Scarface

By: Oliver Stone

'Enjoy yourself every day above ground is a good day. ANONYMOUS, MIAMI 1981

1 A PROLOGUE

Crawls up the screen with Narrator

NARRATOR

In May 1980, Fidel Castro in an effort to normalize relations with the Carter Administration opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy-two hours, 3,000 U.S. boats were headed for Cuba. In the next few weeks, it became evident that Castro was forcing the boat owners to carry back with them not only their relatives but the dregs of his jail population. By the time the port was closed 125,000 'Marielitos' had landed in Florida. An estimated 25,000 had criminal records. This is the story of that minority those they call 'Los Bandidos.'

The prologue is shredded diagonally by the blade of a

Stiletto and in the empty black void we

CUT TO

Opening Montage Documentary Footage

2 THE DISEMBARKATION

From the harbor in Mariel, Cuba. Vessels of every nature

Waving masses, demonstrations

3 THE CROSSING

Sun and storm

4 THE LANDING KEY WEST

The flag of the United States. Choppers swooping over the ragged coastline of the Keys. Emerald waters dotted with fishing trawlers and pleasure craft, an 'America the Beautiful'-type Immigration theme surging over this

5 THE PROCESSING

Long lines. Immigration and Nationalization Officials, customs, Public Health, FBI, Church and Relief Organizations

Babies bawling, arguments over paperwork, refugees being

Interviewed by TV news, people crying, people eating

Families huddled on floors... chaos

The music theme continuing in stately calm as we

CUT TO

6 INT. OFFICE PROCESSING HALL AFTERNOON

A FULL and CLOSEUP OF

7 TONY MONTANA 7

The scar-faced one, in the young angry prime of his life

We dwell first on the scar which he likes to scratch now and

Then. We move to the eyes, pure in their fury. Finally we

Encompass the face the face of a man about to explode

Muscle, tissue, brain a man willing to live or die and

On the increment of a moment, inflict or receive either one

He is clothed in rags crossed with holes, his shoes broken

Cardboard, his hair unkempt, his complexion sallow from

Prison

Over this

VOICE #1

Okay so what do you call yourself?

VOICE #2

Como se llama?

MONTANA

Tony Montana...you?

VOICE #1

Where'd you learn to speak the English, Tony?

MONTANA

My old man he was American. Sailor. Bum

I always know, y'know, one day I gonna come to America

I see all the movies

VOICE #1

So where's your old man now?

MONTANA

He's dead. He died. Somewhere

VOICE #1

Mother?

TONY

She's dead too

VOICE #2

What kind of work you do in Cuba, Tony?

TONY

This. That. The Army. Some construction work

VOICE #2

Unhunh. Got any family in the States, Tony? Cousins, brother-in-law?

TONY

Nobody. Everybody's dead

MAN #I

Y'ever been in jail, Tony?

TONY

Me jail? No way

We now reveal three men in civilian clothing in the dark afternoon light of the little room. Actually it's a plywood office somewhere in the processing hall and we hear the din from the hall over the question and answer. Two of the men sit around a desk, the Third Man stands in a corner, staring at Tony, the most authoritative-looking of the three

MAN #l

You been in a mental hospital, Tony?

TONY

Yeah, in the boat coming over

MAN #1

How 'bout homosexuality, Tony? You like men, y'like to dress up like a woman?

TONY

Never tried it. What the fuck's wrong with this guy, what's he think I am?

MAN #2

Just answer the questions, Tony

The voices of the men remain cool and collected throughout

TONY

Fuck no

MAN #1

Arrested? Vagrancy? Marijuana?

TONY

NO. ...NO. Never. Nothing

His eye movements are rapid

And he does a lot of touching objects lightly with the

Tips of the fingers. Man #3 is stepping forward out of the

Shadows

MAN #3

So where'd you get the beauty scar?

TONY

This?

I was a kid. You should see the other kid

MAN #3

And this?

He holds up Tony's hand and indicates the tattoo between the

Thumb and second finger a heart with the word 'Madre'

Scaled through it

TONY

That was for my sweetheart

MAN #3

Sweetheart?

We been seeing more and more of these. It's some kinda code these guys used in the can. Pitchfork means an assassin

Or something. This one's new... You want to tell us, Montana or you want to take a little trip to the detention center?

TONY

Hey, so I was in the can once for buying dollars. Big deal

MAN #3

That's pretty funny, Tony

TONY

Some Canadian tourist

MAN #3

What'd you mug him first? Get him outta here!

TONY

Hey, so I fuck Castro, what's it to you? You a Communist or something?

How would you like it they tell you all the time what to think, what to do, you wanna be like a sheep, like everybody else. Baa baa? Puta! You want a stoolie on every block? You wanna work eight hours a day and you never own nothing? I ate octopus three times a day, fucking octopus is coming out my ears, fuckin' Russian shoes are eating through my feet. Whaddaya want? You want me to stay there? Hey, I'm no little whore, I'm no stinking thief! I'm Tony Montana and I'm a political prisoner here from Cuba and I want my fucking 'Human Rights' just like President Jimmy Carter says, okay?

Silence

There's a certain eloquence to the man's plea but

It falls on disbelieving ears. One of them chuckles

MAN #l

Carter should see this human right. He's good. He's very good. What do you say Harry?

MAN #3

I... 'Freedomtown.' Let them take a look at him. A long look

TONY

Hey, that's okay, too, Harry. No hard feelings

Man #3 at the door stops, looks back

TONY

Send me here, send me there. This

That. Nothing you can do to me

Harry, Castro didn't do nothing

That taunting smile on Tony's lips as, to the music of the

Immigration theme, we

DISSOLVE TO

7-A INT. FEDERAL BUS HOUR LATER 7-A

The bus is packed with the harder-looking refugee-types

The windows are caged and we see INS guards

The noise level is high, like a sack of monkeys

Manny Ribera's got his feet up on an empty seat

He's big, strong, handsome, with dashing darkly feminine

Eyes younger than Tony, and dapper in his cheap clothing

He's eating a Baby Ruth candy bar

MANNY

Seat's taken

TONY

So I'll sit in your lap

Tony pushes his feet off, sits. He takes the Baby Ruth out

Of Manny's hand, peels out the bar of chocolate, then

Returns the empty wrapper to Manny

TONY

So what'd you tell them?

MANNY

I told them what you told me to tell them. I told them I was in sanitation in Cuba

TONY

I didn't tell you sanitation. I told you to tell them you was in a sanitarium, not sanitation

The bus pulling out now

MANNY

Is that what you told me? You didn't tell me that

TONY

You know if you hadn't opened your mouth, they woulda thought you were a horse. I told you to tell them you had TB and was cured

MANNY

Fuck you Tony

TONY

You did nothing right. I shoulda left you in Cuba

7-B EXT. MIAMI FROM BUS ESTABLISHING SHOT 7-B

Of Miami as, to the music of the Immigration theme, we

DISSOLVE TO

8 INT. TONY'S TENT FREEDOMTOWN NIGHT 8

A movie projector

...the face of Bogart unshaven, paranoid. We're watching a badly damaged 16 mm print of The Treasure of the Sierra-Madre. It's near the end of the film and he's alone, talking to himself just before the bandits get him

The rag-tag audience is noisily yammering back at the screen

The camera moving past Manny Ray, chewing gum, hair slicked

Eyes in cat-like repose... to Tony, enrapt, eyes like an eleven year old, mouth hanging open

BOGART

What a thing

Conscience. Conscience

If you believe you've got a conscience, it'll pester you to death. But if you don't believe you've got one, what can it do to you? Makes me sick so much talking and fussing about nonsense

Time to go to sleep

(closes his eyes

But not for long)

CUT TO

9 INT. TENT LATER THAT NIGHT 9

Tony is moving down 23rd Street, the walk proud and jungle

In the rock of the hips and the cast of the shoulders

Now accompanied by his handsome compadre, Manny

TONY

That Bogart, Chico, hunh?

MANNY

Fucking crazy, hunh!

TONY

That gold dust blowing in the wind

Y'see Manny, he's always looking over his shoulder. Hunh? Like me

He hunches, darting exaggerated looks over his shoulder

Imitating Bogart. Manny laughs. In his black shirt with

Zig-zag dots and colors and the baggy pants and sunglasses

Tony's starting to look American. He's even got himself a

Pop button pinned to his shirt that says 'Fuck Off and Die.'

And his English rolls faster off his tongue, his confidence

More pronounced

TONY

Don't trust nobody

MANNY

Yeah all that gold, hunh I guess you get so crazy you never trust nobody no more

TONY

Never happen to me, Chico. That's one thing I never gonna be. I never gonna be crazy like that

MANNY

Yeah, how do you know

TONY

I know

MANNY

I don't know. Sometimes you crazy, too, Tony

TONY

Assholes, I go crazy. You Manny, I never go crazy with you. You're

Like my brother, I love you!

MANNY

Yeah, sure

TONY

Hey, c'mon

Tony playfully punches Manny and they walk on into the humid night, intersecting a young punk, Chi-Chi

CHI-CHI

Hey Manny

MANNY

Oye Chi-Chi, what's going down

CHI-CHI

Usual shit. Want some peanuts? Pago's carrying tonight

MANNY

I don't know, I get all fucked up on it

CHI-CHI

Want some new snatch? A pussycat

Name of Yolanda just rolled onto the

Boulevard

MANNY

Yeah, what she look like?

CHI-CHI

She look like you 'cept she got a snatch

MANNY

A real snatch?

CHI-CHI

You're not kidding. It talks

As they chatter, Tony moves on with a movement of the head

For Manny. 'Later.'

He's in the middle of the 'Boulevard' where a bustling black

Market in toiletries, clothing, cigarettes, and transvestites is conducted nightly in the harsh glare of barrack neon

He ambles past a bunch of young guys throwing a Frisbee

Past a 'Viva Carter!' proclamation in graffiti

TRANSVESTITE

What about you sugar you wanna party?

TONY

Yeah with whose cock, honey?

CUT TO

10 EXT. FREEDOMTOWN GROUNDS NIGHT 10

Tony, five minutes later, in a phone booth, in the middle of a bank of them, dozens of Marielietos pressing to get in, trying still to contact somebody anybody on the outside

Tony is dialing, his eyes shifting down to the telephone

Number written in pencil on the back of a snapshot- As he

Finishes the number, he flips the snapshot over and we see

A young girl, about thirteen years old, dark, tiny, fiery

Standing together with a dog and Tony, early twenties, in

Shadow, the fringes of the photo heavily tattered with

Handling. Tony stares at it, his mind drifting as the phone

Rings in a distant place. A brief moment of repose we have

Not yet seen in Tony

Someone picks up the phone. An older woman's Voice. His

Expression alters to uncertainty

VOICE

Yes? ...Hello? ...Who is this?

Tony changes his mind, hangs up. Pause. The faces of those

In line peer in, the next party raps on the door, but Tony

Ignores it, slips the snapshot back into the wallet in his

Pants, then at his own pace, exits the phone booth

He walks a few beats, his eyes pensive. Then recognizes

Somebody in another phone booth and goes over

Angel Fernandez has got the face of one, as he argues on

The phone, then hangs up, a desolate look on his face, a

Worn phone book in his hand

TONY

Angel, how ya doin'?

ANGEL

You know how many goddamn Fernandezes are living in fucking Union City? And I gotta call every fucking one of 'em to find my brother!

TONY

Don't waste your dime, Chico. You know your brother hates you

ANGEL

Go fuck yourself, Tony

Manny catches up to Tony

TONY

Whatcha hanging around with that hustler for?

MANNY

Hey Chi-Chi's okay, he hears things

TONY

What's he hear I don't hear

Angel comes over, listens

MANNY

He hears we got problems. Immigration is having these hearings, y know? And they're saying nine out of ten of us is gonna get shipped back!

TONY

MANNY

Yeah. And a lotta shit just went down at Indiantown Gap. In Pennsylvania. Riots, fires, broken heads... things are gonna pop here

TONY

Shit, I coulda told you that

MANNY

Yeah, so what do you think the immigration's gonna do when we riot? You think they're gonna let us out? They're gonna throw away the key, that's what

ANGEL

Shit!

MANNY

What's I say. This is gonna end bad, muchachos

TONY

Hey, I tell you guys this isn't Cuba here, this is the United States. They got nothing but lawyers here. We're on the television. We're in the newspapers. Whatta they gonna do ship us back to Cuba? Castro-- he don't want us. Nobody no place wants us so whatta they gonna do put us in a gas chamber so all the people can see? They're stuck with us, Chico they gotta let us go!

MANNY

Yeah, well, what if we gotta sit here another six months, hunh?

TONY

You worry too much, mi hermano. Like the man says, 'when you got 'em by the balls, their hearts and minds gonna follow' --hunh?

Tony winks and walks off

The radio is playing hard rock, something like Blondie or Benatar from the stoop of a nearby barrack. Tony loves the sound and swings into it, snapping his fingers and rolling his hips like Presley. He back-peddles, smiling at Manny and Angel

TONY

Yeah America! Love-to love you baby, yeah!'

CUT TO

11 EXT. PLAYING FIELD DAY TWO WEEKS LATER

Camera on Tony shuffling and feinting a soccer ball in an impromptu game; he's covered with sweat, tires a fancy move

Around a younger kid who not only steals the ball away off him but manages to lay him flat on his face

TONY

Aw fuck

The game, leaving him behind, shifts downfield

MANNY

Aye Tony! C'mon!

Manny, just arrived at the edge of the field, waves him off

Tony, getting up, brushing himself off, walks off the field

Towards him

ANGEL

Hey Tony where ya going?

TONY

I got better things to do

ANGEL

Chicken liver, hunh?

TONY

Let's walk

They walk

MANNY

You ready for the good news, cone?

TONY

MANNY

We can be outta here in thirty days

Not only that. We got a green card and a job in Miami! Hunh? We're made, Chico, we're made?

TONY

Yeah, whadda we gotta do, go to Cuba and hit the Beard or what?

Angel is walking towards them. Tony signals him

MANNY

Forget it. yeah there's a hundred greenbacks in it, For both of us

TONY

Hey you're kidding, that's great!

But Manny, you tell your guys Angel gets out with us

As Rebenga, in long-lensed closeup, nervously smokes a

Cigarette, eyes roving as the guard examines his papers

CUT TO

13 MONTAGE THE RIOT FREEDOMTOWN DAY

The visuals are swift, dispassionate and documentary-like

The refugees storm the barbed wire at the main gate

Carrying bricks and wooden slats

ALL

Libertad! Libertad!

14 NATIONAL GUARDSMEN AND STATE POLICE

Form ranks outside

15 REFUGEES

Flee through a hole in the fence

16 GUARDS

Move on them, wielding clubs

17 SEVERAL REFUGEES

Are scooting down a highway

18 POLICE DOGS

On chains are glimpsed

19 REFUGEES

Throw stones and debris from the rooftop of a barrack

20 REBENGA

A cigarette in his mouth, nervously hurries into a barrack

21 ANGEL

Tracks him, signals

22 INSIDE REFUGEES

Are pulling apart their beds, going for the wooden slats

Others set fire to their mattresses

23 THE POLICE AND GUARDS

Are moving through the gates, restoring order. Loudspeakers

Blast. Injured refugees lie bleeding on the grounds

24 AN ENTIRE BARRACK

Now goes up in flames

25 INSIDE THE BARRACK

A bewildered Emilio Rebenga grabs his papers and valuables

Manny runs up on him

Rebenga sees him, senses danger, flees down the aisle with his satchel, intersecting other panicked refugees

Manny follows

Rebenga stumbles into a bed frame, shatters his glasses

Then runs on. Into the smoke and flame. Out of which Scarface now appears in his killing wrath

TONY

Rebenga!

Rebenga snaps to the sound of the voice

TONY

From the friends you fucked!

The work is fast. The stiletto punches nine quick holes in his lungs and his heart... And the figure of death is gone

...And Emilio Rebenga staggers wildly in the smoke, uncomprehending eyes encased in broken glasses. Sinking out of frame

26 EXT. FREEDOMTOWN DAY

The riot is over. The grounds are still, smoke and debris the aftermath

DISSOLVE TO

27 INT. PROCESSING ROOM DAY A MONTH LATER

An Immigration Officer passes a sheaf of documents across a desk into a pair of hands. The camera gliding along a Green Card pinned to the top of the stack

It says 'ANTHONY MONTANA' and it has picture and stamps. It's official, as the camera moves with triumphant immigration theme music to the face of Mr. Montana examining quite contentedly the rewards of his efforts

End of montage. Music continues

DISSOLVE TO

27-A EXT. DOWNTOWN MIAMI SUNNY DAY

The new Miami is rising ubiquitously above Biscayne Bay

The camera moving past blossoming skyscrapers, workmen

Huge cranes, glass, mirrors booming upwards into a

Beautiful blue Florida sky, fleeced with perfectly white

Clouds... past a giant billboard

HOW ABOUT A MILLION DOLLAR LOAN?

COME TALK TO US

AT THE BANCO DE MIAMI

TODAY!

Past banks of glass

Insert a car sticker going by with the image of the American flag and the reminder: 'Will the last American leaving Miami please bring flag?'

Tony and Manny bop along the street in their hand-me-down

Clothes, oogling the chicas and the bodegas (in a plush

Modern area of Miami). Boats. Buildings. Cars

TONY

Boy can you believe this place, Chico?

MANNY

Man, they weren't kidding around

TONY

See that old guy over there?

MANNY

TONY

Millionaire

MANNY

How do you know?

TONY

Go over there. Ask him gimme some money. He'll give you the silver right outta his pants that's America man, that's what they do here

MANNY

Yeah? Hey Tony catch this tomato

Ooooh baby doll

A hot Cuban girl in heels comes down the sidewalk towards

Them with a female friend

TONY

Hey baby what you say?

She looks at him like he was the last thing in the world

She'd say anything to

Tony waves her off, then changes his mind and runs up

Behind her and throws up her skirt and peeks at her ass

Before she can react, he hops away laughing as the two

Cuban girls ad-lib Spanish expletives at him

MANNY

Hey that's not cool, man. You wanna score one of these chicks, watch me. Mira!

He wiggles his tongue up and down, fast like a small

Whirring motor part, then slips it back into his mouth in

The flick of an eye

TONY

...the fuck was that?

MANNY

You didn't see it? You weren't looking. Hey you gotta watch for it

Does it again, quickly; it looks like a baby robin's head

Peeking out of a nest in his teeth, then it's gone

TONY

What the hell's that for eating bugs? That's disgustin'

MANNY

You think so hunh? Well you don't know shit 'bout chicks Chico. When they see this, they know. They go crazy. They don't resist me

Does it again. Tony tries but lacks the speed and agility, provoking Manny's laughter. Many double checks himself in a shop window

MANNY

Takes practice, mi sangre, but they just love it when you flop that pussy with it

TONY

Oooh... cono! How 'bout that one?

Pointing to a tall, cool blonde across the avenue

MANNY

No problem

27-B EXT. MIAMI SHOPPING STREET DAY

Tony walks right out into the avenue, sticking out his arm

And stopping traffic. Cars honk angrily but he couldn't

Give a shit

TONY

Come on?

Manny follows as Tony now moves across the opposite lane, a

Car screeching to a halt in front of him

TONY

Okay Rober Retfor, strut your stuff

The blonde has paused to look in a shop window

Manny stops alongside, pretends to look. When he catches

Her eyes, he flicks his tongue

She looks at him, confused, then back into the window

Manny look back at Tony, winks, sidles closer to her

Tony, waiting off to the side, catches the gaze of a somber

Child, four, toddling along with it's mom. He makes his

Own version of a funny face at the kid who looks back at

Him puzzled. Tony produces another face. The kid now

Smiles. The mother looks over. Tony shrugs. She smiles

And moves along

Meanwhile, Manny has moved close to the blonde and suggests something, his eyebrows raising, the smile crooked. It takes a moment, then the blonde smacks him across the face

And walks away

Tony walks over to him, mocking

TONY

Pobre hijo de puta you got it all mixed up

This country first you gotta get the money, then you get

The power and when you got the power, then you get the women and then, Chico, you got the world by the balls. Por los conjones

MANNY

There you go talking big again man. You don't know shit about the world. Who was it got us the green card, who got us the friends with the connections, hunh who's getting us a job? You or me? Not you man. You lucky you have any friends. You lucky to have me as a friend

As they walk off, backs to camera

TONY

Yeah, so where's this job?

MANNY

Don't push man, my friends gonna take care of everything

CUT TO

28 LITTLE HAVANA RESTAURANT LITTLE HAVANA NIGHT

On Southwest 8th Street. 'Calle Ocho'

The parking lot is crammed with Moby Dick-size cars and

Casual Cubans in sports clothes bunched in conversations

Around their wheels or at the ice cream stand

The inside is a brightly lit glitterdome with fancy mirrors and chandelier effects, Spanish in influence, and every table is taken. It combines the social functions of a family restaurant, cafe, tourist haunt and late-night watering hole for various beasts of prey

The waitresses move like well-oiled troops along the paths

To the kitchen, turning the tables at a speedy rate. The

Camera following past the pots and the pans and the steam

And the yelling cooks to the deepest, darkest recess of

This dungeon

To reveal Tony Montana stubbing grease off the pots and

Manny Ray washing a stack of dishes. They're filthy and

Exhausted. A dish slips through Manny's fingers and crashes

To the floor. A look between them suffices to tell us all

TONY

Your big shot friend better come up with something soon. I didn't come to America to break my fucking back, querido

MANNY

Hey he's coming okay! What do you want?

CUT TO

29 INT./EXT. LITTLE HAVANA RESTAURANT NIGHT HOURS LATER

We are looking through a cubbyhole at the diners. Young

Cuban guys with chiquitas drift in with their fancy clothes

Diamonds and the mark of status large bodyguards

They're out front with the flash, shaking hands with friends, kissing, talking loud, familiar with the waitresses

Staring through the smeared window enrapt are Tony and

Manny, wiping the sweat off their faces with towels

MANNY

Look at that chick man, wow! Look at them knockers

TONY

Yeah, look at the punk with her

What's he got that I don't got?

MANNY

He's good-looking that's what, look at his clothes, flash Chico, pizzazz! A little coke money don't hurt nobody

TONY

Junkie! They got no fuckin' character

Cono! Look at these... fucking Onions! They outta be picking gold off the streets

His hands are shriveled white from dishwater

COOK

Hey you two, outside! You got company

MANNY

That's him El Mono's here!

TONY

El Mono? Shit

CUT TO

30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT NIGHT

Omar Suarez is so named cause he

Looks like one. Nervous, crooked, darting eyes, feverish

Intelligence, constantly smoking a cigarette and coughing

Between words, his face pock-marked and pitted like the moon from an old acne scars, he cuts a skinny figure at the wheel of a big beige Coupe De Ville, idling the motor... with him is Waldo Rojas eating a large foot and a half banana. In contrast he's amiable, heavyset with a receding hairline, flashing a lot of gold when he smiles

MANNY

Hey Omar, Waldo, coma esta... my friend I told you about. Tony Montana... Omar Suarez, Waldo Rojas

Waldo mumbles something indistinct, Omar just stares briefly as Tony hangs back, nodding arrogantly. Omar's eyes move back to Manny

OMAR

I got something for you

MANNY

Yeah! That's great... What do we gotta do?

OMAR

We gotta unload a boat grass, twenty-five tons that's what we gotta do. You get five hundred each

MANNY

Okay!

See, what'd I tell you

TONY

You gotta be kidding! Whaddayou think we are baggage handlers?

Omar looks at him somewhat incredulously as Tony wipes his hands on his greasy apron as he talks

TONY

...five hundred dollars shit!

What'd I do for you guys in the slammer, hunh? What was the Rebenga hit game of dominoes or somethin'? You're talkin' to important guys here

MANNY

Hey Tony, c'mon, it's okay Omar, we

TONY

Shaddup!

Omar sniggers, his eyes shifting to Waldo who shakes his

Head and laughs

OMAR

So what's it with this dishwasher, Chico? Don't he think we coulda gotten some other space cadet to do Rebenga cheaper maybe. Fifty bucks?

TONY

So why didn't you? And who the fuck you calling a dishwasher, I'll wipe your monekyshit ass all up and down this Boulevard

Steps forward. Manny grabs him

MANNY

Hey! Tony, Tony

In the car, Omar looks over at Waldo

OMAR

Guy's a lunatic, let's go

WALDO

What about them Indians

The idea crosses Omar's mind, He buys it, somewhat amused

OMAR

All right, smart ass, you wanna make some big bucks? You know anything about cocaine?

TONY

You kidding

OMAR

...There's a bunch of Columbians. Flying in Friday. New guys. They say they got two keys for us for openers. Pure coke. In a motel over in Miami Beach. I want you to go over there, and if it's what they say it is, pay 'em and bring it back. You do that, you'll make five grand

MANNY

Hey, that sounds great, Tony

Tony says nothing

OMAR

You know how to handle a machine gun?

MANNY

Sure, we was in the Army together

OMAR

You're gonna need a couple other guys

MANNY

No problem

OMAR

Meet me at Hector's bodega Friday at noon. You get the money then. Something happens to the money, pobrecito, and my boss' gonna stick your head up your asses faster'n a rabbit gets fucked

Throws the remains of his cigarette at their feet and pulls the Coupe De Ville out of the lot

TONY

I'm scared

MANNY

Tony you're pushin' your luck

TONY

You worry too much Manny you' re gonna get yourself a heart attack one of these days

MANNY

Yeah, so who are these Colombians?

TONY

So what does it matter?

MANNY

So whatcha have that look on for when Omar bring it up?

Tony strips off his greasy apron

TONY

So nothin'. I just don't like fuckin' Colombians that's what

They're animals!

COOK

Where you greasers going, hunh, I got plenty of plates here

TONY

Wash yourself. I just retired

Throws the Cook his apron

COOK

What the fuck you gonna do!

TONY

Look after my investments

CUT TO

31 EXT. MIAMI BEACH DAY MOVING SHOT

The somewhat run-down, art-deco cheaper hotels of South

Miami Beach. The porches are filled with senior citizens

Playing cards, reading papers, staring, slowly walking the

Street

The ramshackle sedan, jammed with Tony and his gang

Rattles past. It's a beaten-up black and blue Monte Carlo

Jacked up on its springs with dune buggy threads and

Needing paint. You'd arrest these guys on sight

32 INT./EXT. TONY'S CADILLAC MIAMI BEACH DAY

Seen from the inside of the sedan. Tony turns down the salsa beat on the radio, smoking a cigarette tensely. Manny is driving. In the dilapidated backseat are Angel, the baby-faced punk, and Chi-Chi, both from Freedomtown

Manny, reflecting the tension, whistles a rapid series of notes under his breath as he waits for a light to change

MANNY

Hey look at that chick, hunh? Lookit those tits man, she's begging for it!

At the curb, an old crone hunchbacks her way in front of the teenage chick, who is coming off the beach in a bikini, blocking her off

CHI-CHI

Whatta you crazy? She's 103 years old

MANNY

Not her stupido! Her

Camera revealing the teenager

TONY

Drive, willya

MANNY

Sure, sure. Not to worry, Tony You get a heart attack

Angel, whatcha wearing the face for?

ANGEL

It's okay. I just y'know forgot to make an offering. I was supposed to go by the madrina today

MANNY

You still going to that cuncha?

ANGEL

She knows her shit. She talks to Yemaya and Chango like nobody y'ever heard

As he talks Angel fingers a Negrita charm hanging around

His neck Chango, God of Fire and Thunder, his black face

Tilted at a carnal angle. Sharp teeth glinting, his eyes

Rolling in orgasmic imagery, his head crowned with gold

Many of the Marielitos in the film will be wearing this

Also pendants with an eye to ward off the evil spirits, red

And white beads, red kerchiefs, black hand charms silver-

Bangled bracelets, etc., all relating to their Afro-Catholic

Spiritualism

MANNY

Yeah, Chango looking out for us

CHI-CHI

Angel?

ANGEL

Chango looking out for all the 'bandidos' everywhere. But you gotta pay him his dues, y'know. You gotta let him know you respect him. You don't, Chango he gets pissed an'

TONY

Hey, shaddup all of ya! I told you before I don't go for that mystical voodoo shit. That's for the old cunchas waving their rooster cocks in some dark alley, There's no gods, there's no Chango nowhere! You make your own luck. So shaddup and act like you're in the United States here

Silence. Through the windshield, the sign of a motel THE SUN RAY is coming closer

TONY

Okay, this is it. Pull over across the street

The motel is coming closer in silence

TONY

Money stays in the trunk till I come out and get it. Me. Nobody else. If I'm not out in fifteen minutes, something's wrong. I'm in Room 9. You ready, Angelito?

ANGEL

Sure thing

As Manny pulls the car up, they pull out Ingram Model-10

Machine pistol with folding butt and suppressor, ten inches

Of kill power capable of firing 1100 rounds a minute it

Can be slipped into a man's purse, it's in vogue. Tony getting out, to Angel

TONY

Let's go

CUT TO

33 EXT. SUN-RAY MOTEL DAY

Tony and Angel come slowly, gingerly down an exterior

Corridor to a room marked '9'. Nodding to Angel who remains in the stairwell with the Ingram machine pistol, Tony knocks

Pause

34 EXT. TOAD'S MOTEL ROOM DAY

The door's opened casually by an ugly, squat five-foot-four-inch Colombian, 'The Toad'. He's in his forties, sports shirt hanging over his polyester pants, old acne scars on his face, like Omar; he's good natured, a nice guy, he smiles

TOAD

Hey, oye amigo

Spreading his arms in such a fashion to indicate he's clean

35 INT. TOAD'S MOTEL ROOM DAY

Tony, stepping into the conventionally tasteless orange and

Blue motel room spreads his hands in a similar posture indicating he too is not carrying; but this is only symbolic, it's not meant to be a body search

TONY

How you doing amigo...?

The other person in the room is a tough-looking little dark

Colombian chick with expressionless eyes, red fingernails, and short boy-cut hair, 'The Lizard'; she's tinier than the Toad, about five-two

The Toad looks around the corridor, eases the door closed

TONY

Mind leaving the door open so my brothers know everything's okay... okay?

Toad shrugs and readjusts, leaving it open a few inches

The conversation clipped and nervous throughout the scene

TOAD

Sure, no problem... This is Marta

TONY

Hello, Marta

She nods woodenly, stays across the room. Behind her, the

Television set is on to the Cable Newswatch. The protagonists

Intermittently flick their eyes to it, soothing the tension

TOAD

I'm Hector

Pause

TONY

Yeah. I'm Tony. So Omar says you're okay

TOAD

Yeah, Omar's okay

TONY

You know Omar

TOAD

Omar, yeah, I talk to him on the phone

TONY

Okay

TOAD

Okay... so you got the money?

TONY

Yeah, you got the stuff?

TOAD

Sure I got the stuff, but I don't

Got it right here with me. I got it

Close by

TONY

Yeah well I don't got it either, I

Got it close by, too

TOAD

Where, in the parking lot?

TONY

No. How far's your stuff?

Tony paces back towards, the door casually, to check Angel

Out... The Lizard staring at him

TOAD

Not far

Pause. Everything seems okay

TONY

So what do we do, walk in and start over?

TOAD

Where you from?

Tony's eyes check out the bathroom

TONY

What fuckin' difference does it make where I'm from?

TOAD

I like to get to know who I do business with

It's like he's stalling for time. The Lizard has made a

Move somewhere off-center and is now sitting on the bed

Coiled and always watching

TONY

You get to know me when you start doing business and not fucking around, Hector

TOAD

Hey I'm just a friendly guy, maybe you don't

TONY

Okay, what's the stall here? Your guy late or something?

36 INT. TOAD'S MOTEL ROOM DAY

There's suddenly a door slamming somewhere outside, then

Commotion

ANGEL

Tony!

Tony goes for his cheap handgun when he hears a frightening

Female shriek, like a bird

LIZARD

Don't! Get up! Now shithead!

She's standing there with a .32 pointed steady at him, the eyes like angry steel. There's no mistaking her ability to shoot

The Toad pulls a 9mm out of the small of his back, approaches Tony. Angel is shoved into the room, followed by two more

Columbians, 'The Kids'

They slam the door, both carrying Uzis with silencers, neither of them higher than five-four or older than twenty, with their straight black Indian hair cut across their blank eyes, they look like hungry little piranha careless about killing, muttering with the Lizard in fast Columbese slang

As Toad strips the handgun from Tony

TONY

Frog face, you just fucked up. You steal from me, you're dead

Toad shrugs, he couldn't care less

TOAD

Yeah, okay, you gonna give me the cash or am I gonna kill your brother first? 'Fore I kill you?

TONY

Try sticking your head up your ass

See if it fits

Toad, completing the body search, rips out the stiletto

Taped to the small of Tony's back. As he mutters something

In hard Columbian slang to the two kids who shove Angel

Into the bathroom, producing strands of thick rope

Even more worrisome is the chainsaw that the Lizard now

Pulls out of the suitcase under the bed. Toad begins

Assembling it as Lizard, still covering Tony with her gun, completes the deadpan process by turning up the volume on the television set. The news, ironically not in Miami, is about a drug-related triple-homicide

CUT TO

37 EXT. SUN-RAY MOTEL DAY

Chi-Chi sitting at the wheel of the sedan, parked across

The street. Manny paces outside the car, glances

38 EXT. SUN-RAY MOTEL DAY

A small woman the Lizard steps out in shadow in the

Parking lot of the Sun-Ray across the street, looks around

Sees nothing, casually goes back in

39 EXT. SUN-RAY MOTEL DAY

Manny looks at his watch

CUT TO

40 INT. TOAD'S MOTEL ROOM DAY

Angel hangs suspended on the ropes from the top of the shower curtain bar, his legs straddling the edge of the bathtub. Toad slaps a tape over his mouth

Tony, covered by the two kids, watches from the lip of the

Bathroom. He bucks angrily but the two kids ram their

Pistols up against his temple and pin him to the door

Angel looks at Tony; the eyes between them steady. They're

Dead and they know it

Toad, well-prepared, connects a voltage adapter and extension cord

TOAD

You watch what happens to your friend okay? If you don't want this to happen to you, you get the money

Lizard reenters the room, shakes her head at the Toad who

Nods and turns on the whirring machine

The Toad smiles amiably and angles the chainsaw slowly

Towards Angel

The two kids press tight against Tony, guns pointed at his

Brains... Off-camera, we know what's happening as we hear the chainsaw and we watch Tony's shock and rage

Lizard has no expression on her face. The machine cuts off

The Toad steps back from the tub, blood splattered on his shirt, examining his first cut like a butcher. He glances at Tony

TOAD

Now the leg, hunh?

A brief glimpse of Angel slumped by one arm like a cow on a strap, streaming blood, eyes conscious and horrified; a terrifying sight. The chainsaw whirrs once more

CUT TO

41 EXT. SUN-RAY MOTEL DAY

Manny, definitely suspecting something now, moves with

Chi-Chi across the parking lot of the Sun-Ray Motel. They

Signal and separate

CUT TO

42 INT. TOAD'S MOTEL ROOM DAY

The Toad turns off the chainsaw and steps back, now drenched with Angel's blood, totally unaffected. He looks at Tony

Tony glances back at him with fury, tears involuntarily dotting his eyes

TOAD

Okay, my 'caracortada', you can die too. Makes no difference to me

He nods. The kids shove Tony forward and we glimpse Angel

Lying hunkered at his feet in the bathtub, in the steam of

His blood, piss dead

CUT TO

43 EXT. SUN-RAY MOTEL DAY

Manny moves crouched down the exterior corridor, Ingram

Pistol in hand, past an older couple who pretend not to

Notice

At the door of Room 9, Manny waits, listens

CUT TO

44 INT. TOAD'S MOTEL ROOM 'DAY

The kids are starting to strap Tony up to the top of the

Shower

The Lizard watches from the lip of the bathroom, impassively

TOAD

Last chance, carajo?

Tony, devastated, spits in his face

TONY

Go fuck yourself

Toad's eyes narrow meanly

Kid one slaps the tape across Tony's mouth

Kid two reaches up to tighten the overhead strap to Tony's

Wrist

The Toad turns on his chainsaw when suddenly there's a

Gunshot from the hall

45 INT./EXT. TOAD'S MOTEL ROOM DAY

And the door smashes open and Manny barrels through and

Shoots a surprised Lizard as she raises her pistol. She crashes backwards into the room, wounded. Everything happens very fast now

Manny is at the lip of the bathroom, he fires and hits kid

One, who is turning, in the neck

Tony, not tied up yet, spins on kid two and smashes the unloosened strap across his face, sending him reeling across the bathroom

The Toad, chainsaw in hand, slashes at Manny

Manny fires a burst into him and the Toad crashes backwards

Manny now spins into a wall, hit in the side

The Lizard, wounded on her knees, is firing her .32 at

Him. In the background, the window simultaneously blows out as Chi-Chi appears firing a burst with his Ingram

In sharp foreground, the Lizard crumples forward on her knees, foaming blood

Tony, with the tape still stuck across his mouth, smashes kid two, pinned against the blood-stained sink, with the stock of his own Ingram

In the midst of this, the Toad jumps up, wounded but with strength, he tears out the motel room door hysterical, gripping the whirring chainsaw in a reflex action

Chi-Chi, climbing through the window, fires at him

Meanwhile, kid two, with a rattlesnake life in him, produces

A knife out of nowhere, just missing Tony's gut by a half-second as Tony dances back, getting a grip on the machine pistol

He blows kid two away point-blank, putting another ten craters in the mirror of the now-wrecked motel room

Tony, yelling, whirls after the Toad

TONY

I got him!

Manny, holding his side, empties his pistol on kid one, who is still twitching

Chi-Chi sees Angel, gags

CUT TO

46 EXT. SUN-RAY MOTEL DAY 46

The senior citizens, playing Mahjong on the porch, mutter

In astonishment, as the Toad staggers out into the parking lot, blood flying, chainsaw in hand, moving like a jerky chicken

Their eyes follow

As Tony comes out, walking after him deliberately, eyes set in cold fury, machine gun swinging loosely at his side

There's no rush, no fear of the police, getting even is all

That counts. He stands behind the Toad

TONY

Your turn, cabron!

The Toad whips around to the voice, eyes stark with terror

Tony empties the clip into the Toad, blowing him apart

The bystanders just stare, stunned by the ferocity. Then

An old lady faints

The Toad's body lying awkwardly arched in the gutter, Tony

Turns and with a passing disinterested glimpse at his

Audience, calmly walks back into the motel; the distance

And the light sufficient to conceal Tony's possible identification

CUT TO

47 EXT. SUN-RAY MOTEL DAY

Tony intersects Manny holding his side, with Chi-Chi

TONY

Manny, you okay?

Manny nods

TONY

Chi-Chi, get the car. Fast!

CHI-CHI

Si!

48 INT. TOAD'S MOTEL ROOM

Tony strides into the shambles of Room 9, past the bodies

And busted furniture to the suitcase on the bed from which

The Lizard pulled the chainsaw. The TV news still plays in the corner

Inside are several kilo-sized stacks of cocaine

He shuts the suitcase, exits, stops, looks in the bathroom at the corpse of Angel off-camera. He goes, stoops, brings Angel's Change charm into our view, fingers it, tosses it back in the tub. He goes

CUT TO

49 EXT. SUN-RAY MOTEL DAY

Chi-Chi has the sedan waiting in the parking lot. Tony

Hurries out, jumps in, the car speeding off

Past the senior citizens who are retreating inside their

Rooms

The camera swinging to hold on the blue and black Monte Carlo disappearing into the traffic of the Strip as two cop cars

Come screaming past them from the opposite direction

CUT TO

50 EXT. LITTLE HAVANA RESTAURANT PHONE BOOTH DUSK

The booth is in the busy parking lot, Tony on the phone, Chi-Chi and Manny wait in the sedan

TONY

Yeah, bunch of cowboys! ...somebody fucked up Omar

OMAR'S VOICE

Look, let me check it out right away!

TONY

You do that, Omar, you do that

OMAR'S VOICE

You got the money?

TONY

Yeah and I got the yeyo

OMAR'S VOICE

You got the yeyo? Bring it here

TONY

Fuck you. I'm taking it to the boss myself. Not you. Me

OMAR'S VOICE

Okay, okay. All right. Frank's gonna wanna see you anyway. Look, meet me tonight at Hector's at eight

TONY

Hey Omar

OMAR'S VOICE

TONY

That was some pick up you sent us on

Pause

OMAR'S VOICE

What's that mean?

Tony hangs up, walks back to the sedan

CUT TO

51 EXT. LOPEZ CONDO SOUTH MIAMI NIGHT

On Bricknell Avenue in a swank high-rise district adjacent

Coconut Grove and Coral Gables, the hub of South Miami

The doorman shows Omar, Manny, his side bandaged, and Tony, carrying the suitcase, through giant glass portals, past seriously armed security cops in the lobby

52 INT. LOPEZ CONDO NIGHT 52

A deluxe apartment with the latest in electronic security and surveillance, and a profusion of mirrors and luxury items... and a hefty, Indian-looking bodyguard eyes quietly trained like a Doberman pinscher

The boss, Frank Lopez, comes down a carpeted corridor, dressed for dinner in an expensive suit and shoes, somewhat preoccupied as he greets Tony, then Manny, with a phony effusion of warmth. He's of Cuban-Jewish extraction, now Americanized in a rough and handsome sort of way, on the heavy side, the face going slightly soft, but the eyes and bulk carrying an odor of danger about him

LOPEZ

How ya doing, Tony? Glad to meet you. How 'bout a drink?

TONY

Mr. Lopez... real pleasure

LOPEZ

Call me Frank, Tony. Everybody calls me Frank. My Little League team, even the prosecutors 'round town, they all call me Frank

TONY

Okay Frank

Frank shakes hands with Manny

LOPEZ

Howya doing?

MANNY

...Fine yeah

TONY

Manny Ray, he was with us on the job

LOPEZ

I hear you caught one?

Manny shrugs, works his arm, showing us the wound doesn't bother him too much

MANNY

Just the flesh. Went right through

LOPEZ

Yeah, Omar here tells me good things about you boys

TONY

Yeah. Omar's terrific

LOPEZ

Not to mention of course the nice job you guys did for me on that Commie sonufabitch Emilio Rebenga

TONY

You don't have to mention it. That was fun

LOPEZ

Scotch? Gin? Rum?

TONY

Gin's fine

LOPEZ

Yeah, I need a guy with steel in his balls. I need him close to me, a guy like you Tony and your compadre here

TONY

Yeah... well

Still a little overwhelmed by the opulence of the place, his clothes feeling narrow and cheap on him, Tony steps forward and puts the suitcase up on the bar with the gin, which Lopez passes to him, eyeing the suitcase

TONY

...that's it. That's the two keys. Angel died 'cause of this shit. And here's the money

It's my gift to you from me

Pause. Lopez shakes his head, sighs

LOPEZ

It's too bad about your friend, Tony, if people'd do business the right way, there'd be no fuckups like this

He glances hard at Omar who squirms

Without opening it, Lopez signals the bodyguard who takes

The suitcase and the money from under Tony's nose

LOPEZ

Don't think I don't appreciate this gesture, Tony. You find in this business, you stay loyal you move up and you move up fast. Salud!

They drink the toast. With their eyes

LOPEZ

Then you find out your biggest head ache's not bringing in the stuff but figuring out what to do with all the goddamn cash

TONY

Yeah, I hope I have that problem someday

Lopez looks, distracted., down the corridor from which he came, to Ernie, the bodyguard

LOPEZ

Where the hell's Elvira? Go get her, will you, Ernie?

The big bodyguard exits smoothly

LOPEZ

The broad spends half her life dressing, the other half undressing

TONY

I guess you gotta catch her in the middle, hunh?

Lopez laughs

LOPEZ

Yeah. When she's not looking. What do you say guys, to a little food?

TONY

Yeah sure, I could eat a horse

ERNIE

Here she comes, Mr. Lopez

TONY looks up, his eyes tumbling on the most beautiful blonde he's ever seen. The lady, is coming down the glassed-in elevator, adjusting her $10,000 Yves St. Laurent burgundy dinner dress

LOPEZ

Oooh sweetheart, you look like a million bucks

She doesn't answer, her eyes flicking disinterestedly over to Tony and Manny, knowing what the evening's going to be and not too happy about it

**ALTERNATIVE**

LOPEZ

Where you been baby, it's ten o'clock, I'm hungry

ELVIRA

You're always hungry, you should try starving

Lopez laughs

LOPEZ

I want you to meet a friend of mine

Tony Montana... Elvira... Manny Ribera

ELVIRA

Hello

TONY

Hi

MANNY

Yeah, hi

ELVIRA

I assume we're going to be a fivesome

Where are we having dinner?

FRANK

I thought we'd eat at the Babylon

ELVIRA

Again? If anyone wanted to assassinate

You, you wouldn't be too hard to find

LOPEZ

Me? Who'd want to kill me? I got nothing but friends

ELVIRA

You never know, do you? Maybe the catcher on your Little League team

Neatly avoiding his intended smooch, she slips by him towards the door, her throat flashing a $20,000 strip of jewelry

ELVIRA

Come on, Frank, let's go

Tracking a cool, polished hauteur, she exits the apartment

Lopez, after a pause, snaps at his men

LOPEZ

Okay, let's go

CUT TO

54 EXT. THE BABYLON CLUB NIGHT

We know this is no workingman's dive when Lopez piles them

Out of his Rolls, and the carhops are moving Bugattis, Lamborghinis and Corniches in a long snaking line down the driveway. Single girls in high-collared silver lame jumpsuits with cinched waists, prowl like big glistening tents back and forth across the entry doors, rich young coiffed playboys in their Porsches honking their horns in appreciation. Brain drain

55 INT. BABYLON CLUB NIGHT

The interior is built like three or four plush apartments that run together on three separate levels with imaginative angles, mirrors, swimming pool, bars, twenty-piece band, hundreds of tropical plants, dance floor, video games, computers and a restaurant. It's a lavish fun spot that will play a central role in the film, a drug dealer haven and nighttime capital of South America

The crowd, a combination of Caucasian and Latin, is mostly

Young, rich and happy and a lot of them coked; the girls, upperclass in sleek dresses, trim figures, heels, hats, sensuous bodies, yell as they dance to a black American music beat, 'Celebrating' or 'Partying Down Tonight'

The waitresses, mostly blondes, wear little coca channel

Hats pinned to their heads and the barest pants with hose

And high heels

Rich young guys with a lot of gold and diamonds on their

Necks and hands huddle briefly in groups or chat

Down at the vid games are younger chicks in jeans and

Tough-looking tank tops with 'Motherfuckah' and 'Fuck Me'

Written on them. Manny's coming from the toilets, tries to pick one of them up

MANNY

So whaddaya say, hunh?

He flashes his tongue. She looks at him, amused

CHICK

You got a buck?

MANNY

Sure I got a buck, whaddaya think I am, poor?

CHICK

Put it in, let's play

MANNY

I had other things in mind

CHICK

You check out on this and we'll talk about other things

MANNY

Fuck, how do you play this thing?

CUT TO

56 INT. BABYLON CLUB 56

Frank Lopez, intoxicated, takes his heart pill with a slug

Of champagne. He sits next to Tony, who is agog at all this wealth. Omar and Ernie look on. Elvira is in conversation with a girl friend who has stopped by. They're sitting at the best table in the place, finishing up a giant meal. The empty spot belongs to Manny

LOPEZ

Over there that's Ronnie Echeverria

Him and his brother Miguel, they got a big distribution set-up here to Houston and Tucson

Their point of view Ronnie Echevarria, powerful, competent looking man in conversation with a party of people

LOPEZ

That guy there, in the purple shirt Gaspar Gomez. Bad news. Stone killer there ever was one. Stay away

Their point of view Gaspar Gomez at a table with another

Guy and gorgeous woman

LOPEZ

...the fat guy, with the chicas is Nacho Contreras El Gordo. Wouldn't know it to look at him but he's got more cash than anybody in here. A real haza

Their point of view El Gordo is fat, dressed like a cheap slob and playing up to a bunch of chicas

LOPEZ

..you know what a haza is, Tony?

TONY

'Haza'? No Frank, what's a haza?

LOPEZ

It's Yiddish for pig. It's a guy he's got more'n what he needs, so he don't fly straight anymore, y'know. That's the problem in this business, Tony, there's too many 'hazas' and they're the ones you got to watch out for. If they can fuck you outta an extra dime, they'll rip you and flip you and then fuck you with a stick for the pure pleasure of it. See it all comes down to one thing, Tony boy, never forget it! Lesson number one don't underestimate the other guy's greed

ELVIRA

Lesson number two don't get high on your own supply

The girl friend has departed and Elvira turns her attention back to them, bored

LOPEZ

That's right. Course not everybody follows the rules

HEAD WAITER

There you go, Mr. Lopez

He's popped the champagne cork and pours Dom Perignon for Lopez

LOPEZ

Give it to everybody and bring another, willya Jack?

Head Waiter nods

LOPEZ

Five hundred fifty dollars for this bottle Tony, what do you think of that, hunh? For a bunch of fucking grapes isn't that something?

ELVIRA

In France, it cost $100 but don't tell anybody in Miami

Tony catches her eye. She looks away, interested

57 INT. BABYLON CLUB NIGHT

A Man passes the table. Lopez calls out

LOPEZ

Hey, George buddy

MAN

Hey, Frank.. -how's the case coming?

The Man's eyes thread the table. He looks sharp, heavy-lidded, cigarette-eyed, his voice a hoarse croak, a cigarette dangling from his mouth, his manner cool but amicable with Lopez. This is George Sheffield, Miami lawyer

LOPEZ

Oy, I shoulda come to you 'stead of that putz, Neufeld

SHEFFIELD

Jack's a good lawyer. I taught him everything he knows

LOPEZ

Yeah, almost everything

SHEFFIELD

Elvira, you look terrific

Enjoy yourselves

He ambles off

LOPEZ

Best goddamn lawyer in Miami. Cost a brick to pick up a phone

Tony looking off at him, remembering it

LOPEZ

So... here's to old friends...and new friends

They toast, Tony tasting it like it was Holy Water

LOPEZ

Well, Tony?

TONY

Hey, yeah, you're not kidding, this is good stuff, Frank

Lopez laughs, likes the kid, tweaks him on the cheek

LOPEZ

Yeah, get you some new clothes, some $500 suits, you'll look real sharp. I'd like you and your boys to handle some stuff for me, Tony, work with Omar here. We're doing something big next month. Running a string of mules out of Columbia. You do good on that, there'll be other things

Omar doesn't like it but glances away

TONY

Hey, that sounds like fun, Frank. Thanks

The music shifts to slow dancing

ELVIRA

So, you want to dance, Frank or you want to sit here and have a heart attack?

LOPEZ

Dance? I'd rather have a heart attack

ELVIRA

Don't foam into the Dom Perignon

Glancing at Omar, sitting there obediently. Her eyes say forget it

ELVIRA

How about you?

Tony nods sure, looks at his boss

LOPEZ

Go on!

They go

58 INT. BABYLON CLUB NIGHT

It's interesting to watch Tony walk to the floor, leading Elvira. It's not so much an act of walking as it is an act of war, a tank bouncing anything or anybody off that gets in the way. Be just proceeds in a straight dead line, eyes forward. It's not that he doesn't see the people he bumps off, it's that he couldn't care less

LOPEZ

What do you think?

OMAR

I think he's a fucking peasant

LOPEZ

Yeah but you get guys like that on your side, they break their backs for you

CUT TO

59 INT. BABYLON CLUB DANCE FLOOR NIGHT 59

Tony and Elvira are dancing semiclose to a slow Billy Joel

Dance tune. He's no great shakes as a dancer, leaden in

The legs and shoulders

TONY

...so what's your name, Elvira what?

ELVIRA

St. James

TONY

Elvira St. James. Sounds like a nun or something. So where you from?

He bumps into an elderly couple dancing, ignores them

ELVIRA

Baltimore

TONY

Baltimore? Where's that?

ELVIRA

Look, it doesn't really matter. I'm getting a headache

TONY

Just trying to be friendly

ELVIRA

I've got enough friends and I don't need another one, 'specially one who just got off the banana boat

He makes a point of looking at her

TONY

Hey, I didn't come over on no banana boat. I'm a political refugee here

ELVIRA

Part of the Cuban crime wave?

Tony, pissed, bangs once more into the elderly couple

The man stops dancing, looks at him exasperated but Tony

Doesn't see

TONY

Whatta you talking crazy for, whatsa matter with you?

ELVIRA

I'm sorry. I didn't know you were so sensitive about your diplomatic status

TONY

Why you got this beef against the world? You got a nice face, you got great legs, you got the fancy clothes and you got this look in your eyes like you haven't been fucked good in a year. What's the problem, baby?

Elvira laughs at him, furious

ELVIRA

You know you're even stupider than you look. Let me give you a crash course, Jose whatever your name is, so you know what you're doing around here

TONY

Now you're talking to me, baby!

ELVIRA

First who, where, why and how I fuck is none of your business, second don't call me 'baby,' I'm not your baby and last, even if I was blind, desperate, starved and begging for it on a desert island, you'd be the last thing I'd ever fuck. You got the picture now so fuck off

TONY

Hey, thataway

She whips off the floor, pissed. He watches her, amused

CUT TO

63 CAR DAWN

Tony and Manny drive home in the broken down Monte Carlo sedan through the streets of Little Havana

They've been partying all night, clothes rumpled, Tony smoking his cigar, feeling good

TONY

That chick he's with... she loves me

MANNY

Yeah, how you know that?

TONY

The eyes, Manny they don't lie

MANNY

You're serious? Tony, that's Lopez's lady. He'll kill us

TONY

What are you kidding he's soft

I seen it in his face booze and a cuncha tells him what to do

Pause

63-A OMITTED

64 EXT. DOWNTOWN MIAMI SUNNY DAY TWO MONTHS LATER

The new Miami is rising ubiquitously-above Biscayne Bay

The camera moving past blossoming Skyscrapers, workmen

Huge cranes, glass, mirrors booming upwards into a beautiful blue Florida sky, fleeced with perfectly white clouds... past a giant billboard

HOW ABOUT A MILLION DOLLAR LOAN?

COME TALK TO US

AT THE BANCO DE MIAMI

TODAY!

Past banks of glass

Insert a car sticker going by with the image of the

American flag and the reminder: 'Will the last American

Leaving Miami please bring the flag?'

Tony and Manny, on a shopping spree, bop along an incredibly luxurious shopping mall lined with the latest stores, fashions, escalators, music, tropical plants, etc a warm womb-like plastic heaven

TONY

I shoulda been here 10 years age man. This town's like a big pussy dyin' to be fucked, Paradise, rr.an, paradise.I coulda been a millionaire by now. Get my own golf course, a boat

MANNY

I want a line of bluejeans with my name on the

Chicks' asses

TONY

Yeah, we gotta make some moves on our own Manny

We never gonna score the big money working for Frank

MANNY

Frank's okay

TONY

Yeah cause he buys you a suit? You thinkin' like

A chickenhead again

MANNY

Frank's got an organization

TOW

Organization? I got more brains than Omar and he's bigger than me, That's not an organization. That's a disorganization. What do you do for a brain man? Piss in it?

MANNY

Fuck you, somebody oughta shoot you, put you outta your misery

Hey catch this tomato

Catching the eye of one of two young Girls passing, Manny

Primps for them

MANNY

Ooooh baby doll

TONY

Yeah, what do you girls say? you manna have some

Ice cream with us somewhere?

They glance at Tony and Manny and hurry on

Tony waves her off, then changes his mind and runs up

Behind her and throws up her skirt and peeks at her ass

Before she can react, he hops away laughing as the two

Cuban girls ad-lib Spanish expletives at him

MANNY

Hey that's not cool, man. You wanna score one of these chicks, watch. Mira!

He wiggles his tongue up and down, fast like a small

Whirring motor part, then slips it back into his mouth in

The flick of an eye

TONY

...the fuck was that?

MANNY

You didn't see it? You weren't looking. Hey you gotta watch for it

Does it again, quickly; it looks like a baby robin's head

Peeking out of a nest in his teeth, then it's gone

TONY

What the hell's that for eating bugs? That's disgustin'

MANNY

You think so hunh? Well you did know shit 'bout chicks Chico. When they see this, they know. They go crazy. They don't resist me

Does it again. Tony tries but lacks the speed and agility

Provoking Manny's laughter. Manny double checks himself in a shop window

MANNY

Takes practice, mi sengre, but they just love it when you flop that pussy with it

TONY

Oooh ...cono! How 'bout that one?

Pointing to a tall, cool blonde across the avenue

MANNY

No problem

EXT. MIAMI SHOPPING STREET DAY

Tony walks right out into the avenue, sticking out his arms and stopping traffic. Cars honk angrily but he couldn't give a shit

TONY

Come on!

Manny follows as Tony now moves across the opposite lane, a

Car screeching to a halt in front of him

TONY

Okay Rober Retfor, strut your stuff

The blonde has paused to look in a shop window

Manny stops alongside, -pretends to look. When he catches

Her eyes, he flicks his tongue

She looks at him, confused, then back into the window

Manny looks back at Tony, winks, sidles closer to her

Tony, exiting off to the side, catches the gaze of a somber

Child, four, toddling along with it's mom. He makes his

Own version of a funny face at the kid who looks back at

Him puzzled. Tony produces another face. The kid now

Smiles. The mother looks over. Tony shrugs. She smiles and moves along

Meanwhile, Manny has moved close to the blonde and suggests something, his eyebrows raising, the smile crooked. It takes a moment, then the blonde socks him across the face and walks away

Tony walks up to him, mocking

TONY

I'm telling you man you got it- all mixed up

This country first, you gotta get the money; then you get the power, and when you got the power, then you get the women then, chico, you got the world by the balls. Por Los cojonesl

MANNY

Hey Tony, last time this year you was in a fuckin' cage in Cuba. Why don't you take it easy Chico, slow down, one step at a time, be happy what you got you know? You get on your death bed you look around you think to yourself, when was I ever happy?

Camera moving with Tony as he glances in an elegant window displaying jewelry

TONY

You be happy. I want what's comin' to me when I'm alive not when I'm dead

MANNY

Yeah, what's comin' to you Tony?

TONY

The world man, and everything in it

As he goes into the store, the camera panning to the diamonds in the window

CUT TO

65 EXT. TONY'S MOTHER'S HOUSE SOUTHWEST MIAMI LATE DAY

The house, bathed by a torpid setting sun amicable to lizards and Spanish moss, sits undistinguished and without shielding trees in the midst of a lower middle class neighborhood with look-alike yards and streets without people

66 INT. TONY'S CADILLAC SEDAN SIMULTANEOUS DAY

From his battered Monte Carlo across the curb, Tony, spruced

Up and nervous in a new suit, gets out carrying a bag of

Gifts. Manny is at the wheel, curious

TONY

Be back in an hour okay

MANNY

Okay... be cool

Tony approaches the house, with the paper bag held high against his chest

67 EXT./INT. TONY'S MOTHER'S HOUSE LATE DAY

Tony's Mother opens the door

A stout aging woman with a powerful face, she's shook to her roots

TONY

Mami... long time

MAMS

No postcards from jail, hunh?

He doesn't offer to kiss her nor she him

Pause

Someone else is in the house. Mother looks behind her

She opens the door, looks back as if she has no choice

He steps in. He looks

68 INT. TONY'S MOTHER'S LIVING ROOM NIGHT

The interior is comprised of small, narrow rooms filled

With religious objects from macumba and waist-high black

Jesus statues in various corners. The floor is without rugs and mosaicked with inexpensive, Aztec-type tiles, the impression clean, cluttered, Catholic, somewhat depressing

Stepping forward to the center of the living room like a cautious cat is his nineteen-year-old sister Gina. Their eyes lock

TONY

Hi Gina

GINA

Tony?

She looks at her mother confused. She's a naturally dark

Curly-headed beauty with a slim, graceful figure and

Large-lidded eyes brimming with the same energy as Tony's

(She might also be recognizable from the snapshot we saw in

Tony's possession.)

TONY

Yeah, look at you, you're beautiful... what's it been seven years? Last time I saw you, you looked like a boy. Now look at you, you got great big eyes just like me! Yeah, so

He holds out a wrapped gift towards her, about to give it

TONY

I got this for you, no big deal but

GINA

Tony!

Gina suddenly. explodes across the room and rushes into his

Arms, grasping him fiercely

GINA

...it's you!

Tony, over her shoulder, catches his mother's eyes boring into him stonily

GINA

I never thought I'd see you again never!

Tony, over her shoulder, opens the gift

TONY

Hey pussycat, c'mon you think they can keep a guy like me down?

Disengaging gently, he holds up the contents of the gift box in font of her. It's a beautiful diamond locket to wear around her neck. Her eyes open wide

TONY

...Yeah for you...and look here

What I got written on it

'To Gina From Tony. Always.'

GINA

It's beautiful Tony, it's just beautiful

The mother is amazed at the cost of the gift. Tony pulls

Out another present, for her

TONY

...for you too Mama, look

Moving towards her, he opens the package and pulls out an

Exquisite pearl necklace. She stares at it, doesn't take it. Gina comes over, takes it for her

GINA

It's beautiful... Mama

Mama doesn't. Gina puts it away with her own

TONY

Well anyway, here we are hunh? The three musketeers! We made it to America hunh? Let's toast!

Tossing the empty package aside, he pulls the last gift a

Bottle of champagne

TONY

Oye To America!

'America. America....'

CUT TO

69 INT. TONY'S MOTHER'S KITCHEN NIGHT

Mama, with things on her mind, is silently cooking a lunch

As Tony and Gina finish the champagne at the kitchen table

GINA

.So Mama's still at the factory and I'm working part-time at a beauty parlor. I'm doing hair. Remember Hiram Gonzalez? His father had the babershop?

Tony nods

GINA

It's his place. Plus I'm going to junior college Miami Dade and in two more years I get my cosmetology license and then I'll be making enough

TONY

Yeah, well surprise, all that's over

With starting today. I didn't bring

Up my kid sister to work in no hair

Shop

Mama looks over at him on the words 'bring up' and he

Catches her look

TONY

...and Mama don't have to sew in no factory

He pulls out a bundle of cash, fifties and hundreds, and

Starts peeling them off on the table. Mama stops working

Looks

TONY

Yeah, your son's made it Mama, he's a success. I wanted to surprise

You. That's how come I didn't show my face around before. I wanted you to see what a good boy I been

Pushes a thousand dollar stack towards her

TONY

That's a thousand dollars right there, Mama for you

She approaches it cautiously, her fingers riffling the

Bills, then looks back at her son

MAMA

Who'd you kill for this Tony?

GINA

Mama!

TONY

I didn't kill nobody Mama

MAMA

No? What are you doing now banks or is it still bodegas, you and the others?

TONY

C'mon Mama. Things are different

I'm working with this anti-Castro group

I'm an organizer now, we get a lotta political contributions

MAMA

Sure you do Tony with a gun sticking in somebody's face. All we read about in the papers is the animals like you and the killings, what about the Cubans who come here and work hard and make a good name for themselves? What about

GINA

What are you saying Mama! He's your son!

MAMA

Son? I wish I had one. He's a bum! He was a bum then and he's a

Bum now!

Who do you think you are, we haven't heard a word from you in five years and you suddenly show up here and throw some money around and you think you can get my respect? You think you can buy me with jewelry?

You think you can come into my house with your hotshot clothes and your gutter manners and make fun of

TONY

Hey Mama, come on, you don't know what you're talking about.

MAMA

No, no, that's not the way I am Tony and that's not the way I

I raised Gina to be. You're not going to destroy her. I don't need your money, thanks. I work for my living and I don't want you in this house anymore and I don't want you around Gina. So leave us alone... go on, get out! And take this lousy

Money with you, it stinks!

She casts the bundle of bills back across the table at him

Like dead lettuce

A silence. Tony sits there livid, soothing his scar, about to explode, but doesn't. Gina mutters something in the silence

GINA

Mama... why do you got to spoil it for everybody

I'm sorry Tony, I

Tony nods his head at his mother

TONY

Okay, Mama, okay

CUT TO

70 EXT. TONY'S MOTHERS HOUSE NIGHT 70

Tony walks out icily

MANNY

Relatives, hunh? A pain in the ass

They

TONY

Shaddup!

He's climbing into the car when Gina hurries out the house

GINA

Tony!

MANNY

Hey who's that?

Checks himself in the rearview mirror, slicks his hair

Tony and Gina talk next to the car

GINA

Tony-.-Mama since Papa took off

TONY

Hey forget Papa, we never had one, okay? He was a bum!

GINA

She's got a lot of hate in her Tony, she's proud, you got to understand that?

TONY

Hey it's okay, it's Mama, what do you want, she's Old World

GINA

Tony, I know you did some bad things

Back then. The Army, I know you got into some trouble

TONY

Communists you know, they're always trying to tell you what to do

GINA

Mama, she doesn't understand-- but I just want you to know, y'know, I don't care. Five years, ten years, it doesn't matter how long you been away, you're my blood. Always

Pause. She stares intently at him, emphasizing it

TONY

Hey I know... I know

She gives him a soft kiss. He takes out his money roll

TONY

Say, I want you to keep this for yourself. Okay? Help Mama out, but don't tell her I gave you this, okay?

She hesitates... He nudges her on the cheek and slaps the whole wad into her palm

TONY

Go on! Go out and have some fun, what the hell? You gonna beat yourself to death at nineteen, pussycat like you?

He gets in the car. She peers in

GINA

You can come by the shop y'know, any afternoon, I'll be there okay?

Her eyes fall on Manny at the wheel

He smiles back with charm

Gina's eyes pause on him, then withdraw. The sedan drives off

71 INT. TONY'S CADILLAC SEDAN NIGHT MOMENTS LATER 71

MANNY

Cone, you -never told me you had

Hey

Such a good-looking doll for a sister!

Tony looks at him icily

TONY

Stay away Manny, don't ever let me catch you fuckin' around with her, don't ever fuck around with her

MANNY

Sure...sure

A beat

CUT TO

72 MONTAGE PASSING TIME 72

Music accompanying the flipping of calendar leaves

73 U.S. CUSTOMS MIAMI INTERNATIONAL AIRPORT DAY 73

Tony, spruce in his new three-piece suit with the diamond on

The finger and the expensive watch, looks like the young

Ethnic American businessman in import-export as he steps in

Front of a chunky, young Customs Officer, who looks at him coldly

CUSTOMS OFFICER

Mind opening that, sir?

Tony, calm, unzips the chic leather single suitcase, his

Eyes drifting around

A woman, with a child and toy panda in a baby carriage, is cursorily checked through an adjacent line

A nun is waived through the third line

A stockbroker waiting in a fourth line, glances nervously in Tony's direction

Tony looks away, back at the Officer who is thoroughly

Ransacking the suitcase looking for a false bottom. He waits, confident

An old man is waived through a fifth line

75 EXT. DOLLY STASH'S HOUSE MIAMI DAY 75

The mother-type unscrews the handles of the baby carriage

Pulling out the wrapped cocaine, while Chi-Chi extricates

Another load from the kid's panda bear which is now in

Shreds

76 THE OLD MAN 76

Helped by Rafi, is removing a sophisticated false bottom

From his suitcase, laminated and difficult to detect

77 MANNY AND GASPAR 77

Break open wooden clothes hangers concealing cocaine as the stockbroker changes clothes

78 THE MOTHER 78

Picks up the baby and removes cocaine from its diaper

While

79 THE FORMER NUN 79

In partial habit, steps out of the toilet, adjusting her underpants; she places a package of cocaine on a table, on which we now see approximately five kilos stacked

80 TONY 80

Counting out the cash for his mules, Omar there, overlooking the operation

81 MIAMI INTERNATIONAL AIRPORT DAY 81

Again. But this time going out

The nun, now a housewife, going through an exit gate carrying hand luggage

82 TONY 82

Watching, glances up at the electronic information board and the boarding gate--

Houston clocks out the time.-- we move to Los Angeles 'on time'

Tony's eyes moving to the mother, now without the child

Buying her ticket at the counters

Manny joins him, nodding okay

Tony, with a glance at his watch, starts out the terminal

The roar of the aircraft blending with city sounds as we continue the rapid pace of the montage with music

86 EXT. GOLF COURSE MIAMI DAY 86

Frank Lopez has Tony and Chi-Chi out on the golf course. Tony never played before and gets frustrated, swings his club at the ball like a baseball bat Lopez getting a kick out of him. Chi-Chi naturally makes a perfect putt, shrugging when Tony looks over at him amazed

87 INT. LAUNDRY RESTAURANT NIGHT 87

The plush millionaire's restaurant is to be seen again

Frank has his arm around Tony, introducing him to a business-type. Elvira looks on

88 INT. HIGH-FASHION STORE DAY 88

In a high-fashion store, Tony buys a beautiful dress for Gina who is delighted when she sees herself in the mirror, hugs Tony. Manny watches, unable to take his eyes off her

SALESLADY

Your wife looks terrific in that

TONY

My wife? You gotta be kidding

89 INT. LOBBY LOPEZ CONDO DAY 89

Elvira steps out in a Pucci summer dress, looks around. Tony is waiting for her. She's surprised

TONY

He got held up at the golf club. He told me to pick you up. He'll meet us at the race track

Elvira contemplating him with distaste

TONY

He said if he was late to get Ice Cream first

She sighs, walks across the lobby. He follows

90 EXT. LOPEZ CONDO DAY 90

Elvira steps out of the lobby into the driveway. He points

TONY

Over there

She looks. The car is a yellow Cadillac convertible with 2

Big fins and Snoopy the dwarf dashboard statue with stickers

All over the fenders. Adding to the impression are Manny

And Chi-Chi waiting in the backseat

ELVIRA

That thing? You must be kidding

TONY

Whaddaya mean, that's a Cadillac

ELVIRA

I wouldn't be caught dead in that thing

TONY

It's got a few years on it but it's 'a creampuff.'

ELVIRA

It looks like somebody's nightmare

91 INT. LUXURY MOTOR SALES CORAL GABLES DAY 91

Camera moves around a slick, red Jaguar XG 6 with Tony, accompanied by Manny, Chi-Chi, the Salesman. Elvira waits aloofly off to the side

TONY

So you like this better?

ELVIRA

It's got style

TONY

Yeah it looks like one of the tigers from India

MANNY

Tony been dragging me around to the zoos, looking at tigers. He wants to buy one of them too

He do that he gonna have no friends left. Not that he got any now

TONY

You'll like the tiger Manny, you'll see

ELVIRA

You going to drive around with a tiger in your passenger seat Tony?

TONY

Yeah... maybe some lady tiger

How much?

SALESMAN

Twenty-eight thousand dollars. Fully equipped

TONY

That all?

SALESMAN

Machine gun turrets are extra

TONY

Funny guy hunh... Manny, c'mere

Manny comes over and Tony walks him along the car, in

Quieter tones

TONY

Get these sections bullet-proofed... here... here... these windows

MANNY

TONY

...and a phone with a scrambler

MANNY

Okay

TONY

...And one of those radio scanners, y'know, pick out flying saucers and stuff

MANNY

Yeah, a good one

ELVIRA

Don't forget the fog lights

TONY

Yeah, in case I go to the swamps, good idea

ELVIRA

I thought you were taking me to Frank?

TONY

We still got an hour. You hungry?

ELVIRA

No, but I'm bored

TONY

Figgers. Check it out, will you Manny and pay the guy and grab a

Taxi out to the track

Thanks, yeah

TONY

He reaches into his pocket, pulls out a decal, a private joke. He slaps it on the rear fender. It's the same sticker we saw earlier of the American flag with the epitaph, 'Will the Last American leaving Miami please bring the flag.'

Elvira wonders about it as he joins her

TONY

Somebody gotta keep the animals out

92 EXT. LUXURY MOTORS DAY 92

Tony leads her to his yellow Cadillac convertible parked out of eyesight of the others

TONY

I'm glad you came. I wouldn't buy the car you didn't like it

ELVIRA

Planning on driving the girls crazy, aren't you?

TONY

Yeah you know who

They get in the car

ELVIRA

And what would Frank say?

She has a coke vial out, casually hits one nostril, then

Other, then takes a last hit through the mouth

TONY

I like Frank.. -but I like you better

He reaches over and takes the coke from her. Does a toot

Staring at her. She's uncomfortable. When he finishes he

Makes as if to return it to her. She leans to take it. He

Kisses her. She goes with it

Pause. She pulls back

ELVIRA

Don't get confused, Tony. I don't fuck around with the help

As he puts the key into the ignition, Tony has this wolfish grin on his face

CUT TO

INT. COCAINE LAB BOLIVIA DAY 93

Subtitle appears

COCHABAMBA, BOLIVA

Alejandro Sosa is a playboy, about six-foot-two, black wavy

Hair, athletic body and a Copacabana tan, the clothes, a

Casual polo shirt and the latest pants from Calvin Klein

On his wrist is a flashy gold ID bracelet with 'Alex' written in diamonds and on the other wrist a gold Rolex with a bezel full of diamonds worth maybe $30,000. His eyes fizzle with an energy derived not from drugs but the continual excitement of his toys and his money

Accompanying him everywhere is the Shadow, a thin, intense

Venomous-looking Hispanic man in his thirties, he has the

Look of death in an unsmiling face. He is always in

Proximity to his Jefe, usually slightly behind the person

Or persons addressing Sosa in a sort of garotte

Position, his eyes swiveling to stare down the person who

Might glance at him. He is a continual source of tension

Underplaying the scenes, particularly coming to affect Omar

Who is insecure to begin with

Sosa is showing Tony and Omar through his coke processing

Lab, past four coal-fired stoves, each with massive iron

Kettles bubbling with coca paste... across to a row of ovens

Where the refined coke dries. The chemists and Indians

Working there all acknowledge llel rey de1 rey' as he passes, as proud of his factory as a vine grower his vineyard

SOSA

So this and my other factory can guarantee production of 200

Kilos refined every month of the year. Problem is, I have no steady

Market. Some months I can't get rid of fifty keys, other months I have to do 2 to 300 keys, it's crazy, hunh? Nobody can run a business that way

OMAR

I know what you mean Mr. Sosa, we got the same problems up in Miami, the demand varies for us too, month to month

Sosa looks at him like that's obvious and moves on. In his

Skinny suit, with the wet cigarette clamped between his

Nervous fingers, Omar's not quite in his league with Sosa

Tony, awed by the scope of it all, follows along, stops to

Look at a sample of the dried coke

The Shadow stops, eyeballs him

Tony eyeballs him back, playing a game with him, then

Samples the coke off his thumb into his nose

Pause. His expression says I like it. He moves on

The Shadow moves with him

SOSA

...Basically what I'm looking for is somebody to share the risks with me, somebody in the States who might guarantee me something like say 150 kilos a month

OMAR

That's a big commitment Mr. Sosa. It's too bad Frank's not here. Something like that you should talk to him

SOSA

Yes, it would've been nice if he could have come

TONY

And he'd like meeting you too Mr. Sosa. But with his trial coming up y'know, it's not so easy for him to slip outta the country right now, y'understand?

SOSA

So he sent you?

TONY

Yeah, something like that. You sure got good stuff in there Mr. Sosa class A shit

Looking over the laboratory like it was his

Omar glances at him, annoyed

SOSA

We'll talk at my house. Shall we go

CUT TO

94 INT. SOSA VILLA BOLIVIA DAY 94

The camera moves past a spectacular view of the mountains

To a cavernous dining room highlighted by huge paintings

From the Spanish classical period and ornate candelabra

At the table are Sosa, Omar, Tony. The Shadow sits impassively in a folding chair off to the side, watching Omar and Tony. Tony is impressed, looking at the plates, the glasses, the silverware, uncomfortable, trying to fit in

He eats the salmon off a silver plate with oafish movements of his knife and fork as the servants move to and fro, constantly hanging dishes, confusing Tony

SOSA

...say Lopez guarantees me 150 keys a month for a year, and he picks it up down here, I could sell it to him for as little as 7000 a kilo. You cannot do better than that

OMAR

Well, we do that, we gotta take the

Risk of moving it. Also we'd be cutting out the Columbians. You

Know what that means?

TONY

That means we gotta go to war with

'em

Looks over at him, not quite knowing yet what to make

Sosa

Of this guy

SOSA

When we cut out the Colombians we take risks on both sides

TONY

Split the risk. Guarantee your delivery as far as Panama

SOSA

Panama? Risky? It costs me more. There I'd sell maybe 13.5 a key

TONY

13.5! What are you nuts? We still gotta take the shit to Florida. You

Know what that's like these days?

They got the Navy all over the fuckin' place. They got frogmen, they got EC2s with satellite tracking shit in 'em, they got fuckin' Bell 209 assault choppers up the ass, we're losing one out of every nine loads. It's no duckwalk for us anymore, y'know. Forget it

Omar is looking at him, ready to explode at his blithe assumption of power whereas Sosa chuckles, amused by his brashness, starting to be intrigued by this animal

SOSA

What do you suggest is a fair...?

Excuse me

Interrupted, Sosa looks over at his black aide who suddenly

Appears at the door, apparently with a message. Sosa waves

Him in

The black aide The Skull is a slim, tall imposing man

With academic, 'horn-rimmed glasses and close-cropped hair

On a huge and impressive skull. He combines the physical qualities of an animal with an intellectual. As he approaches, he glances down the table, his eyes falling briefly on Omar who doesn't connect. The Skull falters just for a moment then continues towards Sosa with the same stony, loyal expression

Sosa lends his ear and the Skull whispers his information

A beat

He whispers a second thought. Sosa reacts minimally

Then he nods, dismissing the Skull who heads out the room

Sosa glances at his gold Rolex

OMAR

Shaddup willya Montana, I'm doing the talking here!

Tony shrugs

SOSA

Where were we?

TONY

Panama. You're looking for a partner, right?

Omar shoots a poisonous glance at Tony

SOSA

...something like that

OMAR

Look Mr. Sosa, we're getting ahead of ourselves here. I'm down on Frank's authority to buy 200 keys, that's it, that's my limit. I got no right to negotiate for Frank Lopez on anything larger than that. So why don't we

TONY

Hey Omar, why don't you let the man finish, hunh? Let him propose his proposition

OMAR

Hey Montana, you got no authority here, okay! I started you in this business, all right, so shut the fuck UP!

TONY

Frank'll love it. Don't worry about it

OMAR

That's up to Frank not you

He looks embarrassed at Sosa who has been watching, sensing

Also an advantage in the split

OMAR

I'm sorry about this, Mr. Sosa

SOSA

It's all right. Maybe your partner's right. Maybe you should talk to

Frank

OMAR

Okay. I don't think this is something I want to do on an overseas phone, but I can go back to Miami and talk to Frank personally

SOSA

Good. My chopper can take you to Santa Cruz now. I have a jet there that'll have you in Miami in five hours

You can be back here tomorrow. For lunch

Omar is taken aback by the speed of the plan

OMAR

Yeah. I guess so

TONY

Great

SOSA

...leave your friend here. While you're gone maybe he can tell me how to run my business

OMAR

I don't think that

TONY

Hey, it's okay. You tell Frank I'm keeping this guy on ice for him

Sosa laughs. Omar scowls

CUT TO

95 EXT. SOSA VILLA DAY 95

The helicopter blades whirr. The Skull waits inside with the Shadow. They both stare at

Omar, who, with one hesitant look, steps inside

The chopper lifts off the lawn, the camera moving to the

Polo players exercising in the distance... a woman on a

Horse rides by and we swing with her towards the villa

Sosa walks Tony down an outside gallery towards the veranda where servants lay out the coffee and fruits

TONY

You know why they say Cubans are all screwed up?

SOSA

Why?

TONY

Cause the island's in the Caribbean, the government's in Russia, the Army's in Angola, and the people live in Miami

Sosa laughs. They reach the veranda, Tony glancing past Sosa to an exotic-looking, dark-eyed senorita who gets off her horse, held by a servant, and joins them

TONY

They got a beard there that's all. With a cigar and a big mouth

SOSA

Maybe he'll move to Miami too

Gabriella, my rose how was the ride?

Sosa changes his personality completely with her, dewy-eyed and loving. They peck each other's cheek lightly

GABRIELLA

Lovely... but the sheep in the north pasture, they're destroying the grass, it's turning yellow. You must move them darling

SOSA

I'll take care of it myself

GABRIELLA

...and don't forget we have the Rinaldi's at eight

SOSA

Of course not. an associate of mine. From Miami. Tony Montana

My fiance, Gabriella Montini

TONY

Hello

She nods to him in that somewhat uninterested, rude, upperclass Latin way

GABRIELLA

It's a pleasure

She withdraws. Tony watches her go

TONY

I gotta hand it to you. You got everything a man could want

Sosa, pleased, reaches for an expensive set of binoculars on the patio table, looks up through them, at the helicopter rising off the lawn

SOSA

I like you Tony. There's no lying in you... Unfortunately I don't feel

The same way about the rest of your organization

Tony glances up at the chopper, the servant pouring coffee for him

TONY

In-- l Whaddaya getting at, Mr. Sosa?

SOSA

I mean Omar Suarez

Tony, puzzled, glances up at the chopper which now hovers there high above the estate

Sosa passes him the binoculars

SOSA

This garbage was recognized by my associate at lunch

From several years ago, in New York. He was an informer for the police

Tony, astonished, looks up

96 THROUGH THE BINOCULARS OMAR 96

Terrified, being positioned at the door of the chopper by

The Shadow and the Skull, his hands tied to his back and a

Length of thick rope looped around his neck. He is struggling backwards in vain

SOSA

He put Vito Duval and the Ramos Brothers Nello and Gino away for life. My associate used to work up there

Through the binoculars they throw Omar out of the

Chopper and he flies downwards and jerks back up as the rope stretches taut, snapping his neck. He hangs there like a broken doll on a string as the chopper moves out of sight

A silence

97 TONY 97

Shaken, lowers the binoculars

Sosa watches him closely for his reaction

Tony looks back at him, contemplative

Sosa goes over, pours himself some coffee

SOSA

So how do I know you're not a 'chivato' too Tony?

TONY

Hey Sosa get this straight right now I never fucked anybody over in my life didn't have it comin' to him okay! All I got's my two balls-- and my word and I don't break 'em. For nobody

That piece of shit up there I never liked, I never trusted

For all I know he's the guy who set me up and got my buddy Angel Fernandez killed

But that's history. I'm here. He's not. You wanna go on with me, say it. You don't, make your move, hodedor!

SOSA

I think you speak from the heart Montana, but I say to myself this

Lopez your boss he has 'chivatos' like that working for him, his judgment stinks. So I think to myself, what other mistakes has this Lopez guy made, how can I trust his organization...hunh? You tell me Tony

TONY

Hey Frank's smart. Don't blame him for that animal. It's crazy business we're in, it can happen to anybody even you y'know. I'll talk to Frank myself. I'll fix this thing up right between you

You got my word on that

Sosa approaches Tony, focusing an intense stare on him

Makes an elaborate gesture of putting his hands out, Tony

Following the pantomime, puts his out. Sosa now grips them

SOSA

You speak with your eyes muchacho. I think you and I we can work this thing out, do business a long time together. Just remember it's the only thing I ever tell you don't fuck me Tony, don't ever try to fuck me

Their eyes locked together

CUT TO

AERIAL VIEW MIAMI TWILIGHT 98

In all its Caribbean splendor with the long curving beach

And rich white buildings, bathed in a lovely violet light

Music theme continuing over

REVERSE WIPE TO

99 EXT. LOPEZ MOTORS AUTO DEALERSHIP LITTLE HAVANA DAY 99

In long shot we see an agitated Lopez entering his dealership with his bodyguard. Against a background of used American cars without great distinction, he ad-libs his way through some customers and salesmen, shaking hands and acting like everybody's favorite uncle... 'till we see him approach Tony, who is waiting for him with Manny

Outside his office

He jerks his head. Inside. They go

CUT TO

100 INT. AUTO LOPEZ OFFICE DAY 100

The office is highly decorated with plagues, mementos

Cuban patriot flags, and lots of photographs, centering on

JFK and RFK shaking the hand of Lopez who now stares

Incredulously at Tony

LOPEZ

You what! You made a deal for fucking eighteen million dollars

Without even checking with me! What are you crazy Montana, are you crazy!

TONY

Hey take it easy Frank, cone

LOPEZ

Con0 my ass!

TONY

At 10.5 a key, it's pure Frank... we can't lose money, no way, we make seventy-five million on this deal, Frank. Seventy-five mill! That's serious money

LOPEZ

Yeah and what's Sosa gonna do to me when I don't come up with the first five million dollars on this deal --send me a bill? He's gonna send hit squads up here that's what. There's gonna be war in the streets

TONY

Frank... Frank

LOPEZ

You know what this fucking trial is costing me in legal fees, Montana?

...You expect me to believe Omar was a stoolie

Cause Sosa said so? And' you bought that line?

Maybe I made a mistake sending you down there? Maybe you and Sosa know something I don't know?

TONY

You saying I'm not being straight with you Frank?

Lopez's bodyguard shifts. Manny slips his hand closer to his belt

LOPEZ

Let's just say I want things to stay the way they are. For now. Stall

Your deal with Sosa

Long pause. Tony's eyes meeting Lopez's. He gave Sosa his word

TONY

...have it your way boss

He turns to leave, nods to Manny

LOPEZ

Montana... just remember I am the boss

TONY

Sure you're the boss

Gets to the door, Manny joining him

LOPEZ

Y'know I told you when you started Tony, the guys who last in this business are guys who fly straight, real low key, real quiet.. -the guys who want it all, the chicks and the champagne and the flash they don't last

Tony saying nothing, goes out the door with Manny

101 EXT. AUTO LOPEZ OFFICE 101

Just outside the door, Tony glances at Manny's question-mark

Expression

TONY

Fuck him!

CUT TO

101 EXT. SHEFFIELD'S OFFICE BUILDING ESTABLISHING SHOT NIGHT 101

102 INT. LAWYER'S OFFICE NIGHT 102

Tony, impeccable in Cardin whites, and Manny, also slicked

Up, are shown by an elegant secretary into a plush office

Behind the desk sits the heavy-lidded, cigarette-eyed lawyer

George Sheffield smoking yet another cigarette, his voice a

Hoarse gravelled croak, the eyes with their deadpan stare

Always pausing before they speak. He doesn't get up from

His desk. His hair is flaming red. We saw him before, at the

Mutiny Club

SHEFFIELD

What can I do for you Montana?

TONY

My partner. Manny Ray

Manny, standing in the background, nods... Sheffield shifts his eyes

Briefly, back to Tony who plops himself in a chair

TONY

So George, they tell me you're the best lawyer in town

SHEFFIELD

Did they also tell you how expensive I am?

TONY

Hey it's like J.P. Morgan says if you gotta ask, you're outta your league

SHEFFIELD

I see you been reading your American history Montana, what've you done lately to earn a place in it?

TONY

I'm trying to stay outta it, y'know

What I mean? I'm expanding my operation. So I want a class guy like you on the payroll advising me. Starting now

SHEFFIELD

Cash. On the table

...Start with a $100,000

TONY

Sure

He sticks out his hand. Manny slaps an envelope in it. Tony

Begins counting out the cash, right on the tabletop

CUT TO

103 EXT. LOPEZ CONDO SOUTH MIAMI DAY 103

Tony waits in his red Jaguar in the driveway of the building

Lopez and his bodyguard exit the building

A limousine pulls up

Tony watches

The threesome get in the limo and drive away

Tony gets out of the car, crosses to the entrance

104 INT. LOPEZ CONDO DAY 104

Tony waits outside the door, pushes the buzzer again

Elvira opens it, a look of utter surprise on her face. She's

In jeans, barefoot and casual

ELVIRA

Tony?

TONY

Hi there

Elvira looks at him, still astonished and waiting for an

Explanation. There is none

ELVIRA

Ml.. -you just missed Frank

TONY

I didn't come here to see Frank

She looks at him amazed. The balls on this guy!

ELVIRA

This is not the time or the place

Next time make an appointment first

She tries to slam the door in his face but he blocks it and

Bulls in

TONY

I got something important to tell ya

Why don't you make some drinks and act normal

ELVIRA

Sure. Why not? We're all normal here

She heads for the pool, nonplussed. Tony closes the door, eases slowly across the room towards her, awkwardly trying to make conversation

TONY

I heard you was in Europe travelling 'round all by yourself. Woman like you shouldn't have to travel alone

I been travelling myself

ELVIRA

Broadening your intellect. I heard

TONY

What else d'you hear?

ELVIRA

I heard you and Frank aren't working together anymore

TONY

Yeah. It makes things easier this way, don't it?

She's puzzled. He drinks a toast

TONY

Here's to the land of opportunity

ELVIRA

For you maybe

She drinks to it

TONY

Hey, do you like kids?

ELVIRA

Kids? Sure, why not as long as there's a nurse

TONY

Good. Cause I like kids too. I like boys and girls

She's waiting. He paws the ground, awkward as a bull

ELVIRA

That's broad of you, Tony. Travelling really helped. Look, Frank's going to be back any moment and when he walks through that

TONY

Yeah. Yeah fuck Frank. Look, here's the story. I'm from the gutter but I climbed out of it. I'm not the smartest guy in the world but I got guts and I know the streets and I'm making the right connections. With the right woman, there's no stopping me. I could go to the top, I could be somebody here in Miami. I could be like Frank but bigger The biggest!

Elvira's looking at him like he's on the moon

TONY

Anyway what I came up here to tell you is that.. I like you. I think you're terrific. I known this the first time I seen you. You belong to me. We're tigers. The two of us... I want you to marry me and be the mother of my children

Silence

ELVIRA

Me? Marry you?

She laughs, a short harsh laugh

TONY

Yeah... -marry me

ELVIRA

What about Frank? What are you going to do about Frank?

TONY

Frank's not gonna last

I'm not looking for an answer right now Elvira, but I want you to think about it, okay? I want you to think hard... I'll see you the next time

He goes. She stares at him, still dazed, yet deep down flattered

CUT TO

105 INT. BABYLON CLUB NIGHT 105

The place is raging tonight as Tony and Manny arrive, in

Tuxedos, making their way through the crowd greeting the

Many people who know them now. We might note Tony has

Refined the art of walking and no longer bulls people out

Of his path, he angles through them

OWNER

Over here

Tony stops, spots his sister Gina, in an expensive looking

Dress, with a flashy young Cuban guy in a burgundy suit

TONY

What the fuck is she doing here, she's

MANNY

Hey c'mon Tony, it's okay, it's justa disco for chrissake. What do you give her money for if you don't want her to go out, have some fun?

Gina spots Tony, hesitates, waves to him. Manny waves back. Tony nods. Burgundy suit checks them out

TONY

Who's she with?

MANNY

Some kid, he works for Luco, he's harmless

Tony spots a Large Man coming towards him. Caucasian

About 250 pounds

TONY

Keep your eye on her. Make sure he

Don't dance too close

MANNY

Sure Tony

I'll be at the table

LARGE MAN

Hello Tony, you remember me?

TONY

Yeah, sure. You're

...Bernstein, right. Mel Bernstein

Narcotics, right?

BERNSTEIN

That's right, Tony

I think we better talk

There's something ugly in his smile, maybe it's cause just the eyes do the smiling

TONY

Talk about what, what's there to talk about? I ain't killed anybody

Lately

BERNSTEIN

No not lately but we can go back to ancient history

Like Emilio Rebenga, like a bunch of whacked Indians at

The Sun-Ray Motel in Miami Beach

TONY

Yeah? ...you know Mel, whoever's giving you your information must be taking you guys for a long ride

BERNSTEIN

Are we gonna talk or am I gonna bust your wiseass spic balls, Tony baby here and now?

Tony looks at him

CUT TO

106 INT. BABYLON CLUB CORNER TABLE TONY AND MEL 106

In a corner of the Babylon talking

BERNSTEIN

Yeah, so the news on the street is you're bringing in a lot of yeyo

Tony... that you're no longer a small-time hood, you're public property now, and the Supreme Court says your privacy can be invaded

TONY

No shit how much?

BERNSTEIN

There's an answer to that too

He holds the paper up briefly in front of Tony. It says '25,000'

TONY

That's a big number

BERNSTEIN

That's on a monthly basis. Every month the same thing. You know how this works, don't you? We tell you who's moving against you, we shake down who you want shaken down, if you have a real problem in a collection, we'll step in for you. I got eight killers with badges working for me. When we hit, it hurts Same thing works the other way. You feed me a bust now and then, some new cowboy wants to go into business you let us know we like snacks, it looks good on the record

TONY

S'pose I give you the money, how do I know you're the last bull I gotta grease? What about Metro, Lauderdale, DEA how do I know what rock they're gonna come out from under?

BERNSTEIN

That's none of our business, Tony, we don't cross no lines

I don't want this discussion going any farther than this table. MY WYS have families, they're legitimate cops, I don't want none of 'em getting' embarrassed 'cause if my guys are gonna suffer, then they're gonna make you suffer. Comprendre?

Yeah, and I got a vacation comin' up. I wanna take the wife to

London, England. We never been there. Throw in two round-trip tickets. First class

Tony just stares at him. Bernstein smiles, points

BERNSTEIN

I like the scar. Nice. Like Capone

But you oughta smile more, Tony. Enjoy yourself

Everyday aboveground's a good day

He winks and goes. Tony sits there brooding on it, eyes flicking back to the dance floor

Burgundy suit there is snuggling up to Gina on the dance floor. Too close

Tony is getting pissed, he looks around for Manny, then spots

107 INT. BABYLON CLUB ENTWWCE NIGHT 107

Elvira walking into the club, followed by Lopez and Ernie

The bodyguard. Lopez is delayed at the door by his buddy

The Owner, and Elvira drifts in

His attention diverted from Gina, Tony goes towards her

She sees him coming, glances in Frank's direction

Tony comes right up to her

TONY

Hi

ELVIRA

Hello, Tony

Lopez, in conversation with the Owner, glances over, sees

Tony with Elvira, his expression narrows

TONY

So.. .Did you think about.what I said? About the kids?

ELVIRA

Tony, you're really nuts you know, you really are

Lopez comes over, takes Elvira's arm, and smiles at Tony

LOPEZ

Hey Tony, why don't you get your own girl?

TONY

That's what I'm doing, Frank

Tense look on Frank's face. The bodyguard circles

LOPEZ

Then go do it somewhere else. Get

Lost

ELVIRA

Frank, he was only

TONY

Maybe I don't hear so good sometimes

Man

LOPEZ

You won't be hearing anything, you

Go on like this

TONY

You gonna stop me?

Frank is livid

LOPEZ

You're fucking right I am. I'm giving you orders

Blow

The bodyguard moves closer to Tony who doesn't move

Manny suddenly slides into frame, backing Tony

TONY

Orders? There's only one thing that gives and gets orders, cabron balls

Pause. Something's about to pop, turns back just at the

Crest. Lopez abruptly turns away

LOPEZ

Let's go!

ELVIRA

Frank, this is ridiculous

LOPEZ

C'mon!

He crowds her. she goes. Angry, Tony watches as they exit the club

MANNY

What happened?

TONY

That cocksucker! He put that homicide prick Bernstein on me

They stroll back to the table

MANNY

What for?

TONY

The Emilio Rebenga hit. Remember that

MANNY

You're kidding!

TONY

Who else knew about it? Omar's fertilizer, ain't he? Lopez is letting me know he's got weight on me

MANNY

I don't know, things don't look so good here, Tony. Maybe we should get outta town for a while, y'know, go up to New York?

TONY

You go. I like the weather here just fine

He stops, his eyes darting to pick out Gina laughing as she

Follows burgundy suit out of the main room and down the

Stairs to the toilets

Without hesitation, his irritation peaking now, Tony darts

After her

MANNY

Hey, where you going?

He doesn't answer

CUT TO

108 INT. BABYLON CLUB STAIRS AND LADIES ROOM NIGHT 10E

Tony comes down the plush velvet stairs, flings himself

Into the Ladies room...the ladies, surprised, look back at

Him. No Gina

109 INT. BABYLON CLUB MEN'S ROOM AND STAIRS NIGHT 109

He moves over to the Men's room, throws the door open

There are four legs visible in one of the stalls

Tony moves past two men washing up, and hurls himself against

The door. It crashes open on Gina in the act of snorting coke, with

Burgundy suit running his hand along her ass

GINA

Tony!

TONY

What are you doing! What are you doing!

He grabs burgundy suit by the collar and whips him several

Times into the wall

GINA

Tony! What're you doing! You're crazy!

He rips the coke out of her hands and scatters it across the tiles

TONY

What are you doing with this shit, hunh?

Get the fuck out of here, maricon, y'hear, I'll kill you next time

GINA

Fernando!

TONY

Shaddup!

Manny runs in, several others now looking in from the hall

MANNY

Tony!

Tony shoves burgundy suit out of the stall, past Manny

TONY

Go on!

GINA

What the hell is

TONY

You think it's cute somebody puttin' their hands all over your ass, my kid sister, hunh? In a toilet!

GINA

It's none of your business!

TONY

The fuck it isn't! Three dollar hooker, that's what you are

Snorting shit like that at your age, you oughta

GINA

What are you a priest? A cop! Look at your life. You can't tell

Me what to do!

TONY

I'm telling ya! I don't wanna see you in here again. I catch you in here I'm gonna beat the shit outta you

GINA

Yeah! Go ahead!

TONY

You're getting outta here right now!

Don't push me baby, don't push me!

GINA

Don't fucking push me!

MANNY

Okay, c'mon, let's go outside get some air

The argument has moved across the bathroom to the lip of

The hallway. Several more people are watching

GINA

You got a nerve, Tony, you got a nerve! You can't tell me what to do. I'll do what I want to do. I'll go out with who I want and if I want to fuck them then I'll fuck them!

Tony, raging, smacks her the face. She reels back across into the toilet

Tony stands there, abated

The crowd is silent

Manny moves across the floor and kneels down, consoles Gina who is sobbing

MANNY

Come on, baby, it's okay... it's okay, he didn't mean it

TONY

Get her home, get her outta here!

He turns and bulldozes his way through the growing crowd

No regrets, but disturbed

Manny helps Gina to her feet

MANNY

Come on, pussycat, I'll buy you a

Cup of coffee

CUT TO

110 INT. BABYLON CLUB MAIN ROOM NIGHT 110

Tony, isolated and edgy, reenters the main room, circling

The edges of the crowd, up to the bar

TONY

Gimme a double of that!

He turns, catches a last glimpse of Gina leaving with Manny

CUT TO

111 EXT. MIAMI STREETS NIGHT 111

Manny drives Gina home in his two-seater Mercedes sports

Coupe. She's still angry

GINA

...He's got a nerve the way he acts!

Mama's right. She says he hurts everything he touches

Well he's not gonna hurt me anymore. He'll never see me

Again. Never!

MANNY

He loves you, what do you want. He

Feels he raised you

GINA

He still thinks I'm fifteen. He's been in jail five years and he still thinks I'm fifteen!

MANNY

Hey, you're the best thing he's got. The only thing. He don't want you to grow up to be like him. So he's got this father thing for you, protect you

GINA

Against what?

MANNY

'Gainst assholes like the sleazeball in the red suit

He says it like it's personal

GINA

I like Fernando, he's a nice guy, he knows how to treat a woman

MANNY

What future's he got? On a bandstand somewhere? He's a bum, Why don't you go out with somebody who's

Going somewhere?

She gives him a look

GINA

Like who?

MANNY

Like a doctor or a dentist or something

GINA

What about you? Why don't you take me out?

She's looking straight at him now, challenging

MANNY

What? Me?

GINA

Yeah, you. I see the way you look at me Manolo Ribera

MANNY

Hey, Tony's like my brother.. You're his kid sister, okay?

GINA

So what?

MANNY

So

GINA

You afraid of Tony? You afraid of Tony's kid sister?

MANNY

Fuck no

112 EXT. TONY'S MOTHER'S HOUSE NIGHT 112

Pulls the car over to the curb

MANNY

I guess we're here

Pause

GINA

You think about it, okay, you think about it real hard, Manny. Cause you don't know what you're missing

She leans across the front seat and lightly lays a challenging kiss on his cheek. The ladykiller is rigid in his terror

She gets out of the car, crosses in front of his headlights, towards the house, looking at him. He watches

CUT BACK TO

113 INT. BABYLON CLUB LATER THAT NIGHT 113

The Owner appears at the mike, the music drifting to Sinatra's 'Strangers In The Night'

OWNER

All right, you coneheads, another exciting evening at the Babylon, hunh?

Now I want you to check out this next hombre. I found him stoned in the jungle and there's nothing you'll ever see like him. I present with great pride, from Caracas, Venezuela 'Octavia'

Lights dimming to the bluesy rhythm of the Sinatra song as

Sad-eyed Octavia suddenly appears in the shifting spot-

Light drawing immediate laughter

He is dressed as an enormously fat old man with a Quasimodo

Mask covering both the front and back of his head and neck

With a red bulb for a nose, he gyrates grotesquely to the sleek song; once the mood of laughter has been established, the music suddenly shifts upbeat to 'Saturday Night Fever' and the clown, like a butterfly from a worm, starts shedding the stuffing from his clothes, his big eyes staring out at us in theatrical melancholy

Tony watches, sitting alone, distracted by the clown

More laughter, more clothes coming off, building a tempo

When the head mask comes off, we see the gaunt handsome

Face of a young clown in white paint with the large

Blackened eyes staring without expression at the laughing

Audience

Tony is hooked by the image, looks on

The clown is down to his leotards, thin as a stick, and

Pulling the girls out onto the floor to dance with him

Bouncing around like yo-yos. Everybody is laughing, everybody is merry

...except Tony and the clown, weaving in and out of the

Sharpening spotlight in his white face as the act comes to

Its close, a haunting figure of mockery

Tony, absorbed by his thoughts, is lucky this time. His

Antennae warn him. Out of the side of his eye, he sees

The two hitters moving on him

He sprawls. Machine gun fire rips through the upholstery

Smashing the mirrors

Screams, crowd diving for cover

Tony, hit in the shoulder, rolls, gets his Beretta out of

His ankle, firing

Hits one of the gunmen in the chest; the man staggers across the disco floor firing volleys into the mirrors and ceilings

Tony moving under the tables, towards the door, firing

The second hitter is pinned, firing back, breaking more

Mirrors, and more screaming

Tony lets the gunman have another burst then runs out the

Door, his clothes ripped with blood and glass

The clown, Octavia, lies dead on the silent dance floor

CUT TO

114 EXT. THE BABYLON CLUB NIGHT 114

Tony runs out, crouched, to his red Jaguar

Exchanging shots with a third hitter across the parking lot, he runs out of ammunition

He jumps into the Jaguar, his windows being blown out

The second hitter, wounded, running out of the club towards him

The third hitter advancing, carhops scattering

Tony reaching under his seat, gets a hold of his own Ingram machine pistol, cocks it and lays down a field of fire

Carhops scattering, the hitters seeking cover

Hitter two, already wounded, is hit again, his head exploding like squashed watermelon

Tony now pops a button. Bulletproof blackout shutters whap

Across the shattered windows

He guns the Jaguar out into the lot, bullets careening off

The armor plating, whining against the shutters

Tony suddenly brakes the car and reaches down and slams the

Gear shift into reverse. In an instant, his warmobile in reverse, accelerates, climbing to top speed

As hitter three realizes it's too late, tries to get out of

There, but is overtaken and crushed by the car

CUT TO

115 INT. SAFEHOUSE THAT NIGHT 115

Tony, aching from his wound, is attended by a Doctor, who

Reveals to us an ugly wound on his rib cage. Tony looks at

It, doesn't express a reaction

DOCTOR

It's going to be sore for a few months

TONY

Somebody else gonna be a lot sorer

Find out where Lopez is

CUT TO

116 INT. MIRIAM'S APARTMENT NIGHT 116

Miriam's a tough-looking little chick in panties and a tanktop with 'Cocaine' written on it

TONY'S VOICE

Miriam? Yeah...Tony. Manny there?

MIRIAM

Yeah... It's Tony

Manny, in bed, is snorting a line of coke off a mirror, takes the phone, in good spirits

MANNY

Tony cabrone, whatcha doing checking up on me, too?

117 SAFE HOUSE NIGHT INT. 117

TONY

Look, get your fuckin' clothes on and meet me outside Lopez's office in forty-five minutes. That phonebooth on 9th. Yeah

Move your ass!

118 INT. MIRIAM'S APARTMENT NIGHT 118

MANNY

What happened!

119 INT. SAFE HOUSE NIGHT 119

TONY

Nothing we can't fix

Tony hangs up

120 INT. MIRIAM'S APARTMENT NIGHT 120

MANNY

I gotta go

MIRIAM

This is worse than fucking a grasshopper, man

MANNY

Hey, I'm better looking

Don't do it all, I'll be back later

CUT TO

121 INT. SAFE HOUSE NIGHT 12

Tony ignores the doctor taping him, checking his watch

TONY

Nick, when we get there, call Lopez at three exactly. You got that?

NICK

Yeah, don't worry Tony. I got it

TONY

All you say is you're one of the guys at the-club 'Hello, Mr. Lopez, there was a fuckup, he got away...'

NICK

Yeah, Tony, I got it, no problem

CUT TO

122 INT. LOPEZ MOTORS NIGHT 122

Waldo remains outside, covering the street as Tony, Manny

And Chi-chi move gingerly along the darkened showroom

Lopez's voice on the phone through the half-opened office door

LOPEZ'S VOICE

...you're kidding! Three to two?

Son of a bitch!

Guess what. My softball team, y'know, the Little Lopezers? They won the Division tonight. We're going to Sarasota for the State Championship... Hunh!

MUFFLED VOICE

Congratulations. That's great Frank

Tony, Manny and Chi-chi slide into the room, the latter two

With guns casually drawn

123 INT. LOPEZ MOTOR'S OFFICE NIGHT 123

TONY

Yeah, it sure is Frank. What'd you do fix the umpire?

Lopez, his nose in a glass of scotch, almost muffs it right

There and then, but manages to recover

LOPEZ

Tony...? I'll call you back yeah

Hangs the phone up and rocks forward at his desk

Lopez's bodyguard, Ernie, gets the message from Chi-chi

Sliding along the wall next to him, Manny covering the

Other side of the room

LOPEZ

Tony... what happened to you, hunh?

TONY

Yeah, lookit. They spoiled one of

My $800 suits

LOPEZ

Jesus! Who?

In his ripped suit, shoulder in a sling, face cut, Tony, shifts his eyes with camera slowly onto Mel Bernstein sitting there with a bourbon on the rocks, his two hundred and fifty pounds bulging with irritated surprise

TONY

Hitters. Somebody musta brought 'em

Never seen 'em before...Hiya

Ii:;. Is there an answer to this too?

BERNSTEIN

Always is Montana, always is

LOPEZ

Jesus, Tony, maybe it was the Diaz Brothers, they got a deep beef going back to the 'Sun Ray' thing

TONY

Hey, you might be right

LOPEZ

Anyway I'm glad you made it Tony, we'll return the favor for you. In spades

TONY

Nah, I'm gonna take care of this myself

Pause

LOPEZ

Well... What are the guns for Tony?

TONY

What for? I'm paranoid I guess

The phone rings

Lopez lets the phone ring

TONY

Why don't you answer it Frank?

LOPEZ

Must be Elvira. You know women

After we left that joint she

The phone rings again

TONY

I'll tell her you're not here

LOPEZ

Wait a minute! I'll talk to her... Hello?

Yeah... all right honey, don't worry... I'll be home in an hour

He hangs up. Pause

TONY

Frank, you're a piece of shit

LOPEZ

Whatcha talking 'bout Tony?

Tony, angry now, grabs Lopez by the shirt and hauls him

Forward across his desk so his gut lies flat across it

TONY

You know what I'm talking about you fuckin' cockroach!

LOPEZ

Tony, no! Lissen!

TONY

You remember what a 'haza' is Frank?

It's a pig that don't fly straight. Neither do you, Frank

LOPEZ

Why would I hurt you, Tony, I brought you in! So we had a few differences, no big deal. I gave you your start Tony, I believed in you

TONY

Yeah and I stayed loyal to you, Frank. I made what I could on the

Side but I never turned you Frank, never but you a man ain't got no word, he's a cockroach!

He squashes an imaginary cockroach right in front of Frank's eyes, then pulls him further across the desk, flailing

LOPEZ

Mel! Mel! Do something, please!

Mel sits there impassively

MEL

It's your tree Frank, you're sitting in it

LOPEZ

Please Tony okay all right! Gimme a second chance! Ten million. I'll

Give you ten million dollars right now I got it in a vault. In Spain. We'll get on a plane. It's yours, all of it... Elvira? You want Elvira? She's yours, okay! I'll go away Tony, I disappear, you'll never

See me again. Just gimme a chance, gimme a second chance Tony, please... please!

He sobs pathetically

LOPEZ

I don't wanna die Tony, I never did nothing to nobody Tony! I never hurt nobody!

TONY

Yeah you're right Frank, you always had somebody else do it for you

He turns to Manny

TONY

Manny, you mind shooting this piece of shit for me?

Tony steps aside

LOPEZ

No! No! Tony!

Manny shoots him with the silencer. Three times

Lopez crashes backwards, draped over his desk like Marat in

His bathtub, amid his patriot flag and his Kennedy photographs

TONY

...Every dog has his day

He fixes his eyes on Mel Bernstein

BERNSTEIN

I told him it didn't make sense killing you when he coulda had you working for us instead. But he got hot tonight, y'know, about the broad. He fucked up

TONY

Yeah, so did you, Bernstein

His eyes... Bernstein, reading them, gets worried

BERNSTEIN

Now wait a minute, Montana, don't go too far

TONY

I'm not Mel. You are

He produces his Beretta from his sling and holds it in his

Left hand pointed at the big man

BERNSTEIN

Hey, c'mon, what is this?

You can't shoot a cop, Tony

TONY

Whoever said you were one?

He fires

Bernstein takes it in the gut, hits the floor, looks up astonished

BERNSTEIN

I... lemme go, Tony, I can fix things up

TONY

Sure you can Chico. Maybe you can handle one of them first-class tickets to the Resurrection. So long, Mel, have a good trip

He fires several times into him until we can imagine he is

No longer of the living. Tony turns towards the door

MANNY

What about him?

Tony notices

The bodyguard, Ernie, the middle-aged Cuban, waits stoically

TONY

You want a job Ernie?

ERNIE

Sure, Tony

TONY

Come see me tomorrow

ERNIE

Thanks, Tony

Tony walks out alone into the darkened showroom, past the

Hulks of the used Cadillacs, as we see the shadows of Manny

And Chi-Chi moving in a stream of light

MANNY

Okay, torch it!

CUT TO

124 INT. LOPEZ CONDO THAT NIGHT 124

Elvira lies in her silk sheets. The doorbell rings. She

Gets up

In a nightgown, she opens the front door

ELVIRA

Tony?

Tony, still in his ruined suit with the arm in a sling, moves past her into the apartment

ELVIRA

What's happened?

Tony just stands there

ELVIRA

Where's Frank?

TONY

Where do you think? ...Why don't you go pack your stuff. We're going home

Pause. She understands, moves quietly past him towards the

Bedroom

Tony ambles over to the windows and steps out on the terrace

Breathing in the air. The lights of Miami wink at his feet

The camera moving to one sign down there that says it

All, flashing its big neon bracelet

THE WORLD

IS YOURS

AMERICAN

PAN TO EUROPE, AFRICA, SOUTH AMERICA

Tony drinks it in

CUT TO

Montage Passing Time

125 MULTI-SCREEN IMAGES 125

Spin to lively, marching music

126 HANDS 126

Counting money

127 HANDS 127

Sealing cocaine bags... Quaaludes... marijuana

128 EXT. SOSA VILLA DAY 128

Sosa on the phone in Bolivia

129 WT. TONY'S MANSION DAY 129

Tony on the phone in Miami

130 EXT. MONTANO REALTY DAY 130

Tony with Manny, GaSpar, and Ernie exits the Montana

Realty Company in Little Havana

131 EXT. MONTANA DIAMOND TRADING COMPANY DAY 131

Tony with Manny, Gaspar and Gigi enters the Montana

Diamond Trading Company in Little Havana

132 EXT. GASPAR'S STREET DAY 132

One of the Marielitos, is ambushed and blown up in his car

133 EXT. BANK DAY 133

Camera moving from a sign saying 'Banco Del Sur Miamil' to Chi-Chi and Rafi unloading duffel bags from the back of a Volkswagen van in the parking lot of the bank. Tony and Manny supervise... the four of them now moving towards the bank bent under their weights-like a column of ants carrying the sugar

Tony shaking hands in an office with a young bank president

They sit down to talk

134 INT. TONY'S MANSION DAY 134

Chi-Chi's on the phone worried with Gigi

135 INT. MANNY'S APARTMENT DAY 135

Manny's on the other end with another ladyfriend, both stripped down, the camera moving back down the telephone

Cord to the receiver

CUT TO

136 INT. TAP TRAILER DAY 136

The tap trailer simultaneous... the camera moving along the tape spools to the two narcs listening

137 EXT. STASH HOUSE NIGHT 137

Rafi, another Marielito, is led off in handcuffs from a

Suburban stash house by the cops

138 NEWSPAPER HEADLINES 138

Time Magazine covers

'Raid Nets $100 Million Cocaine Stash!'

139 VIC, THE NEWSCASTER ON TV 139

'135 drug-related homicides so far this year!'

139-B NICK THE PIG 139-B

Shaking down punk in Cuban park

140 LITTLE HAVANA NIGHT 140

GINA exits flashy car

141 HANDS 141

Stripping false bottoms from suitcases

142 EXT. GINA'S BEAUTY SALON DAY 142

Gina, with Tony, Manny, Waldo, Hernando, Gigi and Elvira

Looking on, cuts the ribbon for the new Gina Beauty Salons in Little Havana. She looks towards her brother, then her eyes linger on Manny. He suppresses his smile, winks at her

143 INT. MENS' CLOTHING STORE DAY 143

Manny buying new suit

144 INT. TONY'S MOTHER'S KITCHEN DAY 144

Mama washing dishes, looking up at the clock

145 INT. TONY'S BEDROOM NIGHT 145

Elvira snorting

146 OMITTED 146

147 INT. AMUSEMENT ARCADE DAY 147

And Hernando, another of the Marielitos, now sprawls dead

Over a video machine in an amusement arcade

148 EXT. MIAMI BEACH 148

And a bloated Cigi floats in from the ocean onto the

Lush white surf of Miami Beach, alongside some kids playing

With their shovels

149 INT. MORGUE DAY 149

As the morgue piles up with rows of corpses, their tagged

Toes sticking out from under the white sheets like used cars

And the beat goes on

CUT TO

150 EXT. TONY'S MANSION MORNING DAY 150

In an exclusive area of Coral Gables, surrounded by walls

Security gates, acres of lawns and a guarded boat dock on a

Canal. Tony has erected his fortress-like Shangri-La, to

Which he has,-- with a sense of humor added a large neon

Sign on the front lawn that says

THE WORLD IS YOURS

MONTANA TRAVEL CO

Just like it should be

As Tony and Elvira take their marriage vows in front of

The Monsignor; the triumphant montage music rising to its

Full glory as a beggar's banquet of gang members and various

Girl friends looks on. Chi-Chi is with a girl who looks like an animal, with an extremely short dress, looping earrings, the camera moving to Gina, her eyes covertly tracking to Manny who gazes back at her, evenly and openly as

Tony and Elvira kiss

151 EXT. TONY'S GROUNDS SAME DAY 15

Tony, eating his wedding cake, his arm around Elvira, nuzzling her, shows his entourage his new hobby

Across a moat of water, a striped nine-foot Bengal tiger stretches majestically under a solitary banyan tree, extending a giant claw and licking himself

Tony and Chi-Chi kidding around with the tiger

Intercut to

151-A EXT. TONY'S MANSION GUARD HOUSE DAY 151-A

Behind some nearby bushes, Gina and Manny are making out in

The grass. They hear the sounds of Tony's voice, freeze, making shushing signals, then almost laugh when they consider their childish state

151-A CONTINUED 151-A

From their point of view, we see Tony leading the entourage

Back to the mansion as Chi-Chi throws the Bengal his wedding

Cake

CUT TO

151-B INT. TONY'S MANSION OFFICE DAY MONTH DATER 151-B

Tony, accompanied by Manny, walks a young, thirtyish bank

President into his office, which is rigged with video monitors surveilling all areas of the house and grounds

There's an abundance of electronics televisions, sound systems, computer toys, video games, desk, couch, chairs but not one sign of a book on the walls

Jerry, the Banker, is slickly dressed, hair coiffed, the eyes scooting shrewdly back and forth, the type of guy who follows the Hong Kong money markets on weekends, a guy who never stops thinking money

TONY

...yeah, well, I can't pay that no more Jerry, I'm gonna be bringing in more'n I ever brung in, y'know. I'm talking ten million a month now. That's serious money. So I think it's time you bank boys come down a bit, y'know, like

BANKER

Hey, Tony, c'mon, that's crazy, I can't do

TONY

That's too bad, cause

BANKER

Tony, sweetheart, we're not a wholesale operation here, we're a legitimate bank

The more cash you give us the harder it is to rinse, y'know. The fact is we can't even take anymore of your money unless we raise the rates on you

TONY

You gonna what, Jerry?

BANKER

Tony, Tony, we gotta. The IRS is coming down heavy on South Florida, y'know. That Time Magazine cover didn't help any. We gotta do it Tony, we got stockholders, we gotta go ten percent on the first twelve million; that's in denominations of twenty. We'll go eight percent on your ten dollar bills and six points on your fives

TONY

Ten points!

We go someplace else

Hey, Tony

BANKER

Tony, Tony it's no conspiracy, we're all doing it. You're not gonna find a better deal

TONY

Then fuck you, I'll fly the cash to the Bahamas myself

BANKER

You gonna fly it yourself, Tony on a regular basis? Once maybe. And then what? You gonna trust some monkey in a Bahamian bank with twenty million of your hard-earned dollars? C'mon Tony, don't be a schmuck who else can you trust? That's why you pay us what you do you trust us

Tony looks broodingly. Jerry glances at his watch, suggesting

He has another engagement

BANKER

Stay with us, you're an old and well-liked customer. You're in good hands with us... gentlemen, I gotta run. How's married life? Say hello to the princess for me okay. She's beautiful

See you. Take care

Going

Tony watches, raging inside. He pulls a drawer open and reaches for a private cocaine supply. It's the first indication we have of this. As he snorts

TONY

That prick, that WASP whore. Jhat's

Come over he think I am, some maricon on a boat

So why don't we talk to this Jew Seidelbaum? He's got his own exchange, he charges four percent tops and he's connected

TONY

I don't know. Mob guys guineas I don't trust 'em

On the video monitor, Tony watches Jerry, the Banker, leaving. Now beginning to see things through the glass darkly, Tony hits the other nostril quickly, casually passing the vial to Manny who does his hit

TONY

You get the house sweeped this month? The cars?

MANNY

Yeah, sure, I told you that. Five thousand it set us back

TONY

See that cable truck there?

152 INT. TONY'S MANSION OFFICE DAY VIDEO MONITORS 152

Tony's eyes fixing on the cable TV truck parked across the

Street

A man is hauling cable

There are other private gates visible. The area is lush with gardens, Spanish moss, cypresses and quietly respectable million dollar houses with their Spanish tile roofs and balconies

MANNY

TONY

Hey Manny when does it take three

Days to rig a cable, hunh?

MANNY

Cops

TONY

What if it's the Diaz brothers? What if they're gonna come and get me?

MANNY

I'll check it out

TONY

You check it out, then we're gonna blow that fuckin' truck back to Bogota

MANNY

The truck could be anything. We're not the only dopers living on the block y'know

TONY

Hey you got some attitude y'know Manny for a guy in charge of my security

Hey I'll check it out. I'm just telling you we're spending too much

On this counter-surveillance shit. Twelve percent y'know, of our adjusted gross that's not pocket money

TONY

You worry about it, it lets me sleep

Good at night. There's that fat guy

Again

Manny looks over at a jogger running by the gate of the

Porcine quality, civilian-looking, fifties

TONY

I seen him every day. 'Bout a week now

MANNY

So the guy jogs around the neighborhood. He's some fat accountant

TONY

How the fuck do you know what he is?

MANNY

Hey if he's a cop, don't you think running in circles around a house is a pretty dumb way to watch it?

TONY

Maybe not

I'm telling you we're getting sloppy our thinking our attitude

We're not fucking hungry anymore!

CUT TO

153 153 thru OMITTED thru 157 157

A-158 EXT. TONY'S MANSION NIGHT ESTABLISHING SHOT A-158

158 INT. TONY'S MANSION BATHROOM NIGHT CLOSE ON 158

TELEVISION COMMERCIAL

A television spot for Florida Security Trust A respectable business-type walks along the sidewalk with a renascent downtown Miami as a backdrop. Skyscrapers, glinting glass, cranes

BANK SPOKESMAN

Here at Florida Security Trust we've

Been putting your money to work for a

Better America. We've been around for seventy-five years. We'll be here tomorrow

A logo for the firm over with the reminder 'Since 1907.'

Camera pulling back to reveal Tony watching in his huge gold-

Leaf bathtub, a cigar clenched between his teeth. He looks

Like a character in a Futzie Nutzie loafing cartoon, with his

TV hooked to one side of the tub, a long phone line to the

Other, and a radio and portable bar all within reach

TONY

Yeah that's cause for seventy-five years you been fucking all of us over, that's why

Somebody oughta do something about these whores. Charging me ten points on my money and they're getting away with it! There's no laws anymore,anything goes

Listen, these guys been here for a thousand years. They got all the angles figured

Manny straddles a chair next to the tub watching the m

News that was interrupted by the Florida Security Trust

Commerical. Behind him Elvira's in d robe, fixing herself

Up in front of a giant mirror. It's some bathroom

Gigantic with a chandelier hanging in the middle of it

Italian marble, plants, skylights, rugs, etc

TONY

You know what capitalism is

Getting fucked

ELVIRA

A true capitalist if ever I met one

She's doing a toot of coke off a flat mirror

TONY

How would you know, bubblehead? You ever do nothing 'sides get your hair fixed and powder your nose? You do too much of that shit anyway

ELVIRA

Nothing exceeds like excess. You should know that Tony

TONY

Know what? Why do you always got to talk like that?

MANNY

So I had a pow-wow with this guy

Seidelbaum today. He checks out

I got another meet set up

TONY

When?

MANNY

Thursday ten o'clock. I thought I'd take Chi-Chi with me. Do a million and some change. Get my- feet wet with this guy

TONY

That's a lot of wet. I'm not Rockefeller. Not yet

Tony points to a figure on the TV

TONY

Hey, listen to this, guy's always good for a laugh

Visual of silver-haired television Anchorman Vic Phillips with a bit of show business image in him to be seen again. Underneath his face, it says 'Editorial.'

NEWS ANCHORMAN

...the question is how with a small law enforcement budget do you put a dent in an estimated $100 billion a year business? It seems at times all you can do is put your finger in the dike and pray but now we are hearing voices that say the only way we can solve the drug problem is the same way Prohibition was solved

Not by outlawing the substances but by legalizing and taxing them. These voices say that will drive out the organized crime element

I am not one of those voices

TONY

What do you know you never been right in your life, Vic baby

Guy never fuckin' tells the truth

It's the guys like him, the bankers and the politicians who want to keep the coke illegal so's they can make more money and get the votes to fight the bad guys. They're the bad guys

They'll fuck anything for a buck

ELVIRA

And what about you Tony? Can't you stop talking about it all the time, can't you stop saying fuck? it's boring, it's boring!

TONY

What's boring?

ELVIRA

You're boring. Money, money, money!

That's all I hear in this house. Frank never talked about money

TONY

Cause Frank was dumb

ELVIRA

You know what you've become Tony an arriviste, an immigrant spic millionaire who can't stop talking about how much money he's got or how he's getting fucked. Why don't you just dig a hole in the garden honey and bury it and forget it

TONY

What're you talking about, I worked my ass off for all this

ELVIRA

It's too bad. Somebody should've given it to you. You would've been a nicer person

TONY

Hey you know what your problem is pussycat

ELVIRA

What is my problem, Tony?

TONY

...you got nothing to do with your life that's what

MANNY

Tony, c'mon

TONY

Why don't you get a job y'know? Be a nurse, work with blind kids, lepers, open a stationary store, I don't give a shit. Anything beats lying around waiting for me to fuck you all the time

ELVIRA

Don't toot your horn honey, you're not that good

TONY

Frank was better?

ELVIRA

You're an asshole

She goes

TONY

Hey c'mon Elvie, whatta we fight for, this is dumb!

He splashes the water in his tub and slams the TV shut

MANNY

I guess married life's not all that it's cracked up to be, hunh, Chico?

A friendly smile but Tony just stares glumly after Elvira

MANNY

I gotta hot date

TONY

This Seidelbaum thing?

TONY

Me and Nick'11 take care of it. You

Stay out of it

MANNY

Why! It's my deal

TONY

You stink as a negotiator, that's why. You like the ladies more'n you do the money that's your problem Manny

MANNY

Hey wait a second, I'm your partner

Tony, you can't trust me, who the

Fuck can you trust?

Pause. Tony mumbles something, barely heard

TONY

Junior partner

MANNY

Junior partner my ass!

TONY

I'm in charge. Do as I say. You go to Atlanta, you handle the Gomez

Delivery there

MANNY

You oughta lissen to your wife, muchacho. You are an asshole

He leaves, pissed, Tony mumbling to himself in his bath

TONY

Fuck you too... what do you know, who the hell put things together... me!

Who do I trust me, that's who

DISSOLVE TO

159 EXT. WAREHOUSE ALONGSIDE MIAMI FREEWAY DAY

Tony and Nick The Pig get out of a van, frowning in the

Glary sunlight. From the continual sound of jet aircraft

Taking off and landing we might sense we're near an airport

As Nick hauls a duffel bag on his back, Tony, carrying a

Suitcase of his own, reads the sign on top of the warehouse

'CONSOLIDATED CARRIES INC

160 INT. SEIDELBAUM OFFICE WAREHOUSE DAY 160

The office is bare and ugly, the furniture naugahyde black

There's noise from an outer office, and people on phones

Moving, talking

Tony and Nick sit on a couch stacking twenty dollar bills

From the duffel bag and suitcase onto a coffee table

Two men in casual sports clothing sit opposite them in

Chairs, one of them Seidelbaum squaring the bills and

Passing them efficiently through a money-counting machine

Which clicks at rhythmic intervals throughout the scene

Seidelbaum's a small, fat 7th Avenue-type with a lot of

Rings on his fingers and sharp, porky eyes

The other guy Luis a dark Cuban, is long, lean and

Smooth with aquiline nose and dancing eyes. He drinks

Coffee, smiles a lot and bullshits two sordid guys who

Look the part

It's a tedious process counting a million five in twenties, it takes four/five hours; and throughout the desultory dialogue Tony, absorbed by the money, and Nick never stop the monotonous work of counting and stacking and noting the amounts

At all times all four men, thoroughly aware of the large stacks on the table, move and talk gingerly although they appear casual and bored. They drink a lot of coffee

LUIS

I yeah back then I worked in pictures

I was in that picture down in Columbia

Burn, y'ever see it? ...with Marlon Brando

We're good friends. I was his driver

NICK

LUIS

Yeah, in Caragena, they shot it there... Gillo Pontecorvo, he was the director. Italian guy

Yeah, I also know Paul Newman. I worked with him in Tucson

NICK THE PIG

That so? Say, you know Benny

Alvarez there?

LUIS

SEIDELBAUM

Now you want a company check here for $283,107.65?

TONY

I come up with 284.6

SEIDELBAUM

No, that's just not possible. The

Machine don't make mistakes

TONY

Well, we'll count it again

SIEDELBAUM

Jesus!

TONY

Hey business is business. We're talking $1500

SEIDELBAUM

Okay, you keep the change okay, I don't give a shit

TONY

Okay but I'll go through it again with you

Seidelbaum ignores it, counting up another stack

SEIDELBAUM

Okay... This check now, this one goes to the

TONY

Montana Realty Company

NICK

How come you don't know Benny Alvarez?

DISSOLVE TO

161 INT. SEIDELBAUM'S WAREHOUSE OFFICE DAY

They're drinking another round of coffee, exhausted, smoke

Filling the room. The table now resembles a Mount Everest

Of green and they're still counting. The money, like discarded food, is spread all over the place in boxes, brown paper bags, on the couch. They stretch, rub their eyes

SEIDELBAUM

We're up to what?

LUIS

Seven checks. A million three hundred twenty-five and six hundred twenty-three ...plus eighteen cents

TONY

Hey we're almost finished. Another 200 thousand and we can take a leak

SIEDELBAUM

Yeah, but this'll do fine

Pulls a pistol from his ankle and rises

SEIDELBAUM

You're under federal arrest, Montana

For a continuing criminal conspiracy

The RICO Statute. Get 'em up

Tony astonished

TONY

Shit... You're not kidding hunh?

Eyes darting. Considering the options. The little fat man's eyes are suddenly agile and mean-.-Tony reads them, lifts his arms

SEIDELBAUM

Get it

Luis moves around Tony to disarm him

TONY

So how do I know you guys are cops?

Luis, produces a wallet with identification, shoves it under Tony's nose

LUIS

What's that say, asshole?

Insert: Photograph and Drug Enforcement Agency ID

TONY

Hey that's good work, where can I get one of those?

LUIS

Cabron! You call yourself Cuban?

You make a real Cuban throw up

SEIDELBAUM

Looie! Cool it

TONY

Call your dog off, Seidelbaum. I wanna call my lawyer

SEIDELBAUM

Lotta good he's gonna do you Montana. There's an eye there in the wall

Say hi, honey

162 IN'P. SEIDELBAUM'S WAREHOUSE OFFICE DAY REVERSE ANGLE ON VIDEOTAPE

Blurry image of the men in the room. Tony is not that

Clear an image as he glances briefly, uninterested, into the camera

TONY

Yeah, is that what you jerk off in front of Seidelbaum?

NICK

Shit and I was supposed to meet this chick at three. What a pain in the ass

SEIDELBAUM

Okay, Danny, turn it off

The angle goes black

163 BACK TO SCENE 163

SEIDELBAUM

All right, Montana, you have the right to remain silent. Anything

You say can be taken against you. You have the

TONY

I know all that shit, Seidelbaum, save your breath. It ain't gonna

Stick. You know it, I know it. I'm here changing dollar bills is all

So you wanna waste everybody's time here, I call my lawyer. Best lawyer in Miami. He's so good tomorrow morning you're gonna be working in Alaska, Seidelbaum

As they handcuff him

DISSOLVE TO

164 INT. TONY'S BATHROOM DAY 164

'Drug King Posts Record $5 Million Bond' a front page photo

Of Tony, Elvira, and Sheffield, the lawyer

CUT TO

165 XNT. TONY'S BATHROOM DAY 165

Tony, tense, checks himself in the mirror, adjusts his

Hair. A vial of coke appears. He snorts a large amount

Goes out. It's the first time we sense he might be using

The stuff on a steady and increasingly heavy basis

CUT TO

166 INT. LAWYER'S OFFICE NIGHT

Tony is pacing nervously. Manny looks on. Red-headed

Sheffield rasps through a cloud of cigarette smoke behind

His desk

SHEFFIELD

..you give me a check for a hundred grand plus three hundred in cash and I guarantee you walk on the conspiracy charge. But they're gonna come back at us on a tax evasion and they'll get it

TONY

What am I looking at?

SHEFFIELD

Five years, you'll be out in three, maybe less if I can make a deal

TONY

For what! Three years in the can!

For washing money? This whole country's built out of washed money!

MANNY

Hey, Tony, what's three years? lt's not like Cuba here. It's like going to a hotel

Tony shakes his head, grimacing like he's having an

Epileptic fit

SHEFFIELD

I'll delay the trial. A year and a half, two years, you won't start doing time till '85

TONY

No...no, they never get me back in a cage.. -never! HeyI George I go another four hundred grand I go 800,000 dollars, okay? With that you can fix the Supreme Court, hunh?

SHEFFIELD

Tony... the law has to prove 'beyond a reasonable doubt.' I'm an expert at raising that doubt but when you got a million three undeclared dollars staring into a videotape camera, honeybaby, it's hard to convince a jury you found it in a taxi cab

Tony paces back and forth like a tiger, corking his fury

Abruptly coming to a decision, he whirls and leans across

Sheffield's desk

TONY

All right all right. I do the three fuckin' years but lemme tell

You about my law, George. It's realsimple. There's no 'reasonable doubt.' If you're rain-making the judge or you fuck me for the four hundred grand and I come in guilty on the big rap you, the judge, the prosecutor, nothing's gonna stop me, y'hear?

I'm gonna come and tear your fuckin' eyeballs out

Pause

SHEFFIELD

The point is made. Now where's the money?

Tony nods to Manny who hauls a briefcase up on Sheffield's

Desk. Tony abruptly walks out, a vial appearing in his

Hands as he steps out of the office. He sniffs

CUT TO

167 EXT. SOSA VILLA BOLIVIA DAY 167

Camera follows Tony with Ernie and Chi-Chi dowr'the outside

Gallery onto the veranda where Sosa is reclining with

Several other men all in casual clothes, enjoying their

Coffee after lunch

SOSA

Tony...Tony

TONY

Alex

They hug like they were the closest of friends

SOSA

I'm glad you made it on such short notice. I appreciate it. How's Elvira?

TONY

She's okay. How's your wife?

SOSA

Three more months

TONY

That's great

SOSA

And you, when are you going to have another Tony to take your place

TONY

I'm working on it

SOSA

I guess you'll have to work harder, Tony

They laugh, nervously. Sosa is a little more reserved with

Him than before in tune.with the other men at the meeting

SOSA

Tony, come, I want you to meet some friends of mine

He smoothly guides Tony towards the group of men who rise

SOSA

This is Pedro Quinn, chairman of Andes Sugar here...Tony Montana

PEDRO QUINN

A pleasure, Mr. Montana

Camera tracking through ad-lib introductions, the music

Assuming a faint martial stride

SOSA

General Eduardo Strasser, Commander of the First Army Corps...Tony Montana

The man is in civilian clothes

SOSA

Ariel Bleyer, from the Ministry of the Interior... Tony Montana

The cameras moving past Sosa's black aide, the Skull (who

Nailed Omar) silent behind his sunglasses, to an American-

Type in a Brooks Brothers suit who stands

SOSA

Charles Goodson a friend of ours from Washington

TONY

Hi

GOODSON

How do you do, Mr. Montana

He smells like a government guy. Sosa summons the black aide in a hushed voice

SOSA

Nicky, have Albert meet us in the living room

The black aide goes

SOSA

Tony, come, please sit here

Tony is shown a chair in the middle of the veranda

Surrounded on all sides. There is a strained beat to the

Proceedings. Ernie and Chi-Chi hang around the edges

He suddenly catches a glimpse of the sloe-eyed Gabriella

Moving with another woman past a window of the house. Then

She's gone

Sosa pulls up a chair right opposite Tony, almost touching

Knees

SOSA

Tony, I want to discuss something that concerns all of us here

TONY

Sure, Alex

SOSA

Tony, you have a problem; we have a problem... I think we can solve both our problems

Tony waits

SOSA

We all know you have tax troubles in your country and you may have to do a little time. But we have some friends in Washington who tell us these troubles can be taken care of... maybe you'll have to pay a big fine and some back interest, but there's no time

Pause. Tony looks. The American guy, Goodson, shifts his

Gaze away

TONY

And your problem, Alex?

Sosa looks around, stands up

SOSA

Come, I'll show you

Tony cautiously stands to follow him

CUT TO

168 INSERT INT. SOSA VILLA LIVING ROOM DAY VIDEOTAPE 168

MATOS STUDY

A 'Phil Donahue-type' setting. A segment now in progress

With the 'Donahue-type' interviewing Dr. Orlando Gutierrez

Gutierrez is a young charismatic man, very well dressed and

Polished in a South American manner who exudes a sense of

Enormous passion

GUTIERREZ

More than 10,000 of our people are being tortured and held without trial. In the past two years, another 6,000 have simply disappeared. And your government what does it do? It

Sells my government tanks, planes, guns, but not a word not-a whisper-- about human rights!

INTERVIEWER

I've heard whispers, Doctor Gutierrez, about the financial support your government receives from the drug industry in Bolivia

GUTIERREZ

The irony, of course, is that this money which is in the billions

Jim is coming from your country. You are the major purchaser of our national product which of course is cocaine

INTERVIEWER

So what you're saying Doctor Gutierrez is the United States Government is spending millions of dollars to eliminate the flow of drugs into our streets and at the same time is doing business with the very same government that floods those' streets with cocaine... that's a bit like robbing Peter to pay Paul, isn't it?

GUTIERREZ

Let me show you some of the other characters in the comedy, Jim... my organization just recently traced a purchase by this man

Gutierrez holds up a photograph insert the face on the TV

Screen, dour, ruthless

GUTIERREZ

Here he is, the charming face belongs to General Cucombre, the Defense Minister of my country. Two months ago he bought a twelve million dollar villa on-Lake Lucerne in Switzerland

Now if he's supposed to be the Bolivian Defense Minister, what's he doing living in Switzerland? Guarding the cash register?

Laughter

169 TONY 169

Watching, touching his nose a lot, blowing it, hyped from

The coke usage

SOSA

A Communist financed by Moscow

170 GUTIERREZ 170

Holds up another photograph insert the face on the

TV screen

GUTIERREZ

...this is Alejandro Sosa. Interesting character. A wealthy landowner. Educated in England. Good family. The business brain and drug overlord of an empire stretching across the Andes. Not your ordinary drug dealer

INTERVIEWER

What are you suggesting we do about this, Doctor?

GUTIERREZ

The United States Government has to stop supporting these fascist gangsters that are running my country, that is what your country has to do. You have to set a strong example by calling for the observation of fundamental human rights

171 TONY 171

Staring intently at him, reluctantly impressed

GUTIERREZ

You Americans have no idea how important your country is as a

Symbol and a bastion of those rights. You have no

Sosa flips off the television. The lights come on. He's alone with Tony

SOSA

...he's scheduled next for 60 Minutes. He's going on French, British, Italian, Japanese television. People everywhere are starting to listen to him. He's embarrassing, Tony

That's our problem

TONY

Sosa looks up

The Shadow comes into

The room, thin and quiet, his venomous eyes flicking over

Tony. The Skull leads him in

SOSA

You've met Alberto before?

TONY

Sure. How could I forget?

SOSA

Alberto, you know Tony Montana my partner from Florida

Alberto nods icily, remains standing adjacent

SOSA

So you see Alberto here is going to help fix our problem. Alberto, you know, is an expert in the disposal business but he doesn't know his way around the States too well, he doesn't speak English, and he needs a little help

Is that a problem, Tony?

Tony looks around the faces, then

TONY

That's no problem, Alex

Alex nods, pleased

Hold on Tony. He blows his nose again

CUT TO

175 INT. THE RESTAURANT MIAMI NIGHT

A millionaire's place, like 'The Forge' on Arthur Godfrey

Road. Tony, Elvira, and Manny are shown to their table by the maitre d'. Tony, a little loaded, intersects a group of people at another table and stops, putting his hand on a heavyset man's shoulder

TONY

Hey, Vic, I watch your show everyday

Vic who we saw before editorializing on television.--

Cranes his leonine white head of hair around with a

Patrician annoyance reserved for bores in restaurants

VIC

Is that so?

TONY

Yeah. Hey, you know that two hundred kilo DEA bust you was congratulating the cops for on the toob the other night?

VIC

Aren't you... Tony Montana?

TONY

Yeah, that's me

The half-dozen rich people in the dinner party are intrigued

TONY

Hi folks, don't get up. Anyway, Vic, check it out. I heard like it was 220 kilos went down. That means twenty is missing, right? Ask your friends, the cops, about that and keep up the good work, Vie, but don't believe everything you hear, y'know what I mean? Okay, have a good dinner, nice to meet you people

Waves farewell to them, pats Vic once more on the shoulder, and leaves them murmuring

MANNY

Hey, Tony, that's not cool, he's got a lotta friends in

TONY

I don't give a fuck. He's an ass-hole! Never fucking tells the truth on TV! That's the trouble in this country. Nobody fucking tells the truth!

Not caring if he's overheard, Tony seems to be in the grip

Of an anguish he does not understand

CUT TO

173 TONY

Sits with Manny and Elvira, who is dipping into a vial of coke in the purse in her lap. Another huge meal is being consumed, the best roast beef, bottles of red and white wine, cigars

MANNY

So what's the big mystery, what happened down there with Sosa?

TONY

Lot of bullshit, that's what. Politics

The whole world's turning into politics

He pulls out his own vial under the table between eating and drinking

MANNY

The one thing we always stayed out of was politics, Tony

TONY

Yeah, so what do you think Emilio Rebenga was? Politics or what?

Manny remembers

TONY

No free rides in this world, kid

MANNY

So who's this guy you brought back with you, the guy who don't blink?

ELVIRA

What guy?

TONY

You stay out of it. Run things down here. I'll be up in New York next week

He takes a hit, unnoticed

ELVIRA

What guy?

MANNY

I don't like it

TONY

You don't like it! It was you got me into this mess in the first place with that fuckin' Seidelbaum!

What's Seidelbaum got to do with this?

Tony sighs, turning his attention to Elvira. He surveys the

Table with the bored satiety of a Roman Emperor, points to

Elvira's untouched plate

TONY

Why don't you eat your food, what's

Wrong with it?

ELVIRA

I'm not hungry

She quickly does one nostril with a quick, practiced move-

Ment of her hand

TONY

So what'd you order it for?

ELVIRA

I lost my appetite

She does the other nostril. Tony looking at her. One beat

Two beats. He passes a silent burp

MANNY

So what about the trial? I heard Sheffield thinks he can get a new postponement

Tony, bleary-eyed now and drunk, continues to look at Elvira, then away, encompassing the restaurant

TONY

Is this it? Is that what it's all about, Manny?

Eating, drinking, snorting, fucking? Then what?

You're fifty and you got a bag for a belly and tits with hair on 'em and your liver's got spots and you're looking like these rich fuckin' mummies in here?

Is that what it's all about?

MANNY

It's not so bad Tony, could be worse

TONY

Is that what I worked 'for? With these hands? Is that what I killed for? For this?

A junkie??? I gotta fucking junkie for a wife? Who never eats nothing, who wakes up with a quaalude, who sleeps all day with black shades on, who won't fuck me cause she's in a coma!

MANNY

Tony, you're drunk

TONY

...is this how it ends? And I thought I was a winner? Fuck it

Man, I can't even have a fucking kid with her, her womb's so polluted, I can't even have a fucking little baby!

Elvira reacts wanting to kill. She gets up and dumps

Her plate filled with food on him. Slop drips all over him

ELVIRA

You sonufabitch! You fuck!

They got a black tie audience now. The waiter tipping

Around to clean up the mess. Tony slowly wiping the food

Off himself

ELVIRA

How dare you talk to me like that!

You call yourself a man! What makes you so much better than me, what do you do? Deal drugs? Kill people?

That's just wonderful Tony a real contribution to human history. You want a kid. What kind of father do you think you'd make, Tony? What kind of stories are you going to tell the kid before he goes to sleep at night? You going to drive him to school in the mornings, Tony? You really think you're still going to be alive by the time he goes to school, Tony? You're dreaming, Tony, you're dreaming!

The audience is hushed, involved, the camera moving over

The faces of Vie and his rich friends

Tony acidly quiet, looks around at the people, back to her

TONY

Sit down before I kill you

ELVIRA

You think of yourself as a husband, too, Tony. But did you ever stay home without having six of your goons

Around all the time? I have Nick the Pig as a friend? What kind of life is that Tony? What kind of life is that?

Tony don't you see? Don't you see what we've become? We're losers, honey, we're not winners, we're losers

Silence. Tony's fury has passed. So has Elvira's. There's

This awkwardness all of a sudden like two actors who forgot

Their lines

TONY

Go on, get a cab home, you're stoned

Manny

ELVIRA

No, I'm not stoned Tony. You're stoned. You're so stoned you don't

Even know it

TONY

All right I'm stoned

MANNY

Come on, baby

ELVIRA

No, no you stay right there Manny, I'm not going home with you... I'm not going home with anybody. I'm going home alone

I'm leaving you. I don't need this shit anymore

Pause. She starts wobbling out

Past the silent spectators, their eyes moving between her and Tony. Manny rises to follow

TONY

Let her go! ...Another Quaalude and she'll love me again

Stumbling once, Elvira disappears out the door

Tony's eyes follow her. Pause

The whole room is watching him sitting there covered with

Food, the silence cathedral. He stands, wiping at the food

And throwing several hundred dollar bills on the table

Then looks up angrily at the staring millionaires

TONY

You're all assholes. You know why?

Cause none of you got the guts to be what you want to be

He wobbles against the table. Manny tries to help. Tony

Shakes him loose

TONY

You need people like me so you can point your fingers and say 'hey there's the bad guy!' So what does that make you? Good guys? Don't kid yourselves. You're no better'n me. You just know how to hide and how to lie. Me, I don't have that problem. I always tell the truth even when I lie

He starts out, staggers

TONY

So say good night to the bad guy

You're never gonna see a bad guy like me again

He walks out, proud, Manny bringing up the rear. The room

Is empty for a beat an extended beat, the stage without

Its star and then the audience begins to buzz with horror

And delight

CUT TO

174 EXT. GUITERREZ' STREET NEW YORK NIGHT

A quiet East Eighties street. Two rich-looking male lovers

Stroll past with their dog. A moment of silence. Tony

Moves into frame

Behind him, the Shadow moves towards a sedan

Parked along the curb, carrying an airline bag. Be slips

Under the car

Tony looks

175 ERNIE

Down the street at the intersection of the avenue, surveying

Traffic, signals okay

176 CHI-CHI

Waits in Tony's sedan double-parked down the block

Tony, feeling everything's okay, does .a nervous, quick

Snort, paces next to the vehicle the Shadow disappeared

Under

Ground level the Shadow, using a pen flashlight, removes

The bomb from the bag. With subtly inexorable music, the

Camera frames and moves on the bomb wired, soldered

Taped a malignant centipede in the long agile fingers of

The Shadow, who delicately presses a tester. A glass button on the bomb now flashes red at soothing intervals as the Shadow winds a roll of black tape from the bomb to an

Axle of the car

177 ERNIE

Signals

178 TONY

Sees it

A cop car comes cruising off the avenue up the street

Towards us

Ground level the Shadow continues to wind his black tape trying to secure the bomb as tight as possible

Tony hurries to the car, bends down

TONY

Psst! La Jara! Apaga

The Shadow douses it and freezes in position

Tony looks up just as the cop car pulls alongside, the

Passenger cop, a female, noticing him, saying something to her partner who eases the car to a halt

Tony hurries out into the street, taking the initiative

TONY

Hey officer, you haven't seen a little dog have you, a little white poodle, it's around here somewhere?

Jesus, my kid's gonna go crazy when he hears I lost 'im. boy am I gonna be in trouble

FEMALE COP

Why don't you check the ASPCA okay? They handle that stuff

TONY

The ASPCA? What's that? ...Jesus, that's not the place where they chop these dogs up is it?

FEMALE COP

Look it up in the Yellow Pages okay, buddy

Tony looks at them go, takes another snort, walks over to

The car, bangs on the hood several times

TONY

Hey smiley, come on outta there, you're under arrest!

178 CONTINUED 178

Pause. The Shadow, unsmiling, appears from under the car

Gun drawn, glowing with perspiration. When he realizes it's

A joke, his eyes blaze at Tony

SHADOW

What the fuck you doing!

TONY

Hey that was close, hunh?

CUT TO

179 EXT. GUITERREZ' STREET NEW YORK DAY EARLY NEXT MORNING 179

Ernie, Chi-Chi, and the Shadow huddle cold and uncomfortable in the sedan, waiting eating pizzas and drinking beers. The morning has come down ice cold

180 INT. PHONE BOOTH NEW YORK DAY 180

At the phone booth up corner, Tony the unshaven, bleary-eyed is rapping on the phone

TONY

Yeah, _ yeah...nah, nah...you tell Sheffield keep his nose out of it, there's not gonna be no trial, I got everything under control, yeah... Have you heard from Elvira?

He waits, hangs up, snorts some more, impatient. He picks up the phone again, starts dialing

181 INT. TONY'S NEW YORK SEDAN DAY 18

In the sedan, the Shadow peers over, angry, at Tony

SHADOW

What the fuck's he doing now! That sonufabitch

182 INT. PHONE BOOTH NEW YORK r DAY 18

In the booth, Tony, snorting another nostril, moves back

And forth as the phone rings at the other end. Finally she

Picks up

ELVIRA'S VOICE

Yes?

TONY

Hello baby, how's Baltimore?..hey look Elvie, I been thinkin' 'bout us, you know and

The phone goes dead. Furious he slams it back down, stalks back out to the sidewalk

183 OMITTED 183

184 INT. TONY'S SEDAN DAY 184

He gets in the driver'6 seat. The Shadow's next to him

With the radio transmitter, Chi-Chi, in the back. Tony, seemingly unaffected by the weather, reaches for an open pint of ice cream, starts eating it with a plastic spoon

He alternates ice cream with coke through the scene;the

Dashboard of the car cluttered with cartons of half-eaten

Chinese food

The Shadow, disgusted with all this mess, restrains himself

Staring out at the street with a hate-filled expression

Saying nothing

CHI-CHI

Everything okay Tony?

TONY

Yeah roses. Where is this fuckin' guy?

I don't got all day to piss away

CHI-CHI

Probably fucking his wife

Jeezus it's cold

185 THEIR POINT OF VIEW THROUGH TONY'S WINDSHIELD DAY

The door of the brownstone. No movement. Though now

There's increasing traffic on the street and passing pedestrians

TONY

We oughta shoot him when he comes

Out the door, save a lotta bullshit

186 INT. TONY'S SEDAN DAY

CHI -CHI

What's so important about this guy anyway? What's he, a Communist?

TONY

Nah he's no Communist. He's a kinda symbol, that's what he is

CHI-CHI

What the fuck's that mean symbol?

TONY

It's like when you die, your life meant something to somebody, y'know? It wasn't like you just lived it for yourself, but you did something for the rest of the human race too

Tony snorts another line seen through the rearview mirror

CHI-CHI

TONY

Me, I wanna die fast. With my name written in lights all over the sky. Tony Montana. He died doin' it

CHI-CHI

Whatcha talking 'bout Tony, you ain't gonna die

TONY

...So I'll end up in a coffin. So what? The cockroach fires the bullet's gonna end up in a coffin just like me. But I lived better when I was here. And that's what counts

Pause

TONY

Ernie, what time?

ERNIE

Ten to

TONY

I gotta call Manny

He starts out the door. The Shadow barks out something in

Preemptory Spanish

SHADOW

Sit down!

TONY

Hey, you don't tell me what to do, you

CHI-CHI

Tony, he's coming!

187 EXT. MATOS' STREET DAY

Tony looks around, sees

Matos coming out the door, briefcase in hand

Tony gets back in the car

188 THROUGH TONY'S WINDSHIELD DAY

Matos gets into his sedan a quarter block down from his front door

189 INT. TONY'S SEDAN DAY

Tony staring

The Shadow, most excited of all, like a panther that just

Spotted his prey, eyes alive for the first time

190 THROUGH TONY'S WINDSHIELD DAY

Matos sits there warming up his car, looking back at the brownstone

191 XNT. TONY'S SEDAN DAY

SHADOW

...The UN right in front of it

In the daylight. That's the way they want it

Tony breaks open a fresh vial

TONY

Hey okay I don't give a shit where, okay, you can blow him up when you like okay, just tell me okay when you like

The chatter comes out jagged, irritating the Shadow who

Doesn't understand Tony's English anyway

SHADOW

What's he saying! You tell him stay inside thirty metres of the car okay no more you just stay inside thirty metres

TONY

Hey, okay, I heard you the the first time. One time okay. Just tell me one time

SHADOW

I tell you thirty metres okay! You understand, madre de dios, why this hop-head is driving!

CHI-CHI

Okay, okay

TONY

Okay, okay, cool it willya, all right

192 THROUGH TONY'S WINDSHIELD DAY

Matos pulls his car out of the parking space

Tony puts his car in gear, prepares to pull out when

Matos stops his car, backs up in the direction of his front door

TONY

What the

Matos comes to a halt, double-parked, honks

193 INT. TONY'S SEDAN DAY

TONY

What's he doing? Where's he going?

194 MATOS' BROWNSTONE SIDEWALK DAY

The wife opens the door, steps out followed, moments

Later, by two schoolchildren, books in hand. Matos waves

To them to come along

195 INT. TONY'S SEDAN DAY

Tony looks astonished, back at Chi-Chi

TONY

What the fuck! You said the wife took 'em in the other car

CHI-CHI

She did boss. She did it every fuckin' day, I swear!

196 THROUGH TONY'S WINDSHIELD DAY 196

The two children are now climbing in the back of Matos'

Sedan, the wife getting into the pasenger seat. They drive off

197 INT. TONY'S SEDAN DAY 19

Tony, upset now, goes to his vial, snorts, turns sharply to

The Shadow

TONY

Hey Chico, no fuckin' way! No wife, no kids! We hit this fuckin' guy we hit him alone okay

SHADOW

No! Mr. Sosa says we do it now

We do it

He has the strength of a born psychopath, brooking no other reality but his own. He stares a hole through Tony who gives way to his intensity, going into a slow angry burn at himself, putting the sedan in gear and going after Matos

Muttering to himself

TONY

...aw fuck this, this fuckin' asshole!

Chi-Chi, in the back, looks on worried

198 NEW YORK STREETS DAY FOLLOWING MATOS' SEDAN

Through Manahattan, towards the UN

The Shadow making the final adjustments on his decoder. He now sticks a key in it. A red light pulses at intervals

Tony, driving, glances, the tension building in him, he

Does another giant snort

Matos' sedan, swerving out into traffic to pass a car, has

A near collision with an insane bus driver and has to brake

Suddenly, angling into a deep pothole, shaking the car and

Honking angrily after the bus

The Shadow goes nuts, peering over the dashboard to see if

The bomb came loose

SHADOW

Madre de dios, my bomb! don't you fuckin' fall, my little baby!

Perspiration starting to break out on his forehead

Tony also feels the sweat coming on

TONY

...this is fuckin' crazy, man, this is sloppy doing it this way, you

Don't do it like this

He honks furiously at a cab that tries to cut him off

199 INT. TONY'S SEDAN DAY

Tony, intense at the wheel, sneezing, his nose running

SHADOW

You're losing them! There! That street, they go that street!

TONY

I see 'im! I see 'im!

SHADOW

Thirty metres! Thirty metres! Go! Go!

TONY

Shut the fuck up!

Honking like a madman and accelerating past a truck

TONY

...what am I doing? What the fuck am I doing here?

200 THROUGH TONY'S WINDSHIELD DAY 200

Sedan pulling off at 47th and Second Avenue heading

Mato's

For the United Nations building which now appears at the

End of the street

201 INT. TONY'S SEDAN DAY 20

SHADOW

Okay, now...now. Right here

Easy. Easy!

The decoder

Tony snorts

TONY

Aw, fuck you, you fuckin' vulture

The Shadow in stark profile

His finger depresses the first key of the decoder

UNDER MATOS' CAR DAY

202 20

The bomb pulsing red light

203 THROUGH TONY'S WINDSHIELD DAY 203

The Gutierrez sedan pulls off the sidestreet into the thick

Of First Avenue traffic approaching the striking facade

Of the United Nations

204 INT. TONY'S SEDAN DAY 204

The Shadow is in a full sweat

SHADOW

...okay, okay, nice 'n' easy...at the corner... when he pulls up at the corner

His finger hovering around the second key of the decoder

Chi-Chi in the back, leaning forward across the seat

TONY

Two kids in the car, Jesus Christ!

205 UNDER GUTIERREZ' CAR DAY 205

The bomb jarred by -a bump, pulsing red light

206 THROUGH TONY'S WINDSHIELD DAY 206

Gutierrez' sedan inches its way out of the traffic and eases along the curb

207 INT. TONY'S SEDAN DAY 207

Tony honking his way through traffic after them, building

To a climax with himself

TONY

...bunch of fuckin' vultures. You don't have the guts to look 'im in the eye when you kill him, you gotta hide, you fuckin' vulture

Honk, honk

SHADOW

Shut up!

CHI-CHI

He's gonna get out! Hurry up, hurry the fuck up!

TONY

Makes you feel good, hunh?

Killing the wife and the kids. Big man. Well fuck you! What do you

Think I am? You think I'd kill two kids and a woman. Well fuck that!

I don't need that shit in my life

His face twisted in agony, he reaches down and snaps his Beretta free from his ankle holster. He swings it around sharply, leveling it on the Shadow

TONY

Motherfucker!

The Shadow glances over at Tony, astonished. Tony pumps

Two shots point-blank into him, blowing his face off and

Smashing him against the door of the moving sedan, blood

And brains splattering the windows and the seat covers

CHI-CHI

Jesus Christ! Jesus Christ!

What the

Tony swerving the sedan back across the Avenue, the traffic

Around them honking and moving along at its normal pace as

The Shadow's body slumps down out of sight, another Monday

Morning traffic accident with blood and brains splattered

Up against a passenger window and nobody really sees

Except a six-year-old girl in an adjacent vehicle; she

Wonders momentarily, then dismisses it

TONY

...so what'd you think I was, hunh?

A fucking worm like you! I told you don't fuck with me! I told you no kids! You shoulda listened to me you stupid fuck!

CUT TO

208 OMITTED

209 EXT. JFK AIRPORT THAT NIGHT

Planes roaring

210 INT. JFK AIRPORT

Chi-Chi waiting in a busy lounge covering Tony on the phone

Tony's still wearing the same clothes with patches of blood

On them

TONY

Ernie? Where the fuck you been?

ERNIE'S VOICE

I had a delivery. Tony, everything go okay, whatsa

TONY

Fuck no? Where the hell's Manny? I been calling all over

ERNIE'S VOICE

I don't know, Tony. He's been gone last couple of days. Didn't say nothing

TONY

What! Where! I left that sunufabitch in charge! What the hell is going on here, can't I trust anybody anymore

ERNIE'S VOICE

I don't know, Tony, he just took off, y'know, he didn't say nothing

You all right?

TONY

No, I'm not all right. I'm pissed off! And when I 'get there I'm gonna kick some ass all over the fuckin' place!

ERNIE'S VOICE

When you coming back, Tony?

TONY

Tonight!

Where the hell is that cocksucker?

I can't trust nobody no more. You think just cause I'm a nice guy

ERNIE'S VOICE

Tony, your mama called. Gina's gone. She got to see you right away

TONY

Gina's gone? Where! fuck! ...Tell her I'll be there tonight. Okay?

ERNIE'S VOICE

Right

TONY

How 'bout Elvie did she call?

ERNIE'S VOICE

No

TONY

Yeah, okay, okay... listen if she calls, tell her I love her, okay?

ERNIE'S VOICE

Yeah, okay Tony

Tony hangs up. A moment of despair. Then he snorts

Another spoon and snaps back

CUT TO

211 EXT. AIRPORT NIGHT 211

Plane taking off

CUT TO

212 EXT. TONY'S MANSION THAT NIGHT 212

Tony drives up in a white Corniche with Chi-Chi, jumps out in the same bloodstained clothes, rushes in

213 INT. TONY'S MANSION NIGHT 213

Ernie meets them at the door

TONY

Hear from Manny?

ERNIE

No Tony. Your mama called again

She gotta see you. And Sosa's been ringing every half-hour on the eleven line. Tony, he sounds pissed, he

TONY

Yeah, yeah, yeah... Chi-Chi, get him on the line. In the office

Chi-Chi goes

TONY

What about Elvie anything?

Ernie shakes his head

TONY

You keep trying Manny. I need that cocksucker, you hear, I need him here! Okay?

ERNIE

Right, Tony

Tony stalks off, towards his office

214 INT. TONY'S OFFICE

Amid his computer space games and half-dozen televisions

And stereos, Tony picks up the ringing phone

TONY

Yeah? Hi. Mami

Her voice on the phone sounds hysterical and angry

The other phone is ringing

Not really listening, Tony breaks open a new vial, pours the entire vial of coke out across the desk into a thick quarter-moon pattern. He snorts

Chi-Chi signals he's got Sosa on the other line

TONY

Yeah, all right. I hear you. I'll be there!

No problem, okay

He hangs up, snorts, then pushes the button Chi-Chi indicates

The telephone should be the latest in gimmickry

TONY

So whaddaya say Alex?

Pause. The voice at the other end is very controlled, very

Cold

SOSA'S VOICE

So what happened Tony?

TONY

We had some problems

SOSA'S VOICE

Yeah, I heard

TONY

How'd you hear?

SOSA'S VOICE

Cause our friend gave a speech today at the UN. He wasn't supposed to give that speech

TONY

Yeah, well, your guy Alberto was apiece of shit, he didn't do what I

Said so I cancelled his fuckin' contract

Pause at the other end

SOSA'S VOICE

E M-y partners and I are pissed off

TONY

Hey Alex, no big deal. There's plenty other 'Albertos'. So I'll

Deliver the goods next month

SOSA'S VOICE

No! We can't do that. They found what was under the car, Tony. And our friend's got security now up the ass. And the heat's coming down hard on me and my partners

There's not gonna be a next time. You blew it, you fuckin' dumb cocksucker!

TONY

Hey, you don't talk to me like that!

Who do you

SQSA' S VOICE

I told you a long time ago, you little fuckin' monkey, not to fuck me and

Tony holding the mouthpiece away from his ear and talking at it like it was a face

TONY

Who the fuck you think you're talkin' to, hunh! Whatta you think

I am? Your fuckin' slave! You don't tell me what to do, Sosa. You re

Shit! You want a war, you got it?

Slams the phone down

TONY

The fucking nerve of that guy!

In the cavernous silence of the room, he listlessly turns to another line of coke

CUT TO

215 EXT. MIAMI STREETS NIGHT 215

Tony in the backseat in his white Corniche staring straight

Ahead. Ernie driving, Chi-Chi with him

216 EXT. MOTHER'S HOUSE SOUTHWEST MIAMI NIGHT 216

The bulletproof white Corniche pulls up, Ernie and Chi-Chi

Getting out first, checking the street, Tony following quickly

TONY

You try Manny again. Gimme five minutes

He hurries towards the house

217 INT. MOTHER'S HOUSE NIGHT 21

Mama is angry and ravaged with worry, made weaker than

Previously, as if overwhelmed by events

MAMA

She got a place of her own, she don't tell me where. One day I follow her in a taxi. She goes into this fancy house in Coconut Grove

TONY

The Grove? Where'd she get that kinda money?

You You were giving her the money, what do you think don't you see what you do to her, don't you

TONY

I never gave her that kinda money

MAMA

Yes, you did! One time. One thousand dollars you gave her!

TONY

Mama, was there a guy with hex?

MAMA

I don't know, there was this other car in the driveway. I know if I went in there, she'd kill me, she's like you, she

Tony's face filling with the old wrath, he grips his mother

By the shoulders

TONY

Where's this house, tell me!

MAMA

Citrus Drive. Four hundred something

Four hundred nine. You gotta talk to her Tony, she don't listen to me anymore. She says to me 'Shut up! Mind your own business.'

Exactly like you do to me. Ever since you come back, she's been getting this way

He turns to leave but she clings to his arm

MAMA

Don't you see what you do to her?

Don't you see? Why do you have to hurt everything you touch, why do you

TONY

No! You know why she left, Mama?

Not cause of me. Cause of you

MAMA

Me?

TONY

Yeah, it's you drove her nuts withyour nagging and bitchin'

MAMA

Nagging and bitchin'? I only demand a little respect and dignity in this house, is that why I am nagging and bitchin'?

TONY

...and you did the same thing to me. I wasn't this, I wasn't that

Never good enough for you. I never felt nothing from you, Mama nothing!

MAMA

Because I was putting food on the table, because I suffered for both of you

TONY

First time I ever needed you, where were you?

MAMA

Where was I?

TONY

...when I was in that Army jail in Cuba, rotting my ass off, not once

I hadda come out into the fuckin' streets to find out my mother and my sister are gone from my house, they left the country, not one word, one letter, that's right.- Where were you?

MAMA

You ..sin verguenza. From the time you were five, you gave me heartbreak and humiliation and shame

TONY

That's right! That's right. What did you expect!

MAMA

.that's what you brought into this

I&use. If I were to listen to you, you would convert my house into your gangster headquarters

TONY

What do you expect now? To be loved?

You got no love in you, Mama

What do you think Papi left for? And Gina? At least I didn't walk around with my head hanging down between my legs my whole fuckin' life. Like Papi like the way you made Papi feel. I made something outta my life. I'm somebody and I'm proud of it

MAMA

Somebody? You're proud? You're a

Nothing. You're an animal!

Tony storms out of the door as Mama pursues

MAMA

God help me, what have I done to you?

You were a beautiful baby. I used to watch you sleep. So beautiful. How? How, Dies Santo, did you become such a monster, such an ugly little monster

Tony slams the door, we hold a beat on her face as if she had finally answered her own questions

218 EXT. MOTHER'S HOUSE 218

Tony stomps into his white Corniche, Ernie discreetly

Closing the door and getting in with Chi-Chi as Mama rips

Open her door in b.g. and stands there staring from the

Doorway weeping and staring across the dark. Tony

Takes a strong hit of coke. The car whistles off

CUT TO

219 EXT. HOUSE COCONUT GROVE THAT NIGHT 219

Tony in the backseat of the Corniche with Chi-Chi studies

The house from across the curb. It's quiet, rich, suburban

Not calling attention to itself

Tony, seething, snorts another line of coke laid out on the

Crystal bar dividing the backseat, and rewed, goes

TONY

Wait here

He approaches the front door, listening, the hand sliding into his pocket. Inside a wistful Billy Joel song plays over the stereo. He rings a buzzer, waits

Hold the pause. The door opens casually. Standing there is Manny with a towel around his waist

MANNY

Tony?

Tony stares, stunned

Gina now comes into view behind Manny in a bathrobe, a

Big smile of welcome for her brother

GINA

Tony!

Tony with his Beretta pointed at Manny, his expression filled with loathing

Manny smiles easily and shrugs, the gesture drawing Tony over the edge

MANNY

Hey Tony, c'mon we was

The gun fires

GINA

Tony! No!

Tony fires a second time

Manny slowly slumps downward against the doorjamb, eyes on Tony, terribly surprised

Tony holds the gun, staring down, separated from himself

Manny lies at his feet, dead

GINA

Manny!

She goes down to her knees, stunned out of her mind, shakes him

GINA

Manny!

She looks up, insanely, at Tony, her eyes huge with disbelief

GINA

You killed him?

Shaking her head at him incredulously

GINA

We got married just yesterday. We were gonna surprise you

Tony stands there, doubly stunned by the news

GINA

Manolo, Manolo, what'd he do?

What'd he do?

She hugs his corpse tightly to her breast and makes

Horrible strangled sounds with her throat

Chi-Chi hurrying up to Tony, worried somebody's seen the shooting. Ernie follows

CHI-CHI

Tony, come on. We gotta get out of here

Come on baby...Gina!

Suddenly she goes berserk

GINA

Noooooooooooo!

And shoving Chi-Chi aside, launches herself on Tony, screaming incoherently like a madwoman, trying to kill him. She beats him around the head, the chest, scratches furrows of flesh from his face. He stands there, oblivious, numbed

Chi-Chi and Ernie have a demon on their hands. They manage at last to yank her off Tony, kicking and continuing to scream

220 EXT. MANNY'S HOUSE NIGHT 220

Lights coming on in the houses around the neighborhood

Chi-Chi and Ernie, desperate now, drag her forcefully along

The pavement into the Corniche. She continues to scream

ERNIE

Get the body!

Tony, back at the door, looks down again

The eyes of Manolo staring sightlessly

Chi-Chi runs back, grabs Tony

CHI-CHI

Tony!

Pulls him. Tony snaps out of it

TONY

He goes. Chi-Chi lifting Manny's body, hauling it

Tony getting into the Corniche, Ernie pinning Gina against the front seat. Chi-Chi propping Manny into the driver's seat with him. The car roars away

The camera closing on Gina as she looks through the glass partition of the Corniche, at the slumped head of Manny in foreground, the music surging inexorably

GINA

Manny! ...Manny! No!

CUT TO

221 MIAMI STREETS NIGHT 221

The white Corniche whistles by like a hearse heading for hell

222 EXT. TONY'S MANSION GROUNDS THAT NIGHT 222

It goes roaring by the front gate and up the driveway

Gravel flying

The camera curving to reveal two sedans inching up the

Shadowed street, towards us, their lights out. The cars stop

Eight men emerge silently, blending into the shadows of the trees

223 INT. TONY'S MANSION NIGHT 223

Tony, scratches across his face, strides through the front

Door into the marble foyer. Another Marielito is waiting

For them at the door

Ernie and Chi-Chi are almost carrying Gina, who is numb with shock

CHI-CHI

What do we do with her Tony?

TONY

Do what? Where? Put her upstairs

Put her in my bedroom

It'll be all right, pussycat, you'll see everything'11 be okay, I'll take

Care of you

She looks up at him through her stupor and spits in his face. Chi-Chi and Ernie pull her away as Tony stares, upset but passive

They trundle her up the stairs. Tony turns and walks away

224 INT. TONY'S OFFICE NIGHT 224

Tony slumps on his couch. A haze of coke rises off the velvet like a snow scene painting on a Christmas card

Oblivious to the dust, he cuts open a fresh plastic kilo bag of coke and spreads the entire pound out across the black marble coffee table

Ernie and Chi-Chi come in

CHI-CHI

We got some pills into her, she's cooling down

Tony pays no attention, Ernie and Chi-Chi noticing the pile of coke

Flashing his silver tooter, Tony snorts a truly giant amount in a large pendular swing of his elbow across the length of coffee table

Pause as he lets it sink in

CHI-CHI

Boss, what we gonna do now?

TONY

Do? We're gonna war that's what we gonna do

We gonna eat Sosa for breakfast. We're gonna close that

Fucker down

Ernie and Chi-Chi sharing a look

CHI-CHI

Hey Tony, why don't you go easy on that stuff, hunh?

Tony looks up at him, focuses. The eyes are uncompromising

Ernie, a little scared of him now, turns away. Chi-Chi follows

Tony starts on another trek along the coffee table

CUT TO

225 EXT. TONY'S MANSION GROUNDS LATER THAT NIGHT 225

The Bengal tiger paces his spot, restless

A monsoon-like wind blows through the trees on the estate

The monkeys listen quietly

The flamingoes flutter

Then there's a burst of loud music from the stereo speakers on the balcony a Billy Joel song, something smooth and easy about the high times and how fast they go

And we see Tony, in long shot, throw open the terrace doors and stagger out onto the balcony, overlooking his estate

On a closer angle, we track him to the edge of the

Balustrade. He's done so much coke now he's practically

Catatonic; staggering and muttering to himself

TONY

Jesus fuckin' Christ whatsa matter with me, get a hold of y'self now these cocksuckers gonna run over you, let 'em try, I bury the cocksuckers

His point of view panning his estate. The dark emptiness echoes back at him. The wind rustling the treetops

Tony shaking his head at himself, he starts to cry!

TONY

...Ooooh fuck Manny, how the fuck did I do that? How the fuck! Manny, Manny ...you were there for me, you were the one, Manny, you understood, always understood

Well what the hell happened, hunh?

What the hell happened to us?

In far background. now, behind Tony, on the video monitors in his office we see

The main gate and guard shack a Marielito crosses into view, checks the gate, turns. Suddenly two figures spring

Out at him. One of them garrotting the Marielito. He struggles

Another monitor now reveals two more figures moving into

The interior of the guard shack. They knife the other Marielito

A third monitor carries another image of shadows moving

Through the trees on the estate

On the balcony, Tony is oblivious to it all, spent, almost

Incoherent

TONY

...I said to you, Manny, I said I never go crazy and you said, I would

You sonofabitch and you was right... those were the good days hunh, we was crazy back in those days, we'd do anything, you and me, we was on the way up, nobody nothing coulda stopped us cause we were the best hunh the fucking best

As Tony turns and starts back through the terrace doors into his study, the camera glides around to a view of a hook flying up and catching the balustrade. A shadow starts climbing up as

TONY

...we still are Manny, we still are-- see, I'm gonna wipe out all them fuckers out there, I'm gonna run the market, I'm gonna be King Cocaine you hear me, you buy, you buy from me Tony Montana. Covers of all the magazines. Fan mail. Television stars, movie stars, shooting stars he's a star

226 INT. TONY'S MANSION OFFICE 226

As he crosses into his office, the camera moves to reveal Gina standing there half-dressed in the doorway, her eyes blazing with hatred

Tony sees her

She steps forward, offering her body almost naked to her

Brother

GINA

Is this what you want Tony?

Tony shocked

GINA

You can't stand another man touching me. So you want me Tony, is that it? Well here I am

She fires the Baretta we now see in her hand

The bullet grazes Tony in the leg, snapping him from his catatonia as he goes reeling across the floor behind his desk. She fires again. Again

GINA

I'm all yours Tony, I'm all yours now

Bullets ripping into the desk. She advances, offering her sex, methodically shooting out the clip at rhythmic intervals

GINA

Come and get me Tony. Before it's too late

He spins across the run away from the desk, trying to put

Distance between them. She sees him scurrying,. turns, an

Expression like a demented angel

GINA

Come on Tony, fuck me! Fuck me! Fuck me!

Advancing on him, firing. The furniture tearing up, the chair

Spilling, television sets and computer toys shattering, Tony

Squirming away, hit again in the thigh, shocked, scrambling

Over to the terrace windows. Her next shot shatters the window and as Tony ducks again to the side, we see outside onto the terrace behind him

A young Columbian punk no more than twenty one of the

Hitters is crouched there, reacting to the broken window

He doesn't hesitate, turning his machine gun on Gina

Gina is torn to pieces by the firepower blown across the

Room, spine severed and dead before she hits the floor

Tony sees it, yells something, in the same instant swivels to knock the barrel of the machine gun aside

The punk is taken by surprise, not having seen Tony, and Tony now runs him backwards across the balcony and hurls him over the balustrade

The punk lands in one of the shallow pools on the grounds

At the base of the balcony

Tony, from above, grabs up the punk's machine gun and

Empties the whole clip into the figure thrashing in the pool below

Ernie runs into view on the far side of the pool, spots Tony, yells up

ERNIE

Get outta here!

Tony, they're everywhere!

Ernie suddenly wheels, hit in the face, by a burst of silencer bullets

We catch a brief glimpse of Sosa's black aide, the Skull

Moving quickly along the wall of the house directly

Underneath the balcony on which Tony stands

Tony, tossing the empty machine gun aside, wildly runs back

Into his office to get more guns, crosses to Gina corpse

It takes him by surprise. He comes to a dead stop, kneels, looking questioningly in her face

TONY

Hey Gina come on, you still angry at me? I didn't mean to kill Manny, I was... I was

Running his hands along her face, trying to rouse her, gently lifting her eyelids. Blood's running out of her mouth in rivers

TONY tx

Come on Gina, get off the floor

You're all dirty now, you need a bath

Mami's gonna be angry baby

Ooh is she gonna be mad at me!

Come on open your eyes my baby

Open your eyes.. -give me a smile

There's been a steady pounding and calling now on the door of the office. Tony finally hears it, looks up, then over at the monitors

One of them reveals Chi-Chi standing there outside the door

Pounding it

CHI-CHI

Boss Hey boss. Open up!

On the monitor we see Chi-Chi suddenly spin and open fire

Down into the foyer. Return fire decimates him. A grenade

Goes off, blows him up against the door

TONY

Cheeee!

He now seems to come out of his catatonia, runs to his

Sideboard, hauls out a rocket shoulder-fired rocket launcher and straps an Uzi across his shoulder. He looks up at the monitor

On the monitors, the hitters are now darting across the

Foyer and coming up the left and right hand stairs

Three of them are already huddled outside the door, around

The corpse of Chi-Chi, motioning to-each other, laying a grenade at the base of the door to blow it out

Tony loading his rocket, intends to beat them to the punch

Talking to himself

TONY

So you wanna play hunh, say hello to my little friend here

Karroooomph!

The rocket tears down the door and blows the Columbian punks off the landing into the foyer

It sounds like Armageddon, one of the hitters screaming, smoke billowing wildly

Tony, at the height of his mad glory, steps out at the apex

Of the stairs, firing his machine gun and yelling

TONY

Whores! Cowards! You think you can kill me with lousy bullets hunh?

Another hitter tumbles down the right-hand stair

TONY

Who you think I am? I kill all you fuckin' assholes. I take you all to fuckin' hell!

Another hitter drops, screaming, off the stairs into the pool below

A grenade goes off. Tony is hit again, but keeps on firing

Away. Laughing like a madman

TONY

You need an army you hear! An army to kill me!

Behind him we see the remainder of the pound of cocaine go

Up in a burst of wind, whipping around the office in auras of white. It is a ghostly effect out of which now appears the face of the Skull moving from the terrace towards Tony's back with a sawed-off shotgun

TONY

Ha ha ha ha ha! You whores, you scum, I piss in your faces!!!! Ha ha ha ha ha!!

The Skull, now inches from Tony's back, pulls the trigger and blows Tony's spine out his belly

Tony crashes forward over the banister into the interior

Swimming pool below

He floats quietly face down in the lit blue waters

As the titles begin their crawl up, the music theme is

Expressive salsa with a dash of gaiety

The camera moving off Tony to catch the reflection of the lit sculpture on the surface of the still waters. It says

'THE WORLD IS YOURS'

And so, for the brief moment, it was

Our camera now distancing itself from the body in the pool

Panning past the dream villa, past the shambles and the

Wealth, past the hitters pillaging and looting and drawing

That obscene word 'Chivato' in blood on the outside walls

Past the stacks of cash blowing across the floor like leaves in autumn, with the looters running after it across the busted door with the tropic wind blowing down Coconut

Grove to the Miami skyline across Biscayne Bay

THE END

Did you like these lyrics?