hand!

76.

JOHNNY I can do better! Johnny grabs Rico by his face and kisses him. The reporters and spectators laugh. Johnny stops kissing Rico and holds Rico’s head in his hands. JOHNNY (CONT’D) That’s the kiss of death. You’re a dead man. Rico’s face cringes as he pulls Johnny’s hands away. INT. COUNTY JAIL - VISITING ROOM - TWO DAYS LATER Johnny walks in and smiles but has a look of slight disappointment. Sheila is visiting him. Johnny sits down across from her. JOHNNY What are you doing here? SHEILA You’re not happy to see me? JOHNNY I’m always happy to see you. I just don’t want any of Hoover’s or Nitti’s eyes to see you. SHEILA I had to see how you were doing. JOHNNY Good. No one tried to kill me yet. SHEILA Well, I think after your little press junket, you’re too popular. JOHNNY Has Purvis been keeping you safe? SHEILA Yeah. His wife and his children are very nice. Well, his wife was a little cold to me at first. JOHNNY Probably thought you were a mistress.

77.

Sheila laughs. She lifts up a basket that has three wrapped sandwiches, an apple, an orange, and a banana. A guard walks over and presses two of the sandwiches and squeezes each fruit. JOHNNY (CONT’D) Thanks I was going to eat that. The guard walks away. SHEILA Enjoy the fruit and don’t eat to the core of the apple. It’s bad for your teeth. Sheila gets up and leans over to kiss Johnny. GUARD No contact. Sheila walks toward the door and blows a kiss to Johnny who blows a kiss back. INT. COUNTY JAIL - CELL - LATER Johnny bites into the apple. He lays back and looks at the ceiling and attempts another bite. Johnny looks at the apple with curiosity. He sees metal and pulls it out of the apple. Johnny stares at a sharpened metal rod but then quickly grabs the sandwiches. He squeezes every inch of the first two. Johnny squeezes the third sandwich. He rips open the wrapper and peels back the bread to reveal a wooden block. A mischievous grin comes over his face. INT. COUNTY JAIL - SHERIFF’S OFFICE - SAME TIME Hoover hovers over the Sheriff’s desk. The sheriff, who wears a suit and thin rimmed glasses, sits back in his seat. J. EDGAR You and I both know that he cannot live another comfortable night. He’s made fools out of all of us.

78.

SHERIFF Correction. Made a fool out of you. I never dealt with him or his father. That cop he assaulted is a city cop and he belongs to Nitti. So you don’t stand to lose anything. I’m not going to be embarrassed by him as you were. J. EDGAR How would the American people like to know that you are a communist? I will have you railroaded out of your profession. SHERIFF Good luck trying to prove that. I served in a war and fought valiantly for the United States. Even killed a few communist radicals during the coal strikes. A COP bursts in. COUNTY COP Sir, he escaped! SHERIFF Who? COUNTY COP The Dillinger kid. J. EDGAR “I’m not going to be embarrassed as you were.” What do you say now? COUNTY COP He also... J. EDGAR I don’t need to hear anything further. I don’t need to railroad you out of this office. It seemed you have done the job for yourself. Hoover grabs his hat and jacket with a jovial smile. J. EDGAR (CONT’D) (to County Cop) Can you fetch me my car? COUNTY COP Um..

79.

J. EDGAR What? You don’t think I have authority over you? I’m the head of the FBI. I have authority over everyone. Now please get me my car! COUNTY COP That’s what I was also trying to say earlier. Hoover’s face goes blank. INT. CHICAGO - STREET - CONTINUOUS Johnny smiles and laughs as he drives away in Hoover’s Cadillac. INT. PURVIS FARM - KITCHEN/DINING ROOM - SAME TIME Sheila smiles as she helps Marie wash dishes. The phone rings. Marie walks over and answers. MARIE (into phone) Hello? I see. Okay if that’s what he asked you to do. Are you new? Marie looks at the phone with some confusion. Sheila looks at her. SHEILA Is everything okay? MARIE That was Melvin’s secretary. He asked if you can come to his office. Something about Johnny. INT. BROTHEL - PAY PHONE - CONTINUOUS SHARONDA, 19, a black woman in a green dress with beehive hair, hangs up the phone. Karpis slides money into her dress. He turns around and sees Nitti and Tolson. NITTI God damn, fine work Karpis.

80.

KARPIS Thank you, sir. NITTI You actually took care of troublesome spots. I got my insurance money. And I got good reason to clear the execution of troublesome employees. I really like this Dillinger kid. TOLSON Too bad we have to kill him. NITTI Yeah, too bad. Karpis is handed a tray of champagne glasses. KARPIS Gentlemen. They each take a glass. TOLSON To the head of Chicago. Nitti smiles and raises his glass to Tolson. He turns and raises his glass to Karpis. NITTI And my number two. Karpis’ face lights up. He raises his glass and takes a drink. Nitti is about to take a drink and raises his glass to Tolson again. NITTI (CONT’D) And the future head of the FBI. Tolson smiles and raises his glass and takes a drink. INT. PURVIS FARM - LIVING ROOM - MOMENTS LATER Purvis walks in. PURVIS Marie? Sheila? Marie walks in with a look of confusion.

81.

MARIE What are you doing here? PURVIS I’m home. Where’s Sheila? I told her not to leave. MARIE Your new secretary told her that you wanted her at your office. PURVIS What? Purvis’ face has a look of dread. PURVIS (CONT’D) Oh no. Purvis runs back to his car. INT. PURVIS & CO. - OFFICE - EVENING Sheila walks in and looks around. The office is dark. SHEILA Melvin? The light goes on to reveal Karpis sitting behind the desk. KARPIS Hello. Sheila, is it? The door opens behind her to reveal Tolson and two AGENTS. TOLSON You’re a known accomplice of John Dillinger III. We are here to question you. The agents laugh and walk towards Sheila. She backs into a corner and draws the Derringer. Sheila shoots one of the agents three times in the head and empties the clip into the throat of the other. Both agents convulse and fall to the ground and die. Tolson leaps over them onto her. He grabs her by the throat. Sheila grabs Tolson’s nuts and twists. He shrieks in pain. Tolson slams her head into the wall. Sheila grabs a vase and slams it on his head.

82.

Karpis jumps up from the chair. She grabs the desk lamp and smacks him hard across the face with it. Sheila goes to run away but Tolson, head bleeding, grabs her by the hair. She bites his fingers, unaware that Karpis slides a switchblade over to Tolson. Tolson falls to the ground, fake moaning in pain, and grabs the switchblade. She runs to the door. Tolson throws the knife into her back. She screams in pain as she falls on the ground. He walks purposefully to her crawling away. Tolson drags her back by her ankle and pulls the knife out. He pulls her up by her hair and stabs her twice in the stomach and once in the chest. SHEILA (weakly) Iâ&#x20AC;&#x2122;m not going to scream for you, fucking coward. Tolson drops her on the floor. Karpis, face bloody, stumbles to follow Tolson out the door. EXT. PURVIS & CO. - FRONT ENTRANCE - CONTINUOUS Tolson and Karpis walk out. They clean their faces with handkerchiefs. Brakes squeal as a car stops. Purvis jumps out. TOLSON Well. Hello, Agent Purvis. Or exagent Purvis. PURVIS What the hell did you do to her! KARPIS She did this to us. We defended ourselves. Karpis has a gleaming smile. Purvis breathes out through his nose and pulls his overcoat back to reveal a pistol in a shoulder holster. TOLSON You take a man out of the Bureau but you canâ&#x20AC;&#x2122;t take the Bureau out of the man.

83.

KARPIS You going to kill both of us? PURVIS Yeah. You just hurt a young woman and I stopped it. TOLSON She’s a accomplice of an escaped fugitive. Like Mr. Karpis said, we defended ourselves. Purvis pulls the gun out of the holster. PURVIS It’s wrong to say that part of me is really going to enjoy this. KARPIS You better be careful. I have to call Nitti once we leave here. TOLSON And I have to call Rico. You remember Rico, right? Well if we don’t make our calls, then a couple of Nitti’s guys and Rico are going to pay a visit to your lovely home. KARPIS And you heard how Rico deals with families. Purvis closes his eyes and puts his gun in the holster. TOLSON It’s good to have you on our side for a change. If you need to be noble, take that girl to a hospital. INT. HOSPITAL - EMERGENCY - LATER Purvis breathes hard as he carries Sheila into the hospital. She is wrapped in his overcoat. There is some blood rubbed off on Purvis’ neck. A couple of DOCTORS run up and take Sheila. She is put on a stretcher and moved through double doors. Purvis hunches over, breathing heavily. A NURSE runs up to him.

84.

PURVIS I’m okay. Focus on her. EXT. NORTH SIDE - STREET LIGHT - SAME TIME Johnny sits in Hoover’s car at the stop light. He watches people cross the crosswalk. Behind a group of people crossing the street are three GOONS with Thompsons. People scream which Johnny turns and sees them. Johnny ducks as the goons unload on the car. The car is shredded with machine gunfire. The machine gunfire stops. Johnny pops out from behind the car with a shotgun. He shoots and kills all three goons. A man runs up. BYSTANDER You okay, sir? JOHNNY I’m good. BYSTANDER You sure won’t be. Johnny is hit over the head with the butt of a gun, knocking him out. INT. HOSPITAL - WAITING ROOM - MOMENTS LATER Purvis sits on a wooden chair. A pay phone sits behind him. The doctor walks up and leans down and speaks into his ear. He walks away and Purvis buries his face in his hands. INT. HOSPITAL - PAYPHONE - CONTINUOUS Purvis sits with his head against the wall. His hair is still combed back but slightly messy. PURVIS (into phone) She didn’t make it.

85.

INT. PURVIS FARM - LIVING ROOM - SAME TIME MARIE (into phone) This is my fault. I did this. If I wasn’t so stupid... INTERCUT HOSPITAL/PURVIS FARM PURVIS (interrupting) Don’t! It’s my fault. MARIE How is this your fault? PURVIS I got there when they were leaving the office. They threatened you and I just let them leave. If I just ran past them and got her, she would have had more time, at least. MARIE Where’s the son? Johnny? PURVIS I don’t know. I hear people saying he was ambushed in the North side and people took him. I don’t know what to do. MARIE Yes you do. It doesn’t matter what field you go to. You always have to do the right thing. Now it’s time to do the right thing. PURVIS I will. MARIE The time has come to save the next Dillinger. But after this, it’s over. You’re not an agent anymore. PURVIS After this, I’ll destroy my gun. Purvis hangs up the phone. A nurse knocks on the door. Purvis opens up the door.

86.

PURVIS (CONT’D) Need to use the phone? NURSE No, a messenger left this for you. Purvis sees it’s a note. INSERT - NOTE HOW LONG DID IT TAKE? YOU WANT YOUR WIFE TO BE NEXT. DO US A FAVOR AND GO SOMEWHERE ELSE. -A. KARPIS BACK TO SCENE Purvis’s grinds his teeth in anger as he starts to crumble the note. He stops when he look as the corner of the paper. Purvis focuses on the symbol. PURVIS You always were an idiot. INT. MILLENIUM KNICKERBOCKER HOTEL - BOILER ROOM - CONTINUOUS Johnny’s hands are handcuffed and hung on a hook. His face is beaten and bloody. Tolson punches Johnny across the face. Blood slowly spills out of Johnny’s mouth. Tolson has a bandage on his head. TOLSON You have been nothing but a pain in my ass! JOHNNY As much as Hoover. Johnny weakly giggles. TOLSON Hoover has nothing to do with this. I’ve been looking for the opportunity to get rid of that asshole. Now that you’ve escaped, I’m going to kill him and it’ll look like you did it.

87.

JOHNNY What about that asshole Rico? TOLSON We’re getting rid of him, too? He’s too much of a psycho and loyal. I’ll mourn Hoover greatly when I take his place and then I’ll expose what happened to your mother. Then I’ll arrest Rico or you will kill him in custody. Then we kill you in escape. You got your justice and we got ours. JOHNNY Immaculate. TOLSON Thank you. I really think so, myself. Tolson grabs a baseball bat. TOLSON (CONT’D) Now are you going to get on my side with this or do I have to revise my little story. Johnny starts speaking but it is inaudible. Tolson leans in and Johnny spits blood in his face. He laughs and wipes the blood off. Tolson then hits Johnny in the ribs with an end of the bat, causing him to groan. Johnny screams in pain as Tolson hits him across the back. INT. MILLENIUM KNICKERBOCKER HOTEL - BASEMENT - CONTINUOUS A goon in overcoat and fedora sits in a chair in front of the door. There are muffled screams of pain. There is footsteps approaching in the darkness. The goon gets up and pulls his gun out. GOON #1 Who the hell is that? He gets whacked across the head with a pipe. Purvis comes out of the darkness and bludgeons him to death.

88.

INT. MILLENIUM KNICKERBOCKER HOTEL - BOILER ROOM - SAME TIME Tolson twirls the bat and stops when he hears screaming. TOLSON What the hell was that? Another goon who is by the door. GOON #2 Mitchell!? The goon shrugs his shoulders. Tolson puts the bat down and walks to the door. TOLSON Watch him. Tolson points to Johnny. He pulls out a gun and walks out of the boiler room. The goon pulls his gun out and watches the door. Johnny appears behind him and strangles the goon with the chain of his handcuffs. INT. MILLENIUM KNICKERBOCKER HOTEL - BASEMENT - CONTINUOUS Tolson spins around, aiming his gun. He shakes his head and walks back toward the door to the boiler room. Tolson trips and falls. He looks up and sees it is the door goonâ&#x20AC;&#x2122;s body. TOLSON Jesus. INT. MILLENIUM KNICKERBOCKER HOTEL - BOILER ROOM - CONTINUOUS Tolson bursts through the door and sees Purvis standing under the meat hook where Johnny was hanging before. TOLSON What the hell you doing here? PURVIS Doing the right thing. Johnny appears and whacks Tolson across the knee with the baseball bat. Tolson screams as he cradles his knee. Purvis walks up to Tolson and looks down at him.

89.

TOLSON (to Purvis) Do you know what the hell you are doing!? PURVIS (to Johnny) I’ll be at Holy Name Cathedral. We need to talk when you’re done. Purvis leaves. JOHNNY It’s a little hot down here. Let’s get some air. EXT. MILLENIUM KNICKERBOCKER HOTEL - ROOFTOP - CONTINUOUS Tolson screams as Johnny hangs him over the edge. JOHNNY Who were the shooters? TOLSON What do you care!? JOHNNY I want to avenge both my parents. I know who to kill for my mother. Now I want to know who to kill for my father. Johnny lets Tolson slip a little bit. TOLSON Please! Don’t drop me. JOHNNY My ribs hurt. I’m losing my strength. You better tell me soon or I won’t be able to hold onto you. TOLSON Okay. Okay! It was me, Rico, and... JOHNNY Who! TOLSON Purvis! Okay. The third shooter was Purvis. (MORE)

90. TOLSON (CONT'D) He was the one who shot him in the head. He wanted it done quick but you know Edgar works.

JOHNNY Yeah I know. Johnny’s face cringes in pain as he pulls Tolson up. He lowers him back down. JOHNNY (CONT’D) One more question. TOLSON What! JOHNNY Where do I find Hoover, Nitti, and Karpis? TOLSON No. JOHNNY Oh geez, my arms getting weak. TOLSON I don’t know where Hoover moved to now! I don’t know about Karpis either. Johnny lowers Tolson some more. TOLSON (CONT’D) But...I do know where to find Nitti. Selborne Road in North Riverside. Nitti will know where Hoover is. That’s all I know! Johnny painfully pulls Tolson back up onto the roof. JOHNNY Get out of here. Leave town. I find you back here again, we’ll finish this conversation the way I wanted to. Tolson pulls out the switchblade. He flips the blade out but Johnny stomps on his wrist. Tolson screams in pain and tosses the blade away. Johnny grabs the switchblade and cleans the blood off on Tolson’s shirt.

91.

Tolson painfully stands up and walks away, cradling his wrist. JOHNNY (CONT’D) Who’s blood is that? TOLSON You’re fucking girlfriend’s. She died like a pig. They all do. Johnny walks up and grabs him. JOHNNY What did you say? TOLSON Your girlfriend. What was the gutter trash’s name? Sheila. Her. Your mother. Your grandfather. They all died screaming like stuck pigs. You think about that. Tolson limps away with a smile. Johnny has a look of shock but his face goes blank. Tolson is almost to the door leading off the roof. Johnny starts pushing him. TOLSON (CONT’D) Hey! Johnny pulls him away from the door and starts pushing toward the edge. TOLSON (CONT’D) What are you...! Johnny pushes him off the roof. Tolson lets out a blood curdling scream as he falls. JOHNNY Did they sound anything like that! EXT. MILLENIUM KNICKERBOCKER HOTEL - STREET - CONTINUOUS A valet walks up to a car. Tolson’s body pancakes the car. People starts screaming in fright.

92.

EXT. MILLENIUM KNICKERBOCKER HOTEL - ROOFTOP - SAME TIME Johnny stands at the edge and looks down to the street where the body landed. He walks away from the edge. Johnny’s hands start to shake. He falls to his knees and starts punching the ground. Johnny screams and breaks down. He buries his face into the roof’s surface as he cries. INT. HOLY NAME CATHEDRAL - PEWS - NIGHT Johnny stumbles in and sits down. He bows his head. JOHNNY I don’t know if I have the strength anymore. But if you’re up there. I’m asking for forgiveness for the things I’ve done. Johnny raises his head. JOHNNY (CONT’D) And for what I must do. PURVIS (O.S.) I don’t think He listens to men like us. Johnny turns around and sees Purvis sitting. PURVIS (CONT’D) I’ve asked for his help so many times. He never helped. I hear that Tolson killed himself earlier tonight. JOHNNY I hear that, too. He gave me a memento. Johnny pulls out the switchblade. PURVIS They tricked her into heading into the city. She did fight pretty good. If you noticed the big bandage on Tolson’s head, she did that.

93.

JOHNNY I’m cursed. Ever since I was born, everyone who cared about me was marked. PURVIS I’ve been living with what happened to your father for years. I’ve been looking for a penance of some kind. Some sort of redemption and you gave me it. I can’t physically help you kill these men. But I can tell you where they are. JOHNNY Were you one of the shooters? Purvis looks up with a look of shock but he lowers his head. JOHNNY (CONT’D) When I asked you before, you went speechless. Tolson told me before he died that it was Rico, him, and...you. PURVIS Yes. JOHNNY So it wasn’t the hunt that haunts you. It was killing him that haunts you. PURVIS I never wanted him dead. I wanted him in jail like every criminal. I just picked the wrong organization to stand behind. I shot him in the head so it would be over but Hoover wanted overkill and those guys shot him couple more times. What he told me when he died, I didn’t get it til now. JOHNNY What? PURVIS Protect him. Even in death, all he cared about was you. Had I figured it out or he would have told me, I would have listened. That’s what I’m trying to do now.

94.

JOHNNY I appreciate your confession but when this is over, I’m going to kill you. This is doesn’t end until everyone is dead. Including you. Purvis has a look of fright but he smiles. PURVIS I hope so. JOHNNY Where is Hoover? PURVIS I don’t know. No one ever knew. Nitti might know. JOHNNY Tolson told me that. What about Karpis? PURVIS I told you not to tell him too much. He’s the real rat you’re after. He was the one who set up the whole deportation thing with Stone so Sage would play ball. He’s the one who gave up Sheila to them. He’s at his brothel near the...boardinghouse. INT. BROTHEL - KARPIS ROOM - LATER Karpis breathes heavily and moan as Sharonda gives him oral sex. KARPIS Oh my. You are worth every penny. That mouth sure can work wonders. There is a creak of the door opening up. Sharonda looks up with a smile but it quickly fades. Karpis opens his eyes. KARPIS (CONT’D) What the hell are you doing? Sharonda backs away with a look of pure terror. KARPIS (CONT’D) What are you...

95.

Karpis looks over and sees Johnny. Johnny is wearing his dark blue suit. Johnny’s face is cleaned up but his eye is bruised and he has some cuts on his face. His hands are crossed in front of him. Johnny uncrosses his hands to reveal the switchblade. He pops the blade out. KARPIS (CONT’D) Jesus Christ. Okay. Listen. Let me get my pants up! Johnny walks up and viciously slits Karpis’ throat. Karpis gargles as blood pours out of his throat. His body shakes violently as he dies. Sharonda pulls a Derringer out and fires. Johnny ducks and throws the knife into her chest. He casually walks out. EXT. SELBORNE ROAD - MIDNIGHT Two cars drive down the street. They stop near a train yard. INT. NITTI’S CAR - SAME TIME Nitti sticks his head up from the back seat. NITTI What is going on? NITTI CAR GOON #1 I don’t know. EXT. SELBORNE ROAD - CONTINUOUS The goons in the front car step out. There is a burning car in the middle of the street. The back window of Nitti’s car opens. NITTI What is going on? FRONT CAR GOON #1 There’s a burning car blocking the street.

96.

Nitti sticks his head out a little more. A look of recognition comes over his face. NITTI (to himself) That’s Karpis’car. Nitti’s eyes go wide. NITTI (CONT’D) Get back in the cars! Suddenly, Thompson submachine gunfire erupts. The goons from the front car are riddled with gunfire. Johnny appears and shoots up Nitti’s car. The goons in the front seat are shot to death. The goon in back is pushed against the window by Nitti. He is riddled with gunfire. A bullet goes through Nitti’s hand. Nitti screams in pain as he runs out the other door. Johnny fires a burst that shoots up Nitti’s leg. Nitti yelps and falls over. He gets up and painfully but quickly limps over to the train yard fence. Nitti falls against it. Johnny walks up with the Colt in his hand. JOHNNY I got my guns back. NITTI Listen. I’ll give you anything. Anything! You want Hoover. His house is outside of Cicero. You can’t miss it. It’s a pink house, go figure. He has a large gate with his initials. It’s a monstrosity. JOHNNY And you think that’s good enough? NITTI Isn’t that what you wanted? What else? Anything. Nothing is impossible.

97.

JOHNNY I want my parents back. I want Sheila back. I want my family you son of a bitch. Nitti starts to tear up. NITTI I can’t do that. I’m sorry. JOHNNY Then I guess this is the way the cookie crumbles. Johnny shoots Nitti twice in the head. Nitti slides down the fence. His body lies on its back but his head is leaned up against the fence. INT. SELBORNE ROAD - PAY PHONE - CONTINUOUS Johnny has the phone against his ear as he looks at the carnage in the street. JOHNNY (into phone) Nitti. Karpis. They’re out of the picture. I got Hoover’s location. PURVIS (V.O.) Okay. I’ll be at my home. You can come see me when you’re done. INT. HOOVER MANSION - OFFICE - LATER Hoover loads a pistol. Rico walks in with a shotgun. J. EDGAR What’s the word? RICO Karpis. Tolson. And Nitti. J. EDGAR You think Nitti told him where we were? RICO He would have said anything to save his ass.

98.

EXT. HOOVER MANSION - POOL - CONTINUOUS A GUARD walks a patrol around the pool. Johnny appears behind him and sticks a ice pick into the back of his head. The guard screams out before falling in the pool. Blood appears in the water. INT. HOOVER MANSION - OFFICE - SAME TIME Hoover looks up when he hears the scream and splash. He stands up and aims at the window. RICO Where was that? J. EDGAR The pool. EXT. HOOVER MANSION - FRONT DOOR - CONTINUOUS A guard is whacked across the face with a baseball bat. The bat is slammed down. INT. HOOVER MANSION - OFFICE - CONTINUOUS Two guards outside his office are killed by a shotgun blast. Rico quickly fires his shotgun at the doorway. J. EDGAR What the hell are you doing? RICO He’s there! J. EDGAR Wait for him to come through the doorway! There is a shotgun blast and guard flying through one of the windows. Rico runs up to the busted out window and fires his shotgun outside a few times. J. EDGAR (CONT’D) Did you get him? RICO I don’t know.

99.

EXT. HOOVER MANSION - NORTH WING - CONTINUOUS A grenade is thrown through a window. INT. HOOVER MANSION - OFFICE - CONTINUOUS There is a loud explosion. Plaster rains down on Rico and Hoover. J. EDGAR Where is he! RICO Dillinger! Rico walks to the middle of the office and aims at the doorway looking out to the atrium. RICO (CONT’D) I’m right here! Come get what’s coming to you! Johnny bursts through another doorway with a Thompson. He walks purposefully up to Rico, firing the Thompson as he does. Rico screams as his face and body is riddled with gunfire. He falls over and Johnny walks up to him, continuing to fire the machine gun. Johnny screams in anger until the machine gun runs out of ammunition. Rico lets out one gargle before dying. His body and face are tore up from bullet wounds. Hoover runs to the window that the guard flew through earlier and climbs out. EXT. HOOVER MANSION - BACKYARD - CONTINUOUS Hoover runs away. He gets shot in both knees and collapses, screaming. Hoover starts to crawl away as Johnny walks purposefully up to him. Johnny grabs a sawed off shotgun off of the ground and pumps it with one hand. Hoover rolls over on his back. J. EDGAR Listen. Johnny aims the shotgun with one hand.

100.

J. EDGAR (CONT’D) You cannot do this. I’m the head of the FBI. JOHNNY Exactly. There’s a laundry list of men to choose from that would want this. In the meantime, here’s my contribution to systematic destruction. Johnny fires the shotgun. Blood splatters his face. Johnny drops the shotgun and walks away. INT. PURVIS FARM - KITCHEN/DINING ROOM - LATER Purvis sits in the kitchen as he hears a car pull up. Marie steps into the kitchen with a look of concern. PURVIS Go upstairs. Don’t come down. No matter what you hear. MARIE Melvin... PURVIS Do as I say. Now. Marie stands in the doorway but quickly turns around and heads out. There is a knock. PURVIS (CONT’D) It’s open. Johnny steps in. He still has the blood splatter on his face. PURVIS (CONT’D) Who’s blood is that? JOHNNY The former head of the FBI. Purvis has a look of shock. PURVIS Wow. Excuse me if I don’t feel any sadness. But it’s still a shock. Johnny sits down.

101.

PURVIS (CONT’D) You might not believe this but I want you to do this. JOHNNY Really? PURVIS I’ve thought about dying everyday. I thought that would be the ultimate closure. A way I can apologize to him. But I never could bring myself to do it. Johnny pulls out the Colt. JOHNNY You better be sure of this. PURVIS Just don’t hurt my family. JOHNNY I was never going to. Johnny stands up and aims the Colt. He starts breathing more frantically through his nose. Johnny’s face tenses up and the gun shakes. JOHNNY (CONT’D) I don’t know. Purvis smiles and leans forward, pressing his head against the gun. He then imagines a smiling Dillinger bathed in light standing before him. PURVIS It’s okay. Thank you. Johnny’s face cringes as he pulls the trigger. INT. PURVIS FARM - STAIRCASE - CONTINUOUS Marie creeps to the top of the stairs. A gunshot startles her. She falls to the ground with her hand over her mouth. Tears roll out of her eyes. Marie sees Johnny stumbling toward the door. The Colt slides out of his hand as he walks slowly out.

102.

EXT. PURVIS FARM - CORNFIELD - CONTINUOUS Johnny is walking in a daze. A tear rolls out of his eye. He stops and closes his eyes when he hears Marie screaming. Johnny wipes his eyes and continues to walk. Three gunshots burst through his chest. He has a look of surprise. Johnny looks down at the wounds. He stumbles forward but collapses to the ground. Johnny crawls a bit and coughs up blood. He rolls over on his back. Johnny looks up and sees Marie aiming the Colt. DREAM SEQUENCE - FAMILY REUNION Johnny walks through a field and sees his grandfather’s house. He walks up and sees Nora helping John Sr set out plates. She looks up and smiles. Johnny is frozen with shock as Nora walks up and hugs him. Johnny starts crying tears of joy as he hugs her back. Nora kisses him on the forehead. John Sr walks up and tussles his hair. JOHN SR We’ve been waiting all day. Your mother really likes your girlfriend. Johnny has look of confusion until John Sr steps away to reveal Sheila. SHEILA Hey there. Johnny walks up and hugs her. He caresses her face and kisses her. Johnny hugs her and speaks into her ear. JOHNNY I’m sorry.

103.

SHEILA It’s okay. You don’t have to worry about that anymore. JOHNNY God I hope so. His father appears in the doorway. DILLINGER What kept you? JOHNNY Many things. DILLINGER Well come in and tell me about it. JOHNNY Yes sir. Johnny smiles and walks up and hugs Dillinger. DILLINGER Welcome home. Johnny holds out his hand to Sheila. Sheila walks up and holds hands with him. Johnny puts his arm around her and Dillinger puts his arms around Johnny. The three walk in followed by Nora and John Sr. EXT. PURVIS FARM - CORNFIELD - MOMENTS LATER Johnny has a smile on his face. JOHNNY (weakly) I’m home. Johnny’s eyes close and he dies. FADE TO BLACK.

104.

(CONT’D)