American Adventure 55-09-22 (09) The Rat on Lincoln Avenue

Summary

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Podcast Summary

Harold’s Old Time Radio

American Adventure 55-09-22 (09) The Rat on Lincoln Avenue
Air Date: August 28, 2025
Episode Theme:
A dramatization of the famous 1934 FBI stakeout and killing of notorious gangster John Dillinger outside Chicago’s Biograph Theater, using the device of multiple perspectives—FBI agents, bystanders, and family—to highlight themes of crime, heroism, authority, and the conflicting attitudes Americans hold toward both outlaws and law enforcement.

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Main Theme & Purpose

This episode chronicles the events leading up to and following the death of John Dillinger from the vantage point of ordinary citizens and lawmen gathered on Lincoln Avenue, Chicago. It weaves together the tension, anticipation, and moral ambiguities that pervade both public attitude and those carrying out justice. The story explores how individuals process violence and law, as well as the spectacle society makes of crime and criminals.

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Key Discussion Points and Insights

1. Setting the Scene

• Tension on Lincoln Avenue: The episode opens on a quiet Chicago neighborhood, focusing on a seemingly typical evening soon upended by an influx of “hard-looking men”—undercover lawmen assembling for the ambush.

  • [01:44] Chief Melvin Purvis: “This is the story of a block of avenue and the people who were on it on the evening of July 22, 1934... What happened that night is real. And the people, though not real, are as alive as we can make them.”

• Perspective of Bystanders (Claire & Collins): Regular citizens notice the strange figures and sense danger, leading to anxious speculation—are they police or gangsters? The mounting unease highlights the confusion between lawmen and criminals in the public’s perception.

  • [03:02] Claire: “Standing right there in front of the theater.”
  • [03:43] Claire: “They look like part of a gang.”

2. Stakeout and Internal Dialogue

• Inside the Stakeout: Lawmen, led by Chief Melvin Purvis, anxiously await Dillinger, disguising themselves and blending into the night. The uncertainty over Dillinger’s appearance—changed hair and face—raises the stakes.

  • [07:56] Collins: “I never saw this guy before. That's him.”
  • [08:06] Collins: “You gonna give the signal?”
  • [08:11] Chief Melvin Purvis: “Too many people on the street now. Let him see the movie. We'll get him coming out.”

• Character Insight: The FBI agents and their helpers reveal personal stakes, doubts, and the heavy toll of such work.

  • [18:22] Chief Melvin Purvis: “You think this being a cop is a great big beautiful life, don't you?...You mess with criminals, you get dirty. That's my job, Joe.”

• Moral Ambiguity and Weariness: The agents debate the nature of their work, the line between cops and crooks, and public perception.

  • [16:42] Collins: “Sometimes it's hard to tell the difference, buddy.”

3. Themes: Heroism, Public Fascination, and Authority

• Public’s Perverse Hero Worship: The episode directly questions America’s tendency to lionize outlaws while resenting authority.

  • [17:34] Chief Melvin Purvis: “When he dies, thousands will stand in line to see his body. They'll mob the cops that kill him. Wait and see.”
  • [27:30] Chief Melvin Purvis: “You ought to know something about people. You ought to know they don't like authority, rules, laws...Americans like Jesse James. Not the sheriff or the posse.”

• Spectacle of Crime: The community’s reaction after Dillinger is shot is depicted as mob-like and morbidly fascinated.

  • [26:44] Collins: “I saw him out there putting their handkerchiefs down in Johnny's blood just to save some of it.”

• Reflection on Lawmen’s Role: The weariness and burden on the lawmen, who sometimes feel indistinguishable from the criminals they hunt.

  • [27:03] Chief Melvin Purvis: “Catch a rat, you set a trap.”
  • [27:09] Collins: “Get to be like them. Sometimes even we can't tell a cop from a crook.”

4. Climactic Action

• Killing of Dillinger: The shooting is presented matter-of-factly but with an emphasis on the emotional impact for Claire and Collins, focusing on their humanity and shock.

  • [25:21] Claire (after the shooting): “Collins, they shot him.”
  • [25:25] Claire: “It was the most terrible thing I ever saw. Don't let me look anymore, Collins.”

• Aftermath and Societal Commentary: The lawmen discuss the futility and spectacle of their work—how even in victory (the death of a notorious criminal), they struggle with the public's adulation of the outlaw and the hollow nature of their supposed triumph.

  • [28:10] Chief Melvin Purvis (rat metaphor): “…when I was a boy… we took that rat down the road to Jamerson’s… People came from far away as Topton to see it. The biggest rat ever seen. Why people came, I don't know.”

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Notable Quotes & Memorable Moments

• On Confusing Criminals and Cops:

  “Sometimes it's hard to tell the difference, buddy.”
  —Collins, [16:42]

• On Public Hero Worship:

  “When he dies, thousands will stand in line to see his body. They'll mob the cops that kill him. Wait and see.”
  —Chief Melvin Purvis, [17:35]

• On the Nature of Authority and Crime:

  “Americans like Jesse James. Not the sheriff or the posse.”
  —Chief Melvin Purvis, [27:30]

• Central Metaphor (the Rat):

  “Because he’s one of the biggest rats in the world… and you killed him.”
  —Chief Melvin Purvis, [29:09]

• Aftermath and Disillusion:

  “I saw him out there putting their handkerchiefs down in Johnny's blood just to save some of it. Forget it. How can you forget it?”
  —Collins, [26:44]

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Key Timestamps

• [01:44] – Chief Purvis begins setting the scene; Lincoln Avenue’s block described
• [03:02] – [04:44] – The bystanders' unease; assembling of authorities and their tension
• [07:51–08:16] – Discussion about the difficulty of identifying Dillinger
• [13:04–15:12] – Reflection on the cost of being involved in crime-fighting, how it impacts personal lives
• [16:42–18:45] – Officers discuss their role, the public perception of lawmen vs. criminals
• [25:21–25:47] – The shooting of Dillinger, Claire’s shock and Collins’ concern
• [26:44–29:09] – Moral reckoning, the rat metaphor, Collins and Purvis debate the public’s fascination

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Tone and Language

• The story is told in sober, reflective dialogue, with flashes of resignation and intimate anxiety.
• Characters alternate between tense banter, philosophical musing, and raw emotional exchanges, often adopting a matter-of-fact tone even as the dramatic stakes escalate.
  • The “rat” metaphor is repeated, illustrating society’s simultaneous revulsion and fascination with those who break the rules or embody outsized notoriety.
• Overall, the tone blends nostalgic period detail with timeless questions of justice, violence, and human nature.

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Conclusion

This episode of American Adventure uses the true-to-life stakeout and fatal shooting of John Dillinger to explore American ambivalence toward authority, our complicated relationship with outlaws, and the harsh realities faced by those who enforce the law. Through intimate, emotional, and philosophical dialogue, the episode draws a sharp picture of a tense night and the moral confusion in both public and private minds when the lines between hero, criminal, and lawman blur.

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Transcript

[Collins]

Big news.

[Narrator/Announcer]

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[Collins]

Every style, every home.

[Narrator]

The best understanding of America begins. Or so it seems to us with the realization that this nation is young yet. That she's still new and unfinished. That even now, America is man's greatest adventure in time and space. The University of North Carolina, through a grant in aid from the national association of Educational Broadcasters, presents American Adventure, a study of man in the new world. A series made possible by the Fund for Adult Education, an independent agency established by the Ford Foundation. Written by John Ely Directed by John Clayton Today's recorded program is the Rat on Lincoln Avenue.

[Chief Melvin Purvis]

This is the story of a block of avenue and the people who were on it on the evening of July 22, 1934. The street is named Lincoln Avenue. You in Chicago may have heard of it. The number of the block is 2400. There was a theater, a National Tea Company store, two garages, a restaurant, a saloon. It's just a piece of street in Chicago. What of the people? They were real people that night in 1934. But real people speak without being recorded, act without reporters. There were no reporters there at 8:40pm the reporters came later. So we can't use the real people. But the street is real. The night is real. The theater is lighted and the bar is open. What happened that night is real. And the people, though not real, are as alive as we can make them.

[Claire]

Collins, what are those men doing out on street?

[Collins]

I don't know.

[Claire]

Come yet to the window?

[Collins]

Look, for the Lord's sake. Claire, can I get a shirt on? Where?

[Claire]

Standing right there in front of the theater.

[Collins]

Oh, I don't know. Here, fasten the sleeve button for me.

[Claire]

Hold still. Oh, it's broke.

[Collins]

They always break. I think I have breaks.

[Claire]

Take off the shirt and I'll sew it for you. Who do you reckon those men are, Collins?

[Collins]

I don't know.

[Chief Melvin Purvis]

Look.

[Collins]

All right. Can't a few men stand around on the sidewalk?

[Claire]

Hard looking men.

[Collins]

Here's a shirt. Hurry, the movie's about to start.

[Claire]

Maybe they're part of a game.

[Collins]

Oh, Claire.

[Claire]

Maybe there'll be a killing.

[Chief Melvin Purvis]

Oh, Claire, please.

[Claire]

Well, they. They do look like gangsters or policemen. Well, it's hard to tell which.

[Collins]

Hmm. How many down there?

[Claire]

Well, I can see eight or nine. And look across the street over at the garage.

[Collins]

Yeah.

[Claire]

Well, they seem to be watching the theater. And there two more crossing the street towards us, going in the restaurant downstairs. I tell you, Colin, they look like part of a game.

[Collins]

Let's. Let's get this table by the window. Right. Let me sit over here where I can see the car. You watch down the street. What time you got?

[Chief Melvin Purvis]

About 8:45.

[Collins]

Kim. What do you mean about my watch? Says 8:47pm Central Standard Time. Somebody mentioned 8:50, you know. Three minutes more. What's the boss doing now? He's in the car talking to somebody. I wish Johnny would get here. You think he'll come? How do I know? We'll get him if he does.

[Claire]

You gentlemen want to order now?

[Collins]

We'll wait.

[Claire]

We closed the main part of the kitchen at 8:30, you know.

[Collins]

No, I didn't, but I'll remember it.

[Claire]

What I mean by that? No dinner's ordered after 8:30. But if you want a dinner, I'll let you order it.

[Collins]

There's a man in a gray suit coming, kid. Johnny doesn't wear a coat. Maybe he's changed. No.

[Claire]

Look, you gentlemen hear me? We got roast beef and some fried chicken left. You want it or not?

[Collins]

You want a dinner, kid? No, I'm not hungry. I'll take the roast beef on the.

[Claire]

Dinner or you want a sandwich?

[Collins]

I want the dinner and a glass of milk.

[Claire]

I'll bring it just as soon as I can get it ready.

[Collins]

Aren't you hungry, kid? Oh, nervous? Sure. Why? This is big, you know that? This will make every paper in the country. Sure, papers all over the world. You just wait with a signal, that's all. Isn't that right? Yeah. Easy. It's Ann, too. My girl. She told me if I came on this, we were thrown. There's a man coming down the sidewalk without a coat. What's he wearing? Sports shirt, light blue, gray pants. It's not Johnny. Johnny wears a tie. I can't let Ann go, can I? When I was young, just a kid, Ann was older. I liked her, but she was older than me. You know how it is. Sure, Just like you said. Older boys. She got married. Married a park. No good.

[Chief Melvin Purvis]

Well, let's talk about something else.

[Collins]

She's divorced now. She likes me. You ought to see the Way she takes on about me. And when you consider that when she was a kid, all the boys liked her. Then this afternoon she gets squeamish on me. Don't tell me all your troubles. We're here. We got a job to do. I know about that. There's a man coming along with two other fellas. It isn't Johnny then. Look, when Johnny comes and the boss gives a signal, what do we do? Take it. We shoot. That's up to Johnny. Probably not. Can we shoot through this wonder? Sure. It'll break, but through the door screen is better. It's 8:50 now. You like to eat salt, huh? No. Here, try it. Shake some out in your hand and eat it. I don't want any salt. Good? No. There's a man coming along with two women. Now, that could be Johnny. No coat, tie, white shoes. Don't stare. Ain't you gonna look? I'm looking for the signal, that's all.

[Claire]

Here's the milk. I'll bring the dinner in a minute.

[Collins]

Thanks.

[Claire]

You want peas or carrots?

[Collins]

Carrots.

[Claire]

You want vegetable or fruit salad? You want French fries or mashed potatoes?

[Collins]

Mashed.

[Claire]

Gee, you know your own mind, mister. I like that in a man.

[Collins]

That's the one I meant. Passing now. Signal. Looks like Johnny from here, except he's got black hair. Look. Is there a signal or not? They're letting him walk on by. He's stopping at the movie house, best I can tell. What's the boss doing? He's in his car watching. Maybe it's not Johnny. It doesn't look like Johnny to me, Boss. Black hair.

[Chief Melvin Purvis]

It's Johnny's shoulders.

[Collins]

No scar, straight nose.

[Chief Melvin Purvis]

But it's Johnny's shoulders.

[Collins]

It's not Johnny's face.

[Chief Melvin Purvis]

It's Johnny's face.

[Collins]

I never saw this guy before. That's him.

[Chief Melvin Purvis]

You can change your face. Change your hair. Cut off a scar. You can't change him there. Walking away from the box office. You see?

[Collins]

Yeah, Looks like Johnny all right. That's him. You gonna give the signal? Not now.

[Chief Melvin Purvis]

Too many people on the street now. Let him see the movie. We'll get him coming out.

[Collins]

Two hours is a long wait, boss.

[Chief Melvin Purvis]

I waited longer than two hours. You got men on the back doors of that theater.

[Collins]

How could they?

[Chief Melvin Purvis]

Every door. Call in the rest of the men. Put two men on every door. Tell him he's dyed his hair black and changed his face.

[Collins]

Right.

[Chief Melvin Purvis]

You get his description?

[Collins]

White silk shirt, nice gray tie flecked with black. White canvas shoes. Cray dazzles.

[Chief Melvin Purvis]

Two men on every door.

[Collins]

Yeah.

[Claire]

Look, that tall man that got out of the car while ago.

[Collins]

My shirt. Claire, you're gonna throw the button on my shirt.

[Claire]

I'm sewing it.

[Collins]

You've been sewing it forever.

[Claire]

He's talking to those men over at the garage.

[Collins]

Colin, maybe he's waiting on a car.

[Claire]

One of them is walking away and the tall man's going on down the street. Collins, I'm afraid. I think I'll call the police.

[Collins]

Claire. Claire, wait a minute. You know, sometimes people get mixed up in things that ain't any of their business.

[Claire]

Well, what, for instance?

[Collins]

I mean, maybe they're cops, Claire.

[Claire]

Well, if they're cops, won't the cops know it?

[Collins]

Well, maybe they ain't cops. Maybe they. Maybe they're a gang, like you said. Look, honey, forget it, will you?

[Claire]

It's the first time in 10 years you've called me honey.

[Collins]

Well, look, forget it, will you?

[Claire]

Well, can I call the police? If I don't tell them who I.

[Collins]

Am, they'll trace it. I don't know how.

[Claire]

Well, I'm gonna call them, Collins. After all, somebody might get hurt. If I was down there, I'd want somebody to call them. Operator. Operator, I want to get information.

[Chief Melvin Purvis]

Where are we going?

[Collins]

To the movies. Claire, you know Clark Gable. You know you like him. You never miss Clark Gable.

[Claire]

He's on tomorrow night, too. Information. I want the nearest police station. I'm on Lincoln Avenue, 2400 block. Besides, we go to the movies all the time. Movies? Or you go bowling. Never stay home and talk.

[Collins]

Oh, stop that again.

[Claire]

Claire, would you ring them, please? Operator, this is an emergency.

[Collins]

This is no emergency. They'll laugh at you. The cops get dozens of calls like that.

[Claire]

Police station. This is an unnamed party that lives on Lincoln avenue. There are 20 or 30 men on the street outside my window. Tough looking men. I'm afraid somebody's gonna get hurt.

[Collins]

I declare, there aren't 30 men out there.

[Claire]

Well. Well, Officer, you can certainly come to look for yourself if you want to, or. My husband's right here. He'll tell you. Here, Collins, they want to speak to you. Come on, Collins, hurry.

[Collins]

Hello? Yes. Yes. Well, you see, my wife was looking out of the window at the traffic as she always does, and, well, she noticed there were strange men. Two of them in the parked car and others standing in the doorways around. You see? Huh? Oh. 2400 Lincoln Avenue. That's right.

[Claire]

Now, I think that what the police say, Collins.

[Collins]

He said thank. Then he hung up.

[Claire]

Well, didn't you tell him it's an emergency.

[Collins]

What? I told him. Well, they're looking to it, I think.

[Claire]

Well, they'd better. Collins, your honey. Lock the door.

[Collins]

Oh, Claire, you. You think we should lock it all? Claire, what are you doing?

[Claire]

Well, I. I'm looking for that. Oh, here it is.

[Collins]

Oh, Claire, put a pistol down. You'll shoot somebody.

[Claire]

Doesn't have any bullets.

[Collins]

What are you doing with it then?

[Claire]

Well, I feel better with it.

[Collins]

It's only a.22.

[Claire]

Oh, it comforts me, Collins. That's all. When you're out bowling at night, I always sit here by the window with the door locked. Look at the nice young people go by. With a pistol in my hand. I. I get afraid it's company.

[Collins]

You never told me you'd get afraid.

[Claire]

Didn't I? Bring your chair up to the window so we can both see.

[Collins]

Oh, this is crazy, Claire.

[Claire]

I. I know, but isn't it strange? Right in front of our window. Just like in the movies.

[Chief Melvin Purvis]

Did the men seem nervous?

[Collins]

Some of them, but they're okay. They were joking.

[Chief Melvin Purvis]

What's funny?

[Collins]

The movie. What movie? The show.

[Chief Melvin Purvis]

There.

[Collins]

The theater. Clark Gable and William Powell. It's.

[Chief Melvin Purvis]

It's the show Johnny's looking at.

[Collins]

Oh.

[Chief Melvin Purvis]

What's funny?

[Collins]

It's a crime picture.

[Chief Melvin Purvis]

It's one of those.

[Collins]

Crime does not take pictures. Sees crime does not pay. Then he comes out and we get him.

[Chief Melvin Purvis]

I see.

[Collins]

When will Johnny be out?

[Chief Melvin Purvis]

The film's over at 10:30. I expect it'll all be over before 10:35.

[Collins]

Look, kid, for over an hour I heard you talking. Anne's nothing to me.

[Chief Melvin Purvis]

I don't know her.

[Collins]

Change of subject and's a good girl. Okay? Okay. Doesn't want me to get mixed up in crime. Stuff like that. If you shoot a guy like Johnny, you mark yourself. Maybe baby face, pretty boy, guys like that. You mark yourself, so you mark them. It's a dog eat dog existence. Did you think it wasn't? Say what? Cops don't look around. What they doing? Talking to the boss. Just walked up to his car. What they want? How do I know? How did they find out? Who can tell? Things like that. They could really mess it up. Johnny Seed, blue uniforms, Three of them out there. You take off like a bull. Faster. Give him one and he's gone. He's magic, that guy. Are they still talking to the boss? Yeah. What'll he tell him? Oh, he's a talker. You tell him his kid's sister's inside and he's waiting to drive her home. Anything? Gee, I want a beer. Do you? No drinking, Joe. I'm thirsty. Cops are moving away now. Coming in here, walking up the street. Don't look. Why don't you be eating your food? Yeah, it's a good idea. Gee, it's cold. This fool. They didn't come in. They're going on up the street. One of them's coming back. Joe. Huh? He's coming in. You want me to talk? Yeah, he's coming over here. Excuse me. Huh? Oh, hello, officer. We got your report. We're investigating is all. I noticed your dinner looks cold. I wasn't hungry. You mind showing me some identification? I don't have any on me. You want to come to headquarters? On what charge? Eating dinner. Eating a cold dinner. Look, we got a report that some crooks are around. What do you mean by that? You see the other two cops outside the window? You want me to call them in? All right. Here you are. Don't touch it. Just look. Chicago, Indiana police. Special assignment is yours. Of course it is. What's your height? Five' ten Ice Loop. Big news.

[Narrator/Announcer]

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[Collins]

Wayfair every style, every home.

[Chief Melvin Purvis]

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[Claire]

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[Collins]

Brown scars. Bullet wound, left arm. Let me see. Sure. There you are. What are you doing here? Special assignment. Mean anything to you? Big job. You know the rules, buddy. Move on. I'm just interested. Who's your buddy? Special Agent, FBI. I see. Sorry. Got a call, you know, funny we don't know about this at the local precinct. It's mostly FBI. They ran in a PO Bus from Indiana. I see. Thought you might be crooks. Can't tell the difference, huh? Sometimes it's hard to tell the difference, buddy. What you mad about, Joe? That cop can't tell the difference. Ah, forget him. Gets under my skin. I chase criminals for 20 years, I end up looking like one. We got the biggest crook of all in a theater. Got him surrounded. But you can't tell him from a cop without a scorecard. Get off that kind of talk, will you? You think this being a cop is a great big beautiful life, don't you? I don't know. Well, I agree with you, girl. Get out of this racket. It's Sunday night. You ought to be in a church somewhere instead of here with me, waiting at a big plate glass window for John Dillinger to come out of a theater. You ought to be in bed. I wouldn't worry about it. Let me tell you something. Mind? No. My daughter's 17. She brought home a young kid the other night. Young fella, nervous. First one she brought home. So she introduced us and he set out. Finally he said, well, what do you do for a living, sir? And I said, I'm a cop. Then he looks at me, startled, sudden, like, you know, like. Like people look at cops as if you. You slug them in the kidneys where it won't leave a bruise. Are you stacking away hush money? How many criminals call you by your first name? Hands. Right, kid. Get out. You mess with criminals, you get dirty. That's my job, Joe. Hero, huh? Maybe I will be. Well, I'll tell you who the hero is. Johnny Dillinger. When he dies, thousands will stand in line to see his body. They'll mob the cops that kill him. Wait and see. I don't believe you. Go down the street to the theater. Have you seen that movie, what's on? Manhattan Melodrama? I saw. It's a crime picture. Johnny come all the way to this little theater down here, planted. Had to, because somebody tipped off the FBI that he'd be here, come down here to this little theater to see it because he knew that it was gonna make him feel good to see how everybody likes a good, solid, gay, happy, everyday superior criminal. Get out, kid. People don't like cops. I've seen movies, crime movies that say crime doesn't pay. Oh, they mustn't say it good. They wouldn't be playing to John Dillinger. 10:20, boss. The last time they.

[Chief Melvin Purvis]

They had Dillinger surrounded, he shot his way out.

[Collins]

Remember? Yes. How does it feel to be a few minutes away from taking Dillinger?

[Chief Melvin Purvis]

Feels all right. Like we're capturing, isolating something that went wrong. It never developed. Just ate away at society. Instead of contributing to it, just ate away like a rat in a corn bin. Served no good purpose. It'll be like capturing and isolating something that might have been useful but isn't. To save society, which is valuable. There was a laundry truck that passed at 10:22, about the time a young lady who liked Clark Gable came out of the theater. She'd seen the movie since 4 o' clock and had decided she should go home, perhaps come back the next afternoon. The waitress in the restaurant said she wanted to go home too, but she said that the restaurant was supposed to stay open until 11 o'.

[Collins]

Clock.

[Chief Melvin Purvis]

She'd worked in that restaurant for four years and she was getting tired of it. She said nothing ever happens around here. Same old routine, night after night, same dinners. She said, never any action around here. At 10:25, a strange and interesting hush came over Lincoln Avenue. The cars moved as always, but there were many people who did not hear them, whose entire attention was on the theater.

[Collins]

The theater.

[Claire]

Almost time for the movie to be out, Collins.

[Collins]

It's not quite in Dirty Clare.

[Claire]

They're definitely watching the theater, Collins.

[Collins]

I'm sure they are.

[Claire]

You see that man over there with a Coke machine at the garage? That's his fifth Coca Cola tonight.

[Collins]

I've been here a long time, Collins.

[Claire]

Don't stand up.

[Collins]

Why not, honey?

[Claire]

Sit down, please. They might shoot. Oh, sit down, please. All right, Claire, you just stay down. If you lean over a little bit to the side, the edge of the window will help protect you.

[Collins]

From what, honey?

[Claire]

Well, I don't know, but you ought to be protected. It's almost time for the movie to let out.

[Collins]

You'll see people fighting to get one look at him. I don't believe it. People tearing each other apart. I'm tired of hearing you talk, Joe. Why? Because. Because you. You see so much of the dirty humanity. You think all humanity is dirty. You're looking at me like that boy my daughter brought. You've lost faith. I've got all the faith people deserve. No, you haven't. You just haven't. Then stay. Get like me. You'll see. Tonight we have to shoot Dillinger. The people will show you who the people's hero is. They'll tear each other apart just to be able to touch Johnny's body. Just wait around, kid. You'll.

[Chief Melvin Purvis]

And let's get out.

[Collins]

Out of the car.

[Chief Melvin Purvis]

The men can see me. Give the signal. Better if we stand on the sidewalk. It's cool, isn't it?

[Collins]

Yeah. 1032. What if it ain't Johnny?

[Chief Melvin Purvis]

I'm the one that gives the signal. It's my decision.

[Collins]

Yes, sir.

[Chief Melvin Purvis]

It's Johnny's shoulders.

[Claire]

They're standing right down there. Just standing.

[Collins]

Looking towards the theater.

[Claire]

Is it time yet, Collins, for the movie to be out?

[Collins]

Oh, it's past time. It really lets out about 10:30, don't it?

[Claire]

Well, I feel I'll call the police again.

[Collins]

Pretty good, Claire.

[Claire]

Man across the street. Street is coming over to the curb.

[Collins]

Yeah. Look.

[Claire]

Look down there in the doorway. They're changing their position.

[Collins]

Yeah.

[Claire]

Collins.

[Collins]

Yes, honey?

[Claire]

You're holding my hand.

[Collins]

Oh.

[Claire]

Oh, it's all right. Seems like because of what's going on out there, you and me are closer in this room than we ever been before. Like. Like it makes everything we've been fighting about seem so little. Are you sure the door's locked?

[Collins]

It's locked. Don't you remember?

[Claire]

Something terrible is going to happen, Collins. Maybe we ought to leave.

[Collins]

I can't leave. Can you?

[Claire]

No, no, no. I know I ought to leave. I shouldn't watch. It's going to be terrible, Collins.

[Collins]

I know it is, honey.

[Claire]

I'd like to leave, but I don't. I don't want.

[Collins]

I don't either.

[Claire]

There. Colin's there.

[Collins]

Yes.

[Claire]

People come now.

[Collins]

Making their eyes. Rubbing their eyes. They're theater people.

[Claire]

It's over. They're coming out now, Collins. The men down there are just standing, watching.

[Collins]

Yeah, I see.

[Claire]

Talking.

[Collins]

You see, they keep their hands in their pockets. That man over there, you see?

[Claire]

Maybe they have a gun. Crooks. Cheap crooks.

[Collins]

Gonna kill somebody. But who? Who could?

[Claire]

Oh, I don't know. I don't know. I wish I knew. I'd yell. I'd warn.

[Collins]

It might be any one of those people.

[Claire]

Might be that nice young man coming out of the theater. Now, that there with those two pretty girls. See the man in the white shirt and the pretty tie. Nice fellow. Reminds me of someone I know. Might even be him. They're going to shoot. They're looking at him, Collins. You see? They're moving toward him. Collins. That nice young man.

[Collins]

Tell you all right?

[Claire]

Yes, yes, I'm all right.

[Collins]

I was real afraid for you. I ain't that strange. After 20 years, I was still afraid for you.

[Claire]

Collins, they shot him.

[Collins]

I know. Right before my eyes.

[Claire]

It was the most terrible thing I ever saw. Don't let me look anymore, Collins.

[Chief Melvin Purvis]

All right, hold the crowd back.

[Collins]

They're crazy, Chief.

[Chief Melvin Purvis]

Good Lord. They're out of their mind. Hold them back. Get back. Turn Johnny over. Take his gun out of his hand. You shouldn't have tried to draw, Johnny. It was your last mistake.

[Collins]

Three slugs in him, Chief. He'll never see morning.

[Chief Melvin Purvis]

Bring around the ambulance.

[Narrator]

Two pedestrians wounded in the leg, sir.

[Chief Melvin Purvis]

Take care of them. See if Johnny has a ring on his left hand, third finger.

[Collins]

Yes, sir. He has.

[Chief Melvin Purvis]

Gold for the ruby.

[Collins]

Yes, sir.

[Chief Melvin Purvis]

I told you it was Johnny.

[Collins]

In there, Chief.

[Chief Melvin Purvis]

What's the matter with him?

[Collins]

He won't talk to anybody. When Johnny turned out there and started pulling the gun out, the kid fired right through the door.

[Chief Melvin Purvis]

Well, what's the matter with it?

[Collins]

He won't say.

[Chief Melvin Purvis]

Hey, Harold, what's the matter?

[Collins]

They're just like Joe there said. They're animals. Who?

[Chief Melvin Purvis]

People.

[Collins]

I saw him out there putting their handkerchiefs down in Johnny's blood just to save some of it. Forget it. How can you forget it? They'll be at Johnny's funeral. Thousands. So?

[Chief Melvin Purvis]

And who are we?

[Collins]

Hiding around in doorways, setting traps like criminals.

[Chief Melvin Purvis]

Catch a rat, you set a trap.

[Collins]

Get to be like them. Sometimes even we can't tell a cop from a crook.

[Chief Melvin Purvis]

A man can tell himself from a crook. Now, snap out of.

[Collins]

Don't be too hard on him, Chief. It's. Well, his. His girl figures somehow. And he shot first. The very first.

[Chief Melvin Purvis]

I know. I saw it. Look, son, listen to me. Maybe I can say something that'll help you to understand the people out there.

[Collins]

Look at me, I said. Yeah.

[Chief Melvin Purvis]

You ought to know something about people. You ought to know they don't like authority, rules, laws. Haven't you ever heard them yell, kill the umpire? Don't you know Americans like Jesse James? Not the sheriff or the posse.

[Collins]

Sure. So what?

[Chief Melvin Purvis]

So that's part of the way we are. Of course, you can't live in a country like this without rules, laws, police, the military. But don't expect people to fall all over us with happiness whenever they see Us, we represent what binds and restricts and chafes.

[Collins]

Is that why people out there are weeping over Johnny's body?

[Chief Melvin Purvis]

That's part of it. Then too, there's the reason that Dillinger was colorful, famous, big. The number one criminal in America.

[Collins]

Looks like that'd make them hate him more. Does it?

[Chief Melvin Purvis]

Well, when I was a boy out on the farm, I remember killing a rat. A big one. The biggest I'd ever seen. My mother almost fainted. My father was almost sick. It was the biggest, ugliest rat I ever saw. We took that rat down the road to Jamerson's and showed it to the old man he called his sons. It was the biggest rat they'd ever seen. And we took it all over that part of the county the next day. People came from far away as Topton to see it. The biggest rat ever seen. Why people came, I don't know.

[Collins]

Except people are like that.

[Chief Melvin Purvis]

But don't think they liked it. Don't think they wanted one. Don't think they wanted to be one. Sure, there'll be thousands of Johnny's feet for one reason or another. Maybe I'll go. Maybe you ought to go.

[Collins]

Me? Why?

[Chief Melvin Purvis]

Because he's one of the biggest rats in the world. One of the biggest rats anybody anywhere ever saw. And you killed him.

[Narrator]

Any resemblance in our characters to Chief Melvin Purvis of the late Inspector Samuel P. Coley or to their FBI men or to the Chicago, Indiana policemen who are with them or to any other person as coincident. But basic facts connected with the incident of the Dillinger death are from the Federal Bureau of Investigation report. American Adventure is written by John Elay, directed by John Clayton, produced by the Communication center of the University of of North Carolina. American Adventure is a study of man in the new world. His values and his characteristics. Who he is, what he believes. The series is made possible by the national association of Educational Broadcasters and the Fund for Adult Education, an independent agency established by the Ford Foundation. In the rat on Lincoln Avenue, Edith Sanford was the woman. Charles Hadley was her husband. Charles Carolt was the boss. Earl Wen was his assistant. Bill Waddell was the Chicago Indiana cop. John Ehler was the kid and Joe Gurchevsky was the waitress. This is Carl Castle. American Adventure is produced and recorded by the University of North Carolina on the campus at Chapel Hill.

[Collins]

Easy street can be more than just.

[Chief Melvin Purvis]

An expression to you.

[Collins]

It can be a way of living. Start planning for it today.

[Chief Melvin Purvis]

Begin buying United States Savings bonds.

[Collins]

Next, the News, then X minus 1.

[Chief Melvin Purvis]

On the NBC Radio Network.

[Narrator/Announcer]

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[Claire]

Shop the sale online.

[Narrator/Announcer]

Delivery available on qualifying orders. Click the banner to learn more.

[Claire]

Retail sales Only some exclusions apply.

[Narrator/Announcer]

See Store for details.