scene where Tom Powers ducks around the corner of a building to take cover from machine gun fire; the use of live ammunition was common practice at the time. The bullets struck the wall of the building at the position where Cagney's head had been just a moment before. Mae Clarke's Grapefruit scene In a 1973 interview featured in the Turner Classic Movies documentary The Men Who Made The Movies: William Wellman, Wellman said he added the grapefruit "hitting" to the scene, because when he and his wife at the time would get into fights, she would never talk or give any expression. Since she always had a grapefruit for breakfast, he always wanted to put the grapefruit into her face just to get a reaction out of her, so she would show some emotion; he felt that this scene gave him the opportunity to rid himself of that temptation. Some, such as film critic Ben Mankiewicz, have asserted that Mae Clarke's surprised and seemingly somewhat angry reaction to the grapefruit was genuine, as she had not been told to expect the unscripted action. However, in her autobiography, Clarke stated that Cagney had told her prior to that take what he planned to do. She said that her only genuine surprise came later, when she saw the grapefruit take of the scene appear in the final film, as it had been her understanding that they were shooting it only as a joke to amuse the crew. According to Cagney, Clarke's ex-husband had the grapefruit scene timed, and would buy a ticket just before that scene went onscreen, go enjoy the scene, leave, then come back during the next show just in time to see only that scene again. The grapefruit-to-the-face incident from The Public Enemy is parodied years later in the 1961 Cagney movie One, Two, Three when Cagney threatens Otto (Horst Buchholz) with a half grapefruit but then decides against doing so. Prologue and epilogue The film featured a prologue "apprising the audience that the hoodlums and terrorists of the underworld must be exposed and the glamour ripped from them" and an epilogue "pointing the moral that civilization is on her knees and inquiring loudly as to what is to be done." At the film's premiere in New York City, the film's prologue was preceded by a "brief stage tableau, with sinuous green lighting, which shows a puppet gangster