#00766
"Enjoy yourself -- every day above ground
is a good day."
ANONYMOUS, MIAMI 1981
1 A PROLOGUE 1
crawls up the screen -- with Narrator.
NARRATOR
In May 1900, 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. 3y 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
stilleto and in the empty black void we:
CUT TO
Opening Montage - Documentary Footage:
2 THE DISEMBARKATION 2
from the harbor in Mariel, Cuba. Vessels of every nature,
waving masses, demonstrations....
;
I
THE CROSSING 3
I
. 3
i7 Sun and storm.
,
1
4 THE LANDING - KEY WEST 4
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.
#02154 2
Rev. 11/22/82
5 THE PROCESSING 5
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 6
and CLOSEUP OF TONY MONTANA ant
7 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 (0.8.)
Okay so what do you call yourself?
VOICE #2 (0.6.)
Corn0 se llama?
MONTANA
(X)
Tony Montana...you?
VOICE #1
Where'd you learn to speak the English,
Tony?
MONTANA
(Xl
Sailor.
My old man -- he was American.
I always know, y'know, one day I
Bum.
I see all the
gonna come to America.
movies....
VOICE #l
So where's your old man now?
MONTANA
He's dead. He died. Somewhere....
VOICE #1
Mother?
TONY
She's dead too.
CONTINUED .
#02154 3
Rev. 11/22/82
6 CONTINUED 6
and
ant
7 7
VOICE #2
What kind of work you do in Cuba,
Tony?
TONY
This. That. The Army. Some con-
struction work....
VOICE #2
Unhunh. Got any family in the States,
Tony? Cousins, brother-in-law?
TONY
(a beat)
Nobody. Everybody's dead.
NO.
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
(checking
off a list)
You been in a mental hospital, Tony?
TONY
(grinning)
Yeah, in the boat coming over.
MAN #1
How 'bout homosexuality, Tony? You.
like men, y'like to dress up like a
woman?
TONY
(to Man #2)
Never tried it. What the (X)
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.
CONTINUED
#02154 4
(Xl Rev. 11/22/82
6 CONTINUED - 2 6
and
ant
7
7
TONY
(to Man #l)
Fuck no.
MAN #1
Arrested? Vagrancy? Marijuana?
TONY
. Never. Nothing.
NO ..NO.
i
His eye movements are rapid (over shoulders, sides, doors)
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?..
(scratching the
scar, shrugs)
I was a kid. You should see the
other kid.
(a grim chuckle)
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
Oh that was for my sweetheart.
MAN #3
Sweetheart?
(to the
other men)
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.
CONTnmED
#02154 5
Rev. 11/22/82
6 CONTINUED - 3
-- 6
and am
7 7
MAN.#3
That's pretty funny, Tony.
TONY
Some Canadian tourist....
MAN #3
What'd you mug him first? Get him
outta here!
(starts to
walk out)
TONY
so I fuck Castro, what's it to
Hey,
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. 7-
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 ix:
you say Harry?
MAN #3
(walking out)
I.. 'Freedomtown.' Let them take a
look at him. A long look.
CONTINUED
#02154 6
Rev. 12/16/82
6 -4
CONTINUED 6
P-
and ant
7 7
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 WT. FEDERAL BUS - HOUR LATER 7-P
The bus is packed with the harder-looking refugee-types.
The noise
The windows are caged and we see INS guards.
level is high, like a sack of monkeys.
Manny (Manolo) Ribera's got his feet up on an empty seat. (X)
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.
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?
I told them what you told me to tell
them. I told them I was in sani-
tation in Cuba.
.TONY
I told
I didn't tell you sanitation.
you to tell them you was in a sani-
tarium, not sanitation.
The bus pulling out now.
CONTINUED
#02154 6-A
Rev. 12/g/82
(Xl
7-A CONTINUED 7-A
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
was cured.
had TB and
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 (SIX MONTHS LATER) 8
A movie projector...
We're watching
. . . the face of Bogart -- unshaven, paranoid.
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.
Xf 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
6-B
#02154
Rev. 12/9/82
9 INT. TENT - LATER THATNIGHT 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?
CONTINUED
#00766 7
9
__ CONTINUED 9
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 hi6 English rolls faster off his tongue, his confidence
more pronounced.
TONY
I . . don't trust nobody.
Yeah all that gold, hunh -- I guess
you get 60 crazy you never trust no-
body no more.
TONY
Never happen to me, Chico. That's one
thing I never gonna be. I never gonna
be crazy like that.
Yeah, how do you know....
TONY
I know.
I don't know. Sometime6 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!
Yeah, sure.
TONY
c'mon.
Hey,
playfully punches Manny and they walk on into the
Tony
humid night, intersecting a young punk, Chi-Chi.
CONTINUED
#00766 8
s
9 CONTINUED - 2 9
CHI-CHI
(to Manny;
Spanish)
Hey Manny.
Oye Chi-Chi, what's going down.
CHI-CHf
Usual shit. Want some peanuts?
Pago's carrying tonight.
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 ---
Oh yeah, what she look like?
CHI-CHI
She look like you 'cept she got a
snatch.
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 transves-
tites 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
(passing)
What about you sugar -- you wanna
party?
TONY
(passing her)
Yeah with whose cock, honey?
CUT TO
#02154 9
2nd Rev. 11/22/82
(X)
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 Frenandez 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
passing)
(in
Don't waste your dime, Chico. You
know your brother hates you.
ANGEL
Go fuck yourself, Tony.
Manny catches up to Tony.
CONTINUED
#02154 10
2nd Rev. 11/22/82
(Xl
10 c0NT1NUED 10
TONY
Whatcha hanging around with that
hustler for?
Hey Chi-Chi's okay, he hears things,
TONY
What's he hear I don't hear.
comes
Angel over, listens.
He hears we got problems. Im-
migration is having these hearings,
y ' know? And they're saying nine
out of ten of us is gonna get
back!
shipped
TONY
Oh yeah?
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.
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
Oh shit!
What's I say. This is
gonna end bad, muchachos....
TONY
Hey, I tell youguys 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!
CONTINUED
#02154 11 and 11-A
2nd Rev. 11/22/82
10 c0NT1NuED -2 10
(Xl
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
(in awful
imitation)
'Oh yeah America! Love-to love you
baby, oh yeah!'
CUTTO
#00766 12
EXT. PLAYING FIELD - DAY - TWO WEEKS LATER
11
Camera on Tony shuffling and feinting a soccer ball in al
impromtu game; he's covered with sweat, tires a fancy mo\
around a younger kid who not only steals the ball away fl
him but manages to lay him flat on his face.
TONY
(lying there)
Aw fuck....
The game, leaving him behind, shifts downfield.
Qye ! Tony! C'mon!
Mamy, just arrived at the edge of the field, waves him o
Tony, getting up, brushing himself off, walks off the fie
towards him.
ANGEL
(at a distance)
Hey Tony where ya going?
TONY
I got better-things to do.
ANGEL
Chicken liver, hunh?
TONY
(to Manny)
Yeah?
(looking zd)
Let's walk.
They walk.
You ready for the good news, cone?
TONY
Yeah.
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?
c0NT1NuED
#00766 14
CONTINUED
12
12
Angel is walking towards them. Tony signals him.
(shakes his
head)
Forget it. Oh yeah -- there's a
hundred greenbacks in it, For both
of us.
TONY
(enthusiastic)
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
MONTAGE - THE RIOT - FREEDOMTOWN - DAY 13
13
The visuals are swift, dispassionate and documentary-like.
The refugees storm the barbed wire at the main gate,
carrying bricks and wooden slats.
ALL
(in unison)
Libertad! Libertad!
NATIONAL GUARDSMEN AND STATE POLICE 14
14
form ranks outside.
15
REFUGEES
15
flee through a hole in the fence.
GUARDS
16
move on them, wielding clubs.
17
SEVERAL REFUGEES
17
are scooting down a highway.
18
POLICE DOGS
on chains are glimpsed.
#00766 15
,.-- 19 REFUGEES 15
throw stones and debris from the rooftop of a barrack.
20 REBENGA 2C
nervously hurries
a cigarette in his mouth, into a barrack.
21 ANGEL 21
tracks him, signals....
INSIDE - REFUGEES
22 22
are pulling apart their beds, going for the wooden slats.
Others set fire to their mattresses.
23 THE POLICE AND GUARDS 23
are moving through the gates, restoring order. Loudspeakers
blast. Injured refugees lie bleeding on the grounds.
24 AN ENTIREBARRACK 24
now goes up in flames.
25 INSIDE THE BARRACK 25
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!
of the voice.
Rebenga snaps to the sound
TONY
(Spanish)
From the friends you fucked!
CONTINUED
#02154 16
Rev. l/18/83
(Xl
25 CONTINUED
_,.- 25
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, uncompre-
hending eyes encased in broken glasses Sinking out of frame.
26 EXT. FREEDOMTOWN - DAY 26
The riot is over. The grounds are still, smoke and debris
the aftermath.
DISSOLVE TO
2.7 INT. PROCESSXNG ROOM - DAY - A MONTH LATER 27
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 27-A
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 (Caribank, Banco de Venezuela,
Amerifirst)....
Insert a car sticker going by with the image of the
American flag and the reminder: "WilI. the last American
leaving Miami please bring flag?"
Tony and MaMy bop al.oig the street in their hand-me-down
clothes, oogling the chicas and the bodegas (in a plush
modern area of Miami). Boats. Buildings. Cars.
CONTINIJEID
#02154 16-A
Rev. l/18/83
(Xl
27-A
?' CONTINUED
27-A
TONY
(looking
around)
J3oy -- can you believe this place
.'
Chico?
(Spanish)
Man, they weren't kidding around.
TONY
(pointing to
a little old
man walking
towards them)
See that old guy over there?
Yeah.
TONY
Millionaire.
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.
(almost
believing)
Yeah? Hey Tony catch this tomato.
(adjusting
his pants)
Ooooh baby doll...(*SEE NOTE)
A hot Cuban girl in heels comes down the sidewalk towards
them with a female friend. NOTE)
(*SEE
TONY
Hey baby what you say? (*SEE NOTE)
She looks at him like he was the last thing in the world
she'd say anything to.
CONTINUED
#02154 16-B
Rev. l/18/83
(Xl
27-A c0NT1NmD - 2 27-A
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.
Bey 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 #at?
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 iin his teeth, then it's gone.
TONY
What the hell's that for -- eating
bugs? That's disgustin'.
You think so hunh? Well you don't
When
know shit 'bout chicks Chico.
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.
(doing
it again)
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.
No problem.
#02154 16-C
(Xl Rev. l/18/83
27-B EXT. MIAMI SHOPPING STREET - DAY 27-B
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
(points)
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. Be 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 10s conjones.
There you go talking bit 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
CONTINUED
#02154 16-D
.
Rev. l/18/83
: 27-B c0NT1NuED 27-B
MANNY (Cont'd)
us a job? You or me? Not you man.
You lucky you have any friends. You
lucky to have me as a friend....
they walk off, back
As to camera. (Xl
TONY (X)
Yeah, so where's this job?
(Xl
Don't push men, my friends gonna
take care of everything.
CUT TO (Xl
28 LITTLE HAVANA RESTAURANT - LITTLEHAVANA - NIGHT 28
on Southwest 8th Street. nCalle 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
It combines the social functions of a
table is taken.
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.
CONTINUED
#02154 17
Rev. 11/12/82
28 CONTINUED
.-- 28
TONY
Your big shot friend better come up
with something soon. I didn't come
to America to break my fucking back,
querido.
(equally xated)
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
M--q, wiping the sweat off their faces with towels.
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?
He's good-looking that's what, look
at his clothes, flash Chico, pizzaz!..
a litte coke money don't hurt nobody.... (Xl
TONY
Junkie! -- They got no fuckin'
character.
(looks at
his hands)
Look at these...fucking
Cono!
onions! They outta be picking gold
(Xl
off the streets.
His hands are shriveled white from dishwater.
COOK
(Spanish)
Hey you two, outside! You got
company. .
CONTINWED
#Oil54 10
Rev. 11/12/82
29 CONTINUED 29
That's him -- El Mono's here!
TONY
(contemptuous
of the name)
El Mono? Shit....
CUT TO
30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT 30'
Omar Suarez (El Mono -- "The Monkey") 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.
(leaning in
the window)
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.
That's great...What do we
Oh yeah!
gotta do?
(X)
We gotta unload a boat -- grass, twenty-
five tons -- that's what we gotta do.
You get five hundred each.
Okay!
(to Tony)
what'd I tell you.
See,
TONY
You gotta be kidding! Whaddayou
think we are -- baggage handlers?
CONTINUED
#cl2154 19
Rev. 11/2/82
30 CONTINUED
-- 30
Omar looks at him somehwat 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.
(shocked)
Hey Tony, c'mon, it's okay Omar, we....
TONY
Shaddup!
Omar sniggers, his eyes shifting to Waldo who shakes his
head and laughs.
(to Manny'Zy)
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
(shrugs)
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.
Bey! -- Tony, Tony....
In the car, Omar looks over at Waldo.
OMAR
Guy's a lunatic, let's go.
WALDO
What about them Indians --- (Xl
He buys it, somewhat amused.
The idea crosses Omar's mind,
OMAR
Yeah.. . . (Xl
CONTINUED
#02154 20
Rev. U/12/82
30 coNTINuEa -2 30
(back to i?y)
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. (Xl
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.
(to Tony-)
Hey, that sounds great, Tony....
Tony says nothing.
OMAR
You know how to handle a machine gun?
Sure we was in the Amy together.
OMAR
You're gonna need a couple other
guys....
No problem.
OMAR
Meet me at Hector's bodega Friday at
noon. You get the money then. Some- (Xl
thing 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.
CONTINUED
#02154 20-A
Rev. 11/Z/82
30 CONTINUED - 3 30
TONY
I'm scared.
(relieved)
Tony you're pushin' your luck.
c0NT1NuED
#00766 21
30 CONTINUED - 3
30
TONY
(walking away)
You worry too much Manny -- you' re
gonna get yourself a heart attack
one of these days.
(catching7
Yeah, so who are these Columbians?
TONY
So what does it matter?
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' Columbians that's what.
They're animals!
COOK
(intersecting,
Spanish)
Where you greasers going, hunh, I got
plenty of plates here.
TONY
Wash yourself. I just retired.
`em
Throws the Cook his apron.
COOK
(Spanish)
What the fuck you gonna do!
TONY
Look after my investments.
CUT TO
EXT. MIAMI 3EACH - DAY - MOVING SHOT
31 31
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.
#02154 22
Rev- 11/22/82
-- . INT./EXT. TONY'S CADILLAC - MI-1
32 BEACH - DAY 32
seen from the inside of the sedan. Tony turns down the
salsa beat on the radio, smoking a cigarette tensely.
Driving is Manny. In the delapidated backseat are Angel,
the baby-faced punk, and Chi-Chi, both from Freedomtown.
reflecting the tension, whistles a vapid series of
Manw,
notes under his breath as he waits for a light to change.
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-C?XI
(looking over)
Whatta you crazy? She's 103 year6
old.
Not her stupido! Her....
Camera revealing the teenager.
TONY
(the light
changing)
Drive, willya.
(mocking)
Sure, sure. Not to worry, Tony --
You get a heart attack.
(looking in
the rearview
mirror)
&gel, whatcha wearing the face for?
ANGEL
(tense, making
light of it)
Ah, it's okay. I just y'know forgot
to make an offering. I was supposed
to go by the madrina today.
You still going to that cuncha? `(Xl
CONTINUED
#02154 23
Rev. 11/22/82
32 CONTINUED 32
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 (Xl
I
his neck -- Chango, Cod 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 Afko-Catholic
spiritualism.
(making fun)
Yeah, Chango looking out for us,
.
Angel?
ANCEL
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
(angry)
shaddup -- all of ya! I told (Xl
Hey,
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 -- TBE
SUN RAY -- is coming closer. (X)
TONY
Okay, this is it. Pull over across
the street.
The motel is coming closer in silence.
TONY
(to Manny)
Money stays in the trunk till I come
out and get it. Me. Nobody else. If
I'm not out in fifteen minutes, some-
I'm in Room 9. You
thing's wrong.
ready, Angelito?
CONTINUED
23-A
#02154
Rev. 11/22/82
32 coNTmuED -2 3:
,_.-- 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
into a man's purse, it's in vogue. Tony
can be slipped
gettting out, to Angel:
TONY
Let's go....
CUT TO
#02154 24
Rev. 11/2/82
EXT. SUN-RAY MOTEL - DAY
33 33
Tony and Angel come slowly, gingerly down an exterior
corridor to a room marked "9". Nodding to Angel who (Xl
remains in the stairwell with the Ingram machine pistol,
Tony knocks. Pause.
34 EXT. TOAD'S MOTEL ROOM - DAY 34
The door's opened casually by an ugly, squat five-foot-four-
inch Columbian, "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 35
Tony, stepping into the conventionally tasteless orange and
blue motel room (with heavy blue drapes blocking the
windows), spreads his hands in a similar posture inducating
he too is not carrying; but this is only symbolic, it's not
meant to be a body search.
TONY
(as
he steps in)
How you doing amigo...?
The other person in the room is a tough-looking little dark
Columbian 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
(checking out
the room)
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.
`TO@
problem... This is Marta.
Sure, no
CONTINUED
#00766 25
3s CONTINUED 35
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
How far's your stuff?
No.
Tony paces back towards, the door casually, $0 check Angel
out.. .The Lizard staring at him. ..
CONTINUED
#00766 26
35 CONTINUED - 2 35
TOAD
Not far.
Pause. Everthing seems okay.
TONY
So what do we do, walk in and start
over?
TOAD
(change6 subject}
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 andis 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 36
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.
CONTINUED
#02154 27
Rev. 11/2/82
3 6 CONTINUED 36
LIZARD
(slang Spanish)
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 (Xl
or older than twenty, with their straight black Indian hair
cut across their blank eyes, they look like hungry little
pirranha 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
pull6 out of the suitcase under the bed. Toad begin6
assembling it as Lizard, still covering Tonywith her gun,
completes the deadpan process by turning up the volume on
the television set. The news, not 50 ironically in Miami,
is about a drug-related triple-homicide.
CUT TO:
EXT. SUN-RRY MOTEL - DAY
37 37
Chi-Chi sitting at the wheel of the sedan, parked across
the street.
Manny paces outside the car, glances.
#00766 28
38 EXT. SUN-RAY MOTEL - DAY 38
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 39
Manny looks at his watch.
CUT TO
40 INT. TOAD'S MOTEL ROOM - DAY 40
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, coverd 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
(to Tony)
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...o.c. we know what's happening as we hear the
chainsaw and we watch Tony's shock and rage.
no expression
Lizard has on her face. The machine cuts off.
The Toad steps back from the tub, blood splattered on his
shirt, examjning his first cut like a butcher. He glances
at Tony.
TOAD
Now the leg, hunh?
CONTINUED
#00766 29
40 CONTINUED 40
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 41
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 42
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 43
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 44
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?
CONTINUED
#00766 30
44 CONTINUED
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 b-g., the window simultaneously blows out as
Chi-Chi appears firing a burst with his Ingram.
In sharp f-g., 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.
c0NT1NuED
#00766 31
45 CONTINUED 45
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 Mah-Jorigg 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
(Spanish)
Your'turn, cabron!...
The Toad whips around to the voice, eyes stark with terror.
Tony empties the clip into the Toad, blowing hiin 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 identi-
fication.
CUT TO '
#02154 32
Rev. U/16/82
47 SUN-RAY MOTEL - DAY
EXT. 47
Tony intersects holding side,
Manny, his with Chi-Chi.
TONY
Manny, you okay?
Manny nods.
TONY
Chi-Chi, get the car. Fast!
CHI-CHI
Si! (Xl
48 INT. TOAD'S MOTEL ROOM 48
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.
stacks of.cocaine.
Inside are several kilo-sized
He shuts the suitcase, exits, stops, looks in the bathroom
at the corpse of Angel O.C. 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 49
Chi-Chi has the sedan waiting in the parking lot. Tony
hurries out, jumps in, the car speeding off. (Pisalo hasta (XI
la tabla -- Step on it.)
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 twb cop cars
come screaming past them from the opposite direction.
CUT TO
50 EXT. LITTLE HAVANA RESTAUWWT - PHONE BOOTH - DUSK 50
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.
CONTINUED
#02154 33
Rev. 11/22/82
(Xl -
50 CONTINUED 50
OMAR' s VOICE
(shaken)
Look, let me check it out right away!
TONY
YOU do that, Omar, you do that.
OMAR'S VOICE
You got the money?
TONY
i
Yeah -- - I got the yeyo.
and
OMAR'S VOICE
You got the yeyo? Bring it here.
TONY
E'uck 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
Yeah?
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
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.
#02154 34
Rev. l/18/83
INT. LOPEZ CONDO - NIGHT
52 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 (Ernie), 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 Max-my 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?
(awed)
..Fine yeah.
TONY
Ray, he was with us on the
Manny
job.
LOPEZ
(to Manny) (Xl
I hear you caught one?
Manny shrugs, works his arm, showing us the wound doesn't (Xl
bother him too much.
CONTINUED
#02154 34-A
Rev. l/38/83
52 c0NT1NuED 52
(Xl
Just the flesh. Went right through.
LOPEZ (Xl
(heading for
the bar)
Yeah, Omar here tells me good thing
about you boys.
CONTINUED
#02154 35
2nd Rev. 11/22/82
52 CONTINUED 52
.- TONY
(glances
at Omar)
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
(smiles, likes
the kid's balls)
Scotch? Gin? Rum?
TONY
Gin's fine.
LOPEZ
(pouring)
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
two keys.
.that's i t . That' s the
Angel died `cause of this shit. And
here's the money.
(produces
the money)
It's my gift to you -- from me. (Xl
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.
CONTINUED
#02154 36
Rev. l/18/83
52 CONTINUED - 2
52
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.
(drinks)
TONY
Yeah, I hope I have that,problem some
day.
Lopez looks, distracted., down the corridor from which he
came, to Ernie, the bodyguard.
LOPEZ
Where the hell's Elirira? Go get her,
will you, Ernie?
The big bodyguard exits smoothly.
LOPEZ
(to the others)
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?
(finishes his
drink at his
impatient pace)
TONY
Yeah sure, I could eat a horse.
ERNIE
Here she comes, Mr. Lopez.
#02154 37
1x1 Rev. I/10/83
53 TONY
53
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.
ALTERNATIVE
LOPEZ LOPEZ
Oooh sweetheart, you look Where you been baby, it's
like a millions bucks. ten o'clock, I'm hungry.
She doesn't answer, her eyes ELVIRA
flicking disinterestedly You're always hungry, you
over Tony and Manny, knowing should try starving.
what the evening's going to
be and not too happy about Lopez laughs.
it.
LOPEZ
-
I want you to meet a friend of mine.
Tony Montana...Elvira...Manny Ribera.
ELVIRA
Hello.
TONY
Uh...hi.
(equally
impressed)
Yeah, hi.
ELVIRA
I assume we're going to be a fivesome.
Where are we having dinner?
FRANK
Oh, I thought we'd eat at the
Babylon. -
1
ELVIRA
Again? If anyone wanted to assassinate
you, you wouldn't be too hard to find.
(coming toward
her, laughing)
Me? Who'd want to kill me? I got
nothing but friends.
CONTINUED
#02154 38
Rev. l/18/83
53 CONTINUED
_- 53
ELVIRA
You never know, do you? Maybe the
catcher on your Little League team.
Neatly avoiding his intended smooch, she slips by him (Xl
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.
a
Lopez, after pause, snaps at his men.
LOPEZ
let's go.
Okay,
CUT TO
54 EXT. THE BABYLON CLUB - NIGXT 54
.We know this is no workingman's dive when Lopez piles them
out of his Rolls, and the carhops are moving Bugattis,
Lamberghinis 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 55
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. Itrs 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
"Partying Down Tonight"....
music beat, "Celebrating" or
CONTINUED
#00766 39
55 CONTINUED 55
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.
.lYANNY
So whaddaya say, hunh?
He flashes his tongue. She looks at him, amused.
CHICK
You got a buck?
Sure I got a buck, whaddaya think I
am, poor?
CHICK
(indicates
the machine)
Put it in, let's play.
I-had other things in mind.
CHICK
You check out on this and we'll talk
about other things.
(looks off,
concerned, then
confronts the
complex machine}
Puck, how do you play this thing?
CUT TO
56 56
INT. BABYLON CLUB
Frank Lopez, intoxicated, takes his heart pill with a slug
of champagne. He sits next to Tony, who is agog at all
this wealth. Elvira is in con-
Omar and Ernie look on.
They' re
versation with a girl friend who has stopped by.
sitting at the best table in the place, finishing up a
giant meal. The empty spot belongs to Manny.
CONTINUED
#02154 40
Rev.
(Xl 12/9/82
56 CONTINUED 56
r- LOPEZ
(to Tony)
-- . * -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 under-
estimate the other guy's greed.
ELVIRA
Lesson number two -- don't get high
on your own supply.
CONTINuEiD
#02154 40-A
Rev. 12/9/82
56 coNTmuED'- 2 56
The girl friend has departed and Elvira turns her attention
'\ back to them, bored.
LOPEZ
That's right. Course not everybody
follows the rules.
(eyeing
Elvira)
HEAD WAITER
There you go, Mr. Lopez.
He's popped the champagne cork and pours Dom Perignon for
Lopez.
LOPEZ
Head Waiter nods.
LOPEZ
Give it to everybody and bring
another, willya Jack?
(to Tony)
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?
CONTINUED
#00766 41
56 CONTINUED - 2 56
ELVIA
(to Tony)
In France, it cost $100 but don't
tell anybody in Miami.
Tony catches her eye. She looks interested.
away,
INT. BABYLON CLUB - NIGHT
57 57
A Man passes the table. Lopez calls out.
LOPEZ
Hey, George -- buddy.
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 cigar-
ette 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
(to Elvira)
Elvira, you look terrific...
(to all)
Enjoy .yourselves.
He ambles off.
LOPEZ
I . . best goddamn lawyer in Miami.
Cost a brick to pick up a phone.
Tony looking off at him, remembering it.
LOPEZ
his.
(raising
champagne glass)
so.. .here's to old friends...and new
friends.
CONTINUED .
#02154 42
Rev. 11/22/82
57 CONTINUED 57
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.
check.
Lopez laughs, likes the kid, tweaks him on the
LOPEZ
(checking
Tony'6 threads)
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.
away.
Omar doesn't like it but glances
TONY
Hey, that sounds like fun, Frank.
Thanks.
The music shifts to slow dancing.
ELVIRA
away
(waving
cigar smoke)
SO, you want to dance, Frank or you
want to sit here and have a heart
attack?
LOPEZ
I'd rather have a heart
He- dance?
attack.
CONTINUED
#00766 43
57 CONTINUED - 2 57
ELVIRA
(rising)
Don't foam into the Dom Perignon.
Glancing at Omar, sitting there obediently. Her eyes say
forget it.
ELVIRA
(to Tony)
How about you?
nods sure, looks
Tony at his boss.
LOPEZ
(waves)
Go on!
They go.
58 INT. BABYLON CLUB - NIGHT 58
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
(to Omar)
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. Be's no great shakes as a dancer, leaden in
the legs and shoulders.
TONY
...so what's your name, Elvira
what?
CUNTINuE33
#02154 44
2nd Rev. 11/22/82
(Xl
59 CONTINUED 59
ELVIm
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
Oh, 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
(interrupting)
..
.I'm sorry. I didn't know you
were so sensitive about your diplo-
matic status.
CONTINUED
#02154 45 and 46
2nd Rev. 11/22/82
(X)
59 CONTINUED - 2 59
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
(interrupting)
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
thataway.
Hey,
She whips off the floor, pissed. He watches her, amused.
CUT TO
60 60
thru OMITTED thm
62 62
#02154 47 thru 51
Rev. l/18/83
63 I&IT. CAR-DAWN 63
(X)
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 (X)
smoking his cigar, feeling good.
TONY
That chick he's with...she loves me.
(driving)
Oh yeah, how you know that?
TONY
The eyes, Manny -- they don't lie.
You're serious? Tony, that's
Lopez '6 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 63-A
and OMITTED and
64 64
(Xl
CUT TO
65 EXT. TONY'S MOTHER'S HOUSE - SOUTHWEST MIAMI - LATE DAY 65
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 66
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.
CONTINUED
64
-$
The new Miami is rising ubiquitously-above Siscayne Say,
the camera moving ?ast blossomina SkpCra~rS, workzen,
huge cranes, glass, mLrrcrs boo&q unwards into a
beautiful blue Florida sky, fleeced-&th wrfectly white
-
clouds...past a giant billboard:---
f.- .a
.*
.--A -
-.
COPS TALK TO us...
AT THE l3AXCO DE xL%xI.. .
TODAY!
Past banks of glass (Caribank, Ranco de Venezuela,
Amerifirst)..,
Insert a car sticker ,-oincr by with the image of the
American flag and the rem&&x: *@Will the last Amrican
leaving Miami please bring the fLag?'*
Tony and Z-lanny,' on a shoppirg szree, Sop along an incredibly
Wxurious shopping mall lined with the latest stores,
fashions, escalators, music, tropical plants,
etc -- a
w3rm womb-like plastic heaven. .
TONY .
. ..I. shoulda been here IO vears ace man. This
town's like a fig pussy dyin' to $5 fucked,
ParaBise, rr.an, saradisef I: coulda been a millionaire
now. Get xy 3wn golf COXSP, a boat...
mhi
I want 2 line of bluejeans vith .?ry name on the
- chicks* asses.
TONY
. ..yeah ve gotta make sore moves on our own Xanny,
we never gcnna score the i3ig Xoney vorking for Frank.
Frankvs okay.
TONY
Yeah -- cause he buys you a suit? You thinkin' like
a chicker,h,ead again
- - A --
mNNY
Frank*= got a.n organization
TOW
Organizaticn? I got more brains than
Omar and he's bigger than ~TC, That's not an
organization. That`s a disorganization. pihat do
you do for a brain man? Piss in it?' '
,.
. .
48.
. .
Fuck you, somebody oughta shoot YOUi Fut YOU outta
,
your misery
.
.(seeing something)
;c
Hey catch this tomato :Z .l .
.
.. ,a
Catching the eye of one of two young Girls passing, Manny
primps for them.
.
Ooooh baby doll * (SEE NOTES)
TONY
Yeah, what do you girls say? you manna have some
ice cream with us somewhere? .
They glance at Tony and Nanny and hti&ry on, .
Tony waves her off, thenchanges 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.
.
Hey that's not cool, man. You war-ma
score one of these chicks, watch
XW=. Nira!
\ :- 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?
I
. MAW
You didn't see it? You weren't
looking. Key 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',
You think so hunh? Xell you did
know shit *bout chicks Chico. When .
They go
they see this, they kno?~.
.
.
They don't resist me.
crazy.
49.
- . .
Does it again. Tony tries but lacks the speed and agility,
f
_~
provoking Na~y*s laughter. Manny double checks himself in _
..rJr
a shop window. -l. -
*&am .l e
. -
it again)
Takes practice, mi sengre, but they
- just love it when you flop that
pussy with it.... .
TONY'
Oooh . ..com! How *bout that one? .
Pointing to a tall, cool blonde across the avenue.
MANNY
No problem. .
EXT.. KIA,?-c SHOPFIISG STREET - DAY.
Tony vales right out into the- aitenucs, a+. . TONY ,
Corn2 on1
Mar&T follows as Tony now moves across the oppcslte lane, a
car scree-&ing to a halt in front of him.
Ia
TONY
(points)
Okay Rober Retfor, strut your stuff.
The blonde has paused to look in a shop window.
Nanny stops alongside, -pretends to look. h!hen Se catches
her eyes, he flicks his tongue.
She loo'ks at him, confused, then back into the AndoT:.
Nanny 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 S'UMy face at the kid who looti back at
him puzzled. Tony produces another face. The kid nocf
smiles. She smiles
The mother looks over. Tony shruqs.
_-
and moves along.
e.
,
.
. *. . ,
*.
.
-
? _- _
. +.
x
Meanwhile, Manny has moved close to the blonde and suggests
something, his eyebrows raising, the smile crooked. It
-.
takes a moment, then the blonde scks him across the face
. ._.a*. . -
.-
and walks akay. -
Tony walks up to him, mocking.
.
TONY
Tnrn telling you man you got it- all mixed
This country first,you gotta get the
UP*
money; then you get the power, and when you
got the power, then you get the women -- then,
chico, you got the worldby the balls. Por Los
cojonesl
.
. .
?4ANNY
Hey Tony, last time this year you was in a fucki.n*
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 .wSen vas I ever haPPy7'
.
Camera moving with Tony as he glances in an elegant k-indcw
displaying jewelry,
TONf
You be I want what's comin' to me when
happy.
I'm alive not when I'm dead.
- WUJNY (shakes his head)
Yeah, what's comin' to you Tony?
.
TONY
The world man and everything in'itl
As he goes into the store, the camera panning to the
diamond's in the window.
CVT TO
65, EXT.. TONY'S MYT,EZR'S BUUSE - SOUTHWEST ,?!IAMI - NIGHT
PAGE 47
-.
.
. -
-
51-A
#02154
Rev. 12/16/82
66
66 CONTIN'WD
Okay.,. be cool.
--a
house, with the paper bag held high
Tony approaches the
against his chest.
67 67
EXT./INT. TONY'S MOTHER'S HOUSE - LATE DAY
A stout aging woman with a
Tony's Mother opens the door.
powerful face, she's shook to her roots.
r
TONY
(gently, in
Spanish)
(Xl
Mami... long time....
(X)
MAMS
No postcards from jail, hunh?
He doesn't offer to kiss her nor she him. Mother
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.
#02154 52
Rev. 11,'22/82
68 INT. TONY'S MOTHER'S LIVING ROOM - NIGHT 68
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 ninteen-year-old sister Gina. Their
eyes lock.
TONY
(moved)
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
(covering his
unwonted
emotion)
Yeah, look at you, you're beautiful...
what's it been seven years? Last (Xl
you looked like a boy.
time I saw you,
Now look at you, you got great big
eyes just like me! Yeah, so....
He holds out wrapped gift towards her, about to give it.
a
TONY
I got this for you, no big.deal
but....
GINA
Oh Tony!
Gina suddenly. explodes across the room and rushes into his
grasping him fiercely.
arms,
GINA
...it's you!
Tony, over her shoulder, catches hi6 boring
mother's eyes
into him stonily.
CONTINUED
#00766 53
68 CONTINUED 68
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 peral necklace. She stares at it, doesn't take
it. Gina comes over, takes it for her.
GINA
it's beautiful...
Mama,
(offers it,
an unspoken
'why donrt
you take it?')
Mama doesn't. Gina puts it away with her own.
TONY
(holding Gina
by the shoulder,
making light
of it)
Well anyway, here we are hunh? The
three musketeers! We made it to
America hunh? Let's toast!
CONTINUED
#02154 54
Rev. 11/Z/82
68 CONTINUED -2 68
Tossing the empty package aside, he pulls the last gift -- a
bottle of champagne.
TONY
Oye ! To America!
(singing)
'America. America....'
CUT TO
69 INT. TONY'S MOTHER'S KITCHEN - NIGHT 69
(Xi
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
(to Mama as
he counts)
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.
--
CONTINUED
#00766 55
69 CONTINUED 69
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.
Who'd you kill for this Tony?
GINA
(aghast)
Mama!
TONY
I didn't kill nobody Mama,
(lying)
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
I'm an organizer now, we get
.group.
a lotta political contributions....
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
(springing to
her feet)
What are you saying Mama! He's your
son!
Son? I wish I had one. He's a
bum! He was a bum then and he's a
bum n o w !
CONTINUED
#GO766 56
69 CONTINUED - 2 69
MAMA (Cont'd)
(to Tony, she's
worked up like
a madwoman 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.....
(continuing)
No, no, that's not the way I am Tony
and that's not the way I --
(emphasizing it)
L raised Gina to be. You're not going
to destroy her. I dont' 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
Oh Mama.. .why do you got to spoil it
for everybody.
(to Tony)
I'm sorry Tony, I....
Tony nods his head at his mother.
TONY
igently)
Okay, Mama, okay....
CUT TO
#OS?154 57
Rev. 11/Z/82
EXT. TONY'S MOTHERS HOUSE - NIGHT
70 70
(Xl
Tony walks out icily.
(waiting in
the car, seeing
his expression)
Relatives, hunh? A pain in the ass,
they ---
TONY
Shaddup!
He's climbing into the car when Gina hurries out the house.
GINA
Tony!
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 off....
took
TONY
Hey forget Papa, we never had one,
okay? He was a bum!
GINA
(continuing)
. . . she's got a lot of hate in her Tony,
she's proud, you got to understand
that?
TONY
(making light
of it now)
Hey it's okay, it's Mama, what do you
want, she's Old World.
GINA
I know you did some bad things
Tow,
then. The Army, I know you got
back
trouble.
into some
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,
CONTINUED
#02154 58
Rev. 11/22/82
70 .CONTINUED 70
GINA (Cont'd)
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...1 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 your-
self 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
(driving)
cone, you -never told me you had
Hey,
such a good-looking doll for a sister!
Tony looks at him icily.
TONY
tx:
Stay away don't ever let me
MaMy,
catch you fuckin' around with her,
don't ever fuck around with,her....
(feeling EYeat)
Sure...sure.
A beat.
CUT TO
59
#02154
l/18/83
Rev.
MONTAGE - PASSING TIME 72
72
Music accompanying the flipping of calendar leaves.
73 CUSTOMS - MIAMI INTERNATIONAL AIRPORT - DAY 73
U.S.
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 (Xl
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,
74 OMITTED 74
75 75
EXT. DOLLY STASH'S HOUSE - MIAMI - DAY
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
76 THE .oLD MAN
Rafi, is removing a sophisticated false bottom
helped by
from his suitcase, laminated and difficult to detect.
77
77 MANNY AND GASPAR
break open wooden clothe6 hanger6 concealing cocaine a6 the
(Xl
stockbroker changes clothes.
#02154 60
Rev. l/18/83
78 THE MOTHER 78
picks up the baby and removes cocaine from its diaper.
While:
79 THEFORMERNUN 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, over-
looking 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 --
move
Houston clocks out the time.and the boarding gate-.-we
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.
83 OMITTED 83
thru thru
85 85
(Xl
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.
#02154 61 and 62
hev. l/18/83
07 INT. LAUNDRY RESTAURANT - NIGHT 87
(Xl
The plush millionaire's restaurant is to be seen again. (Xl
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
(admiringly
to Tony)
Your wife looks terrific in that.
TONY
My wife? You gotta be kidding.
89 INT. LOBBY - LOPEZ CONDO - DAY 89
and and
90 Elvira steps out of the lobby into the driveway. Tony is 90
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 bet Ice
Cream in the first.
She sighs, walks across the lobby. He follows.
CONTINUED
#02154 62-A
Rev. 11/26/82
89 CONTINUED
89
and
and
90 She steps out in a Pucci summer dreds, looks around. He
90
points.
TONY
Over there....
CONTINUED
1
:= #02154 63
Rev. 12/21/82
89 CONTINUED - 2 89
and
90 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.
ELVIRlP
(registers it
with distaste)
That thing? You must be kidding.
TONY
(hurt)
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
(to Elvira)
So you like this better? (X)
ELVIRA
( shags 1
It's got style. (Xl
l
TONY .
Yeah it looks like one of the tigers (Xl
from India.
(to Elvira)
Tony been dragging me around to the
zoos, looking at tigers. He wants
to buy one of them too.
(amused)
He do that he gonna have no friends
left. Not that he got any now.
CONTINUED
#02154 63-A
Rev. 11/2/82
91 CONTINUED 91
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
(to Salesman)
How much?
CONTINUED
#02154 64
Rev. 11/22/82
91 CONTINUED - 2 91
SALESMAN
' Twenty-eight thousand dollars.
Fully equipped.
TONY
(genuinely)
That all?
SALESMAN
Machine gun turrets are extra.
TONY
(circling
the car)
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 (X
...here...here.. .these windows....
Yeah.
TONY
...and a phone with a scrambler. (X,
okay.
...
(XI
TONY
...And one of those radio scanners,
y'know, pick out flying saucers and
stuff.
Yeah a good one.
ELVIRA
(joining
them)
Don't forget the fog lights.
TONY
Yeah in case I go to the swamps,
Good idea.
ELVIRA
(impatiently)
I thought you were taking me to
Frank?
..
CONTINUED .
#02154 65
2nd Rev. 11/22/82
91 CONTINUED - 3 91
TONY
(glances at
his watch)
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
(before
leaving)
Oh yeah 0-w
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 (Xl
out of eyesight of the others.
TONY
I'm glad you came. 'I wouldn't (Xl
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?
CONTINUED
#02154 66
2nd Rev. 11/22/82
(X)
c0NT1NuED 92
She has a coke vial out, casually hits one nostril, then
other, then takes a last hit through the mouth,
the
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
(same tone of
voice as before)
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 swivelling 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.
#00766 67
93 CONTINUED 93
Sosa is showing Tony and Omar through his coke processing
lab, past four coal-fired stoves, each with mas,sive 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 1 can
&&A 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.
Tow, 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
(meanwhile)
...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. .
CONTINUED
#00766 68
93 CONTINUED - 2 93
SOSA
Yes, it would've been nice if he could
have come.
TONY
(cutting in)
and he'd like meeting you too
1;;: 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
(taking the
measure of Tony,
sarcastic)
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 impas-
sively 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, con-
stantly changing dishes, confusing Tony (ad-lib during scene).
SOSA
(to Omar)
...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.
c0NT1NuED
#00766 69
CONTINUED
94 94
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 Coluxnbians 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 EC
2s 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 Y- 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
CONTINUED
#00766 70
CONTINUED - 2
94 94
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.
(meanwhilzz
Tony in a whisper)
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.
(chuckles)
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 UQ!
TONY
(shrugs)
Frank'11 love it. Don't worry about it.
OMAR
That's up to Frank -- not you.
CONTINUED .
71
#00766
94
CONTINUED - 3
94
.. -
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.
oM?iR
(a beat)
I don't think this is something
Okay.
I want to do on an overseas.phone, but
I can go back to Miami and talk to
Frank personally.
SOSA
(without
hesitation)
Good. My chopper can take you to
Santa Cruz now. I have a jet there
that'11 have you in Miami in five hours.
You can be back here tomorrow. For
lunch.
speed of the plan.
Omar is taken aback by the
OMAFi
. . I Yeah I guess so....
TONY
Great.
SOSA
(glancing at
Tony, to Omar)
...leave your friend here. While you're
gone maybe he can tell me how to run
business.
my
(doesn't ?% it)
I don't think that....
TONY
(lighting
a cigar)
Hey it's okay. You tell Frank
I'm keeping this guy on ice for
. him....
Sosa laughs. Omar scowls.
CUT TO
#02154 72
Rev. l/18/83
SOSA VILLA - DAY
95 EXT. 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 islands in the Caribbean,
the governments in Russia, the Armys
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
(overlapping
the joke)
. . * 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? (Xl
Sosa changes his personality completely with her, dewy-
eyed and loving. They peck each other's cheek lightly.
GABRIELLA
(distracted) (Xl
Lovely.. .but the sheep in the north
pasture, they're destroying the grass,
it's turning yellow. You must move
them darling.
SOSA
1'11 take care of it myself. (Xl
CONTINUED
#02154 73
Rev. 11/22/82
95 CONTINUED 95
GABRIELLA
(turning
to 90)
...and don't forget we have the
Rinaldi's at eight.
SOSA
Of course not. Uh -- an associate
of mine. From Miami. Tony Montana...
(to Tony)
My fiance, Gabriella Montini.
TONY
Hello....
She nods to him in that somewhat uninterested, rude,
tx:
upperclass Latin way.
tx:
GABRIELLA
It's a pleasure.
tx:
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 heli-
copter rising off the lawn.
SOSA
(focusing the
binoculars)
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.
CONTINUED
74
#00766
95
CONTINUED - 2
95
puzzled, glances up at the chopper which now hovers
Tony,
there high above the estate.
Sosa passes him the binoculars.
SOSA
This garbage was recognized by my
From several
associate at lunch.
In New York. He was an
years ago.
informer for the police....
Tony, astonished, looks up.
96
96 THROUGH THE 3INOCULARS - OMAR
terrified, being positioned at the door of the chopper by
the Shadow and the Skull, his hands tied to his back and a
He is
length of thick rope looped around his neck.
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
He hangs there like
rope stretches taut, snapping his neck.
a broken doll on a string as the chopper moves out of sight.
A silence.
97
97 TONY
Sosa watches him closely
shaken, lowers the binoculars.
Tony looks back at him, contemplative.
for his reaction.
Sosa goes over, pours himself some coffee.
SOSA
So how do I know you're not a 'chivato'
too Tony?
TONY
stalks
(awry,
up to him)
Sosa -- get this straight right
Hey
now ! I never fucked anybody over in
my life didn't have it comin' to him
okay! All I got's my two balls
--
my word -- and I don't break 'em.
and
CONTINUED
75
#02154
2nd Rev. 11/22/82
CONTINUED
97 97
TONY (Cont'd)
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! (Xl
SOSA
(moves away)
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 judg-
ment stinks. So I think to myself,
what other mistakes has this Lopez
guy made, how can I trust his organi-
zation...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.
(then)
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
followng the pantomine, 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 WIFE TO
\.__
76
#02154
Rev. l/18/83
EXT. LOPEZ MOTORS AUTO DEALERSHIP - LITTLE HAVANA - DAY 99
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
INT. AUTO LOPEZ OFFICE - DAY
100 100
The office is highly decorated with plagues, momentos,
Cuban patriot flags, and lots of photographs, centering on
JFK and RFK shaking the hand of Lopez who now stares
incredulously at Tony.
LOPEZ
(livid)
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
tx:
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
(ranting)
You know what this fucking trial is
costing me in legal fees, Montana?
CONTINUED
-
#02154 77-A
Rev. l/18/83
100
CONTINUED
100
LOPEZ (Cont'd)
...You expect me to believe Omar was (X)
'Cause Sosa said so? And'
a stoolie.
you bought that line?
(pause,
eyeing Tony)
Maybe I made a mistake sending you down
there? Maybe you and Sosa know some-
thing I don't know?
CONTINUED
#02154 78
Rev. l/18/83
100 CONTINUED - 2 1oc
TONY
You saying I'm not being straight tx:
with you Frank?
Lopez's bodyguard shifts. Manny slips his hand closer to
his belt.
LOPEZ
(carefully)
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
(finally)
...have it your way boss.
to
He turns to leave, nods Manny.
LOPEZ
Montana... just remember I am the
boss.
TONY
Sure you're the boss.
to the door, Manny joining him.
Gets
LOPEZ
Y'know I told you when you started
Tony, the guys who last in this busi-
ness are guys who fly straight, real
low key, real quiet.. -the guys who
want it all, the chicks and the cham-
pagne and the flash -- they don't last.
saying nothing, goes out the door with Manny.
Tow,
101 EXT. AUTO LOPEZ OFFICE 101
Just outside the door, Tony glances at Manny's question-mark
expression.
TONY
(with steel)
Fuck him!
CUT TO
101-A EXT. SHEFFIELD'S OFFICE BUILDING - ESTABLISHING SHOT - 101-A
NIGHT
#02154 70-A
Rev. 11/2/82
102 INT. LAWYER'S OFFICE - NIGET 10:
(X
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,
CONTINUED
79
#00766
CONTINUED
102 102
George Sheffield smoking yet another cigarette, his voice a
hoarse gravelled croak, the eyes -- with their deadxnan 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?
TOM!
(indicates Manny)
My partner. Manny Ray.
Manny, standing in the b.g., 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
(chuckles)
I'm trying to stay outta it, y'know
what I mean? I'm expanding my opera-
tion. So I want a class guy like you on
the payroll -- advising me. Starting now.
SHEFFIELD
(a longer pause
than usual)
Cash. On
...Start with a $100,000.
the table.
TONY
(an equal pause}
Sure....
He sticks out his hand. Manny slaps an envelope in it. Tony
begins counting out the cash, right on the tabletop.
CUT TO
#02154 80
Rev. U/2/82
EXT. LOPEZ CONDO - SOUTH MIAMI - DAY
103 1C
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.
INT. LOPEZ CONDO - DAY
104 1C
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
(cooling to
him fast)
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.
CONTINUED
#02154 81
Rev. 11/2/82
104 CONTINUED 104
ELVIRA
Sure. Why not? We're all normal
here.
She heads for the pool, nonplussed. Tony closes the door, (XI
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...
(pause,
no response)
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
CONTINUED '
#02154 82
2nd Rev. 11/22/82
104 CONTINUED - 2 104
. -.-.
.
ELVIRA (Cont'd)
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 (Xl
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.. .uh 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...1 want you to
marry me and be the mother of my children.
Silence.
ELVIRA
(stunned)
Me? Marry you?
She laughs, a short harsh laugh.
T O N Y
(sincere)
Yeah.. -marry me.
ELVIRA
What about Frank? What are you going
to do about Frank?
TONY
Frank's not gonna last...
(puts down
the drink, puts
his hand on hers)
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... 1'11 see you the next time.
. He goes. She stares at him, still dazed, yet deep down --
,..T'
flattered.
----
CUT TO
#00766 83
INT. BABYLON CLUB - NIGHT
105 105
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 Deonle out
L L
of his path, he angles th?ough them. -
OWNER
(indicating
a table)
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....
(heading
towards her)
(stops him).
Hey c'mon Tony, it's okay, it's just
a 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?
kid, he works for Luco, he's
Some
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.
Sure Tony.
LARGE MAN
(intersecting)
Hello Tony, you remember me?
CONTINUED
84
#02154
Rev. 12/16/82
CONTINUED 10
105
(drifting away)
1'11 be at the table.
TONY
(to the
Large Man)
Yeah, sure. You're...
(snaps fingers
trying to
remember)
...Bernstein, right. Mel Bernstein.
Narcotics, right?
BERNSTEIN
I think we
That's right, Tony.
better talk.
(indicates a
quieter area)
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
Like Emilio Rebenga,
ancient history.
like a bunch of whacked Indians at
the Sun-Ray Motel in Miami Beach....
TONY
Oh 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 spit balls, Tony baby --
here and now?
Tony looks at him.
CUT TO
1C
106 INT. BABYLON CLUB - CORNER TABLE - TONY AND MEL
in a corner of theeBabylon -- talking. (X
CONTINUED
#00766 85
Rev _ 11/22/82
106 CONTINUED
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
(doodling on a
piece of paper)
There's an answer to that too....
He holds the paper up briefly in front of Tony. It says
"25,000" *
TONY
(reacts)
That's a big number.
BERNSTEIN
cx:
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 collec-
tion, 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 (Xl
know you're the last bull I gotta
Metro, Lauderdale,
grease? What about
DEA -- how do I know what rock they're
gonna come out from under?
BERNSTEIN
That's none of our business, Tony, (Xl
we don't cross no lines.
CONTINUED
#00766 86
Rev. 11/22,`82
CONTINUED - 2
106
. 106
BERNSTEIN (Cont'd)
(getting up)
I don't want this discussion going (X)
any farther than this table. MY WYS
have families, they're legitimate cops,
I don't want none of `em .getting' embar-
rassed `cause if my guys are gonna suffer,
then they're gonna make you suffer.
Comprendre? ..Oh 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 above
ground'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....
INT. BABYLON CLUB ENTWWCE - NIGHT
107 10;
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....
ELVIBA
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?
CONTINUED
#02154 87
Rev. 12/16/82
107 107
CONTINUED
*-:
ELVIRA
Tony, you're really nuts you know,
-- you really are.
over, takes Elvira's arm, and smiles at Tony.
Lopez comes
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
(without
a smile)
Then go do it somewhere else. Get
lost.
ELVIRA
Frank, he was only....
TONY
(ignoring her)
Maybe I don't hear so good sometimes,
man. (X)
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. 1X)
Blow. (Esfumate)
The bodyguard moves closer to Tony who doesn't move.
Manny suddenly slides into frame, backing Tony.
TONY
(icy)
Orders? There's only one thing that
gives and gets orders, cabron -- balls. (Xl
Pause. Something's about to pop, turns back just at the
crest. Lopez abruptly turns away.
CONTINUED
#00766 80
107 CONTINUED - 2 10;
LOPEZ
(to Elvira)
Let's go!
ELVIRA
Frank, this is ridiculous....
LOPEZ
C'mon!
He crowds her. she goes. Tony watches as they exit
Angry,
the club.
What happened?
TONY
That cocksucker! -- He put that
homicide prick Bernstein on me.
They stroll back to the table.
What for?
TONY
The Emilio Rebenga hit. Remember
that.
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.
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.
CONTINUED
09
#00766
107
107 CONTINUED - 3
MANNY
where you going?
Hey,
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.
INT. BABYLON CLUB - MEN'S ROOM AND STAIRS - NIGHT
109 105
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 ha&s along her ass.
GINA
(shocked)
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
(trying to
him)
restrain
Tony! What're you doing! You're
crazy!
He rips the coke out of her hands and scatters it across
the tiles.
TONY
(to Gina)
What are you doing with this shit,
hunh?
(back to
burgundy suit)
Get the fuck out of here, maricon,
y'hear, 1'11 kill you next time.
CONTINUED
#00766 90
CONTINUED
109 10!
_-.
GINA
Fernando!
TONY
(to Gina)
Shaddup!
Manny runs in, several others now looking in from the hall.
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
telling ya!
I'm I don't wanna see
you in here again. I catch you in
here I'm gonna beat the shit outta
you.
GINA
Oh yeah! Go ahead!
TON-Y
You're getting outta here right now!
Don't push me baby, don't push me!'
GINA
Don't fucking push me!
-
CONTINUED
91
#00766
109
CONTINUED - 2
109
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.
X'll go out with who I want and if I
want to fuck them then 1'11 fuck
them!
Tow, 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.
(tender)
Come on, baby, it's okay. .-it's
okay, he didn't mean it.
(strokes
her face)
TONY
(disturbed,
to Manny)
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.
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.
CONTINUED
#00766 92
CONTINUED
110 11C
TONY
(to the
bartenderess,
pointing)
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 every-
thing he touches. Well he's not gonna
hurt me anymore. He`ll never see me
again. Never!
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!
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?
'Gainst assholes -- like the sleaze
ball in the red suit.
He says it like it's personal.
GINA
(picks up on it)
I like Fernando, he's a nice guy, he
knows how to treat a woman.
(a face)
What future's he got? On a band-
stand somewhere? He's a bum, Why
don't you go out with somebody who's
going somewhere?
CONTINUED
93
#02154
Rev. 12/16/82
111
CONTINUED
111
She gives him a look.
GINA
Like who?
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.
What? Me?
GINA
Yeah, you. I see the way you look at
me -- Manolo Ribera. (X)
(nervous)
Hey, Tony's like my brother.. You' re
his kid sister, okay?
GINA
So what?
so....
GINA
(taunting)
You afraid of Tony? You afraid of
Tony's kid sister?
Fuck no....
112 EXT. TONY'S MOTHER'S HOUSE - NIGHT 112
Pulls the car over to the curb.
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....
CONTINUED
94
#02154
Rev. 12/16/82
112
112 CONTINUED
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? (X)
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.
PJ%en 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...
CONTINUED
95
#00766
CONTINUED 113
113
.-.
...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 Baretta 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.
CONTINUED
#00766 96
114 CONTINUED 114
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
INT. SAFE
115 HOUSE - THAT NIGHT 115
Tow, 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...
(to Chi-Chi)
Find out where Lopez is....
CUT TO
116 INT. MIRIAM'S APARTMENT - NIGHT 116
Miriam's a tough-looking little ckick in panties and a tank
top 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.
Tony cone, whatcha doing -- checking
up on me, too?
97
#02154
11/22/82
Rev.
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 phone
Move your ass!
booth on 9th. Yeah.
118
118 INT. MIRIAM'S APARTMENT - NIGHT
What happened!
INT. SAFE HOUSE - NIGHT 114
119
TONY (v.o. )
Nothing we can't fix.
Tony hangs up.
120 INT. MIRIAM'S APARTMENT - NIGHT 12c
(grabs his pants)
I gotta go.
MIRIAM
This is worse than fucking a grass-
hopper, man.
Hey, I'm better looking.'
(hits the
coke again)
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
(to Nick)
Nick, when we get there, call Lopez
at three exactly. You got that? (X
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....'
CONTINUED
98
#00766
CONTINUED 121
121
. 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!...
(cradling the
phone)
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...? Uh, 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.
CONTINUED
#02154 99
Rev. 11/22/82
CONTINUED
123 123
./- .
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
(uneasy)
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
(sits at the edge
of Lopez's desk)
Nah, I'm gonna take care of this
myself.
Pause.
LOPEZ
(awkward)
Well.. -What are the guns for Tony?
TONY
(shrugs)
What for? I'm paranoid I guess.
The phone rings.
Lopez lets the phone ring.
TONY
Why don't you answer it 'Frank?
CONTINUED
`.
100
#00766
123
CONTINUED - 2
123
LOPEZ
m-l. * .Must be Elvira. You know women.
-4' After we left that joint she....
The phone rings again.
TONY
(reaches for it)
1'11 tell her you're not here.
LOPEZ
(grabs the
phone first)
Wait a minute! I'll talk to
her.. -Hello?...
(anxious)
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
(nervous)
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!
CONTINUED
101
#00766
,.- 123
-3
CONTINUED
123
cockroach right in front of
He squashes an imaginary
him further across the desk,
*Frank's eyes, then pulls
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: 90
way 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.
.- _--
CONTINUED _
102
#02154
Rev. 11/22,'82
123
123 CONTINUED - 4
.'
TONY
...Every dog has his day.
He fixes his eyes on Mel Bernstein.
BERNSTEIN
(remaining calmly
in his chair)
I told him it didn't make sense --
cliptiing 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 Baretta from his sling and holds it in his
left hand pointed at the big man.
BERNSTEIN
(rising from
his chair)
You can't
Hey, c'mon, what is this?
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
hondle one of them first-class tickets (X
-- to the Resurrection. So long, Mel,
have a good trip.
He fires several times into him until we can imagine he is
longer of the living. Tony turns towards the door.
no
CONTINUED
103
#00766
CONTINUED - 5 12
123
(indicatize
bodyguard)
What about him?
Tony notices.
The bodygurad, 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 (0-s.)
torch it!
Okay,
CUT TO
124 INT. LOPEZ CONDO - THAT NIGHT
Elvira lies in her silk sheets. The doorbell rings. She
gets up.
In a nightgown, she opens the front door.
ELVIRA
Tony?...
Tow, 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.
CONTINUED
104
#00766
-.
124 CONTINUED 124
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 12$
to lively, marching music.
Spin
126 HANDS 12L
counting money.
127 HANDS 12:
sealing cocaine bags...quaaludes...marijuana.
128 EXT. SOSA VILLA - DAY 12t
Sosa on the phone in Bolivia.
129 WT. TONY'S MANSION - DAY 12!
Tony on the phone in Miami.
130 EXT. MONTANO REALTY - DAY 13(
Tony -- with Manny, GaSpar, and Ernie -- exits the Montana
Realty Company in Little Havana.
131 EXT. MONTANA DIAMOND TRADING COMPANY - DAY 13:
Tony -- with Manny, Gaspar and Gigi -- enters the Montana
Diamond Trading Company in Little Havana.
-^
105
#02154
Rev. l/18/83
132
EXT. GASPAR'S STREET - DAY
132
Marielitos, is ambushed and blown up in his car.
One of the
133
EXT. BANK - DAY
133
Camera moving from a sign saying "Banco Del Sur Miamil' to
(X)
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.
(to be seen again).
134
INT. TONY'S MANSION - DAY
134
(XI
Chi-Chi's on the phone worried with Gigi.
1.3!
'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
13
INT. TAP TRAILER - DAY
136
The tap -- trailer -- simultaneous...the camera moving
along the tape spools to the two narks listening.
13
137 EXT. STASH HOUSE - NIGHT
Rafi, another Marielito, is led off in handcuffs from a
suburban stash house by the cops.
13
NEWSPAPER HEADLINES
138
Time Magazine
"Raid Nets $100 Million Cocaine Stash!"
covers.
12
-139 VIC, THE NEWSCASTER ON TV
.
"135 drug-related homicides so far this year!"
I
106
#02154
Rev. 11/2/82
(Xl
139-A
139-A NICK THE PIG
shaking down punk in Cuban park.
139-B
139-B LITTLE HAVANA - NIGHT - GINA
exits flashy car.
14E
140 OMITTED
141 HANDS 143
stripping false bottoms from suitcases.
_.
142 EXT. GINA'S BEAUTY SALON - DAY 14:
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.
INT. MENS' CLOTHING STORE - DAY
143 14:
a
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 14!
Elvira snorting.
146 OMITTED 14(
147 INT. AMUSEMENT ARCADE - DAY 14'
.
And Hernando, another of the Marielitos, now sprawls dead
over a video machine in an amusement arcade.
148 EXT. MIAMI BEACH 141
. . . and a bloated Cigi floats in from the ocean onto the
lush white surf of Miami Beach, alongside some kids playing
with their shovels.
107
#52154
Rev. l/18/83
(Xl
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
15f
150 EXT. TONY'S MANSION - MORNING - DAY
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 (but no sign of kids) 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, extend-
ing a giant claw and licking himself.
Tony and Chi-Chi kidding around with the tiger.
Intercut to:
151-
151-A EXT. TONY'S MANSION - GUARD HOUSE - DAY
Behind some nearby bushes, Gina and are making out in
MaMy
the grass. They hear the sounds of Tony's voice, freeze,
making shushing signals, then almost laugh when they con-
sider their childish state.
CONTINUED .
#02154 108
Rev. l/18/83
(Xl
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 Marmy, 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
f-leY, Tony, c'mon, that's crazy,
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
yan't even take anymore of your money
less 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
-.
CONTINUED
#02154 109
Rev. l/18/83
(Xl
151-B CONTINUED 151-B
BANKER (Cont'd)
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. H OW 's
married life? Say hello to the princess
See
for me -- okay. She's beautiful.
you. Take care.
Going. Tony watches, raging inside. He pulls a drawer
It's the
open and reaches for a private cocaine supply.
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.
CONTINUED
#02 154 109-A
Rev. l/18/83
(Xl
151-B CONTINUED - 2 151-E
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
(eyes wandering
across to
another video
monitor)
You get the house sweeped this month?
The cars?
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. There are other private
A man is hauling cable.
gates visible. The area is lush with gardens, Spanish moss,
cypresses and quietly respectable million dollar houses with
their Spanish tile roofs and balconies.
Yeah?
TONY
Hey Manny when does it take three
days to rig a cable, hunh?
cops.
TONY
What if it's the Diaz brothers? What
if they're gonna come and get me?
I'll check it out.
TONY
You check it out, then we're gonna blow
that fuckin' truck back to Bogota.
CONTINUED
#02154 110
Rev.
(Xl l/18/83
152 CONTINUED
15;
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.
So the guy jogs around the neighbor-
hood. He's some fat accountant.
TONY
How the fuck do you know what he is?
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...
(walks away,
stops, looks
back)
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
#02154 111
Rev. l/18/83
A-158 EXT. TONY'S MANSION - NIGHT - ESTABLISHING SHOT A-158
(Xl
158 INT. TONY'S MANSION - BATHROOM - NIGHT - CLOSE ON 158
TELEVISION COMMERCIAL
(Xl
A television spot for Florida Security Trust (or Miami
Security Trust or Dade Security Trust depending on legal
options). A respectable business-type walks along the
sidewalk with a renascent dpwntown Mimi as a backdrop.
Skyscrapers, glinting glass, cranes....
BANK SPOKESMAN
s . -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
(to the TV)
Yeah that's 'cause for seventy-five
years you been fucking all of us over,
that's why.
(to Manny)
Somebody oughta do something about
these whores. Charging me ten points
on my money and they're getting away
with it! ThG's no laws anymore,
anything goes. l
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, etc....
rugs,
CONTINUED
.. .
#02154 112
Rev. l/18/83
158 CONTINUED 15E
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
Row 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?
(changing
the subject)
So I had a pow-wow with this guy
Seidelbaum today. He checks out.
I .got another meet set up.
TONY
When?
Thursday ten o'clock. I thought I'd
take Chi-Chi with me. Do a million (Xl
and some change. Get my- feet wet with
this guy.
TONY
(Xl
That's a lot of wet. I'm not
Rockefeller. Not yet.
Tony points to a figure on the TV.
TONY
listen to this, guy's always (X)
Hey,
good for a laugh.
Visual of silver-haired television Anchorman -- Vie Phillips
-- with a bit of show business image in him -- to be seen
again. Underneath his face, it says "Editorial."
`. . .
CONTINUED
.:
#02154 1 1 3
Rev. l/10/03
158 CONTINUED - 2 15E
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...
(pause
for effect)
& am not one of those voices.
TONY
(responding) (Xl
What do you know -- you never been right
in your life, Vie baby...
(to Manny)
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
(X)
You're boring. Money, money, money!
That's all I hear in this house.
Frank never talked about money.
TONY
'Cause Frank was dumb.
(Xl
ELVIRA
You know what you've become Tony --
an arriviste, an immigrant spit
millionaire who can't stop talking.
--
CONTINUED
#02154 114 thru 117
Rev. l/18/83
158 CONTINUED - 3
158
ELVIRA (Cont'd)
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.
(indicates
the bathroom)
CONTINUED
._..
#02154 118
2nd Rev.. 11,'22/82
158 CONTINUED - 3 151
ELVIRA
(starts out)
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
(at the lip.
of the bathroom)
What - my problem, Tony?
is
TONY '.
. ..you got nothing to do with your
life that's what.
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. (Xl
ELVIRA
( stung 1
honey, you're
Don't toot your horn,
not that good.
TONY
Frank was better?
ELVIRA
(guietly)
You're an asshole.
She goes.
TONY
(calling after
her, guilty)
Hey c'mon Elvie, whatta we fight
for, this is dumb!
He splashes the water in his tub and slams the TV shut.
CONTINUED
#02154 118-A
2nd Rev. 11/22/82
158
coNTIm - 4
(watching)
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.
(rises)
I gotta hot date....
coNTmuED
#00766 119
158 CONTINUED - 4
158
TONY
(glaring into
his bathwater)
This Seidelbaum thing?
Yeah?
TONY
Me and Nick'11 take care of it. You
stay out of it.
(very surprised)
It's my deal.
why!
TONY
You stink as a negotiator, that's why.
You like the ladies more'n you do the
money -- that's your problem 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.
(catching7
Junior partner my ass!
TONY
I'm in charge. Do as I say. You
go to Atlanta, you handle the Gomez
delivery there.
(a beat)
lissen to your
You oughta wife,
muchacho. You are an asshole.
He leaves, pissed, Tony mumbling to himself in his bath.
TONY
(to himself)
Puck you too... what do you know, who
the hell put things together;..me!
.Who do I trust -- me, that's who....
DISSOLVE TO
#00766 120
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 16
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
At all times all four men, thoroughly aware of
amounts.
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 friend. I was his driver....
NICK
(stacking)
Oh yeah?
LUIS
Yeah, in Caragena, they shot it there
..
. Gillo Pontecorvo, he was the director.
Italian guy.
CONTINUED .
#00766 121
160 CONTINUED 1%
LUIS (Cont'd)
(pause)
Yeah, I also know Paul Newman. I
worked with him in Tucson.
NICK THE PIG
That so? Say, you know Benny
Alvarez there?
LUIS
uh.. . .
SEIDELBAUM
(interrupting
to Tony)
Now you want a company check here
for $283,107.65?
TONY
checking
(pause,
his fingers)
uh.. . I come up with 284.6
SEIDELBAUM
(pauses, looks again
at his figures)
No, that's just not possible. The
machine don't make mistakes.
TONY
Well, we'll count it again.
SIEDELBAUM
Oh Jesus!
.
TONY
Hey business is business. We're
talking $1500.
SEIDELBAUM
(exasperated)
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.
CONTINUED
#02154 122
2nd Rev. 11/22/82
160 CONTINUED - 2 160
NICK
(to Luis)
How come you don't know Benny
Alvarez?
DISSOLVE TO
161 INT. SEIDELBAUM'S WAREHOUSE OFFICE - DAY 161
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
(consulting
his notes)
Seven checks. A million three hundred
twenty-five and six hundred twenty-three (Xl
...plus eighteen cents.
TONY
(grins)
Hey we're almost finished. Another
200 thousand and we can take a leak.
SIEDELBAUM
Yeah but this'11 do fine.
Fulls 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
Oh shit.. -You're not kidding hunh? (Xl
Eyes darting. Considering the options. The little fat (X)
man's eyes are suddenly agile and mean-.-Tony reads them,
lifts his arms.
SEIDELBAUM
(to Luis) (Xl
Get it.
(Xl
CONTINUED
#02154 123
(Xl 2nd Rev. 11/22/82
161 CONTINUED 161
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
(impressed)
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
(unfazed;
wiping the
sweat off)
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.
(points)
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?
CONTINUED
#02154 124
2nd Rev. 11/22/82
(Xl
162 CONTINUE3
NICK
Oh shit and I was supposed to meet
this chick at three. What a pain in
the ass.
SEIDELBAUM
(to camera)
Okay, Danny, turn it off.
The angle goes black.
163 BACK TO SCENE 163
SEIDELBAUM
(reciting
the Miranda)
All right, Montana, you have the
right to remain silent. Anything
you say can be taken against you.
You have the....
TONY
(cuts him off)
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
of Tony, Elvira, and Sheffield, the lawyer.
photo
CUT TO
165 XNT. TONY'S BATHROOM - DAY 165
Tony, tense, checks himself in the mirror, adjusts 3s
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
#02154 125
2nd Rev. 11/22/82
(X)
166 INT. LAWYER'S OFFICE - NIGEXT 166
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!
CONTINUED
#00766 126
166 CONTINUED 16r
Hey, Tony, what's three years? ltvs
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
they never get me back in a
No...no,
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 real
simple. 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
I'm gonna come and tear
me, y'hear?
your fuckin' eyeballs out.
Pause.
SHEFFIELD
(cool)
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
#00?66 127
EXT. SOSA VILLA - BOLIVIA - DAY
167 167
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
(rising)
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
(sore point)
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
is Pedro Quinn, chairman of
This
Andes Sugar here...Tony Montana.
CONTINUED
#00766 128
167 CONTINUED 167
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 Brook6 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 Albert0 meet us in the
living room.
The black aide goes.
SOSA
(solicitous)
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....
CONTINUED
#02154 129
Rev. 12/165/82
/-
167 CONTINUED - 2 16
TONY
Sure, Alex.
SQSA
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
your problem, Alex?
And
Sosa looks around, stands up.
SOSA
Come I 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. (Xl
Gutierrez is a young charismatic man, very well dressed and
polished in a South American manner who exudes a sense of
enormous passion.
GUTIERREZ
than 10,OOO'of our people are
...More
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!
CONTINUED
#02154 130
Rev. l/18/8:,
(Xl
168 CONTINUED 16l
INTERVIEWER
I've heard whispers, Doctor Gutierrez,
about the financial support your govern-
ment receives from the drug industry in
Bolivia.
GUTIERFSZ
The irony, of course, is that this
money -- which is in the billions,
J i m - - 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?
GUTIERRBZ
(laughs)
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.
GUTXERREZ
. . . 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
Now if he's supposed
Switzerland.
to be the Bolivian Defense Minister,
what's he doing living in Switzerland?
Guarding the cash register?
Laughter.
169 TONY 169.
a lot,
watching, touching his nose blowing it, hyped from
the coke usage.
SOSA
.I.a Communist -- financed by Moscow.
#02154 131
Rev. l/18/83
170 GUTIERREZ 170
(Xl
holds up another photograph -- insert the face on the
TV screen.
GUTIERREZ (Xl
...this is Alejandro Sosa. Inter-
esting character. A wealthy landowner.
Educated in England. Gocd family.
The business brain and drug overlord
of an empire stretching across the
Andes. Not your ordinary drug dealer....
INTERVIEWER (X)
What are you suggesting we do about
this, Doctor?
GUTIERREZ (Xl
(passionate)
The United States Government has.to
stop supporting these facist gang-
sters 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 (Xl
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
Yeah.
Sosa looks up.
CONTINUED
#02154 131-A
Rev. l/18/83
171 CONTINUED 171
The Shadow (seen before at the disposal of Omar) comes into
the room, thin and quiet, his venomous eyes flicking over
Tony. The Skull leads him in.
SOSA
You've met Albert0 before?...
TONY
(remains seated)
Sure. How could I forget?
SOSA
Alberto, you know Tony Montana -- my
partner from Florida.
CONTINUED
,*
._
#00766 132
CONTINUED
171 171
Albert0 nods icily, remains standing adjacent.
SOSA
(to Tony)
So you see Albert0 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...
(*en)
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
INT. THE RESTAURANT - MIAMI -
172 LAUNDRY NIGHT . 175
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, Vie, I watch your show everyday.
Vie -- 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
Oh, 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?
CONTINUED
#00766 133
172 CONTINUED
TONY
(beaming now,
ignoring Manny
who comes to
retrieve him)
Yeah, that's me.
The half-dozen rich people in the dinner party are
intrigued.
TONY
(waves to them)
Hi folks, don't get up. Anyway, Vie,
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 Vie once more on the shoulder,
and leaves them murmuring.
(reproving)
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
That's the trouble in this
on TV!
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 17:
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....
so what's the big mystery, what
. 1 .
happened down there with Sosa?
TONY
Lot of bullshit, that's what. Politics.
The whole world's turning into politics.
CONTINUED
#00766 134
173 CONTINUED
`_
173
He pulls out his own vial under the table between eating
_-
and drinking.
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.
So who's this guy you brought back
with you, the guy who don't blink?
ELVIRA
What guy?
TONY
(to Manny)
You stay out of it. Run things down
here. 1'11 be up in New York next week.
He takes a hit, unnoticed.
ELVIRA
(unheard)
What guy?
(to Tony)
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?
..
CONTINulm
#00766 135
173 CONTINUED - 2 17:
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.
(trying to
shift the mood)
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
(ignoring the question)
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?
It's not so bad Tony, could be worse....
TONY
(doesn't hear)
. . I is that what I worked 'for? With
these hands? Is that what I killed
for? For this?
(turns his gaze
stonily on Elvira)
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!
(gently)
-
Tony, you're drunk.
CONTINUED
#00766 136
CONTINUED - 3
173 173
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?
Oh 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.
ELVXRA
* . . 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?
CONTINUED
#00766 137
/
173 CONTINUED - 4 173
ELVIRA (Cont'd)
(in a softer
tone)
Oh 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
(softly)
Go on, get a cab home, you're stoned.
(to Manny)
Manny.
ELVIRA
I'm not stoned Tony. You're
No,
stoned. You're so stoned you don't
even know it.
TONY
All right I'm stoned. Manny.
(rising, trying
to put his arm
on Elvira)
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...
(staring at Tony)
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 guaalude and
she'll lpve me again.
Tony's
Stumbling once, Elvira disappears out the door.
eyes follow her. Pause.
..
CONTINUED
#02154 138
Rev. l/18/83
(Xl
173 CONTINUED - 5 173
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 f-74
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 (Alberto) moves towards a sedan
parked along the curb, carrying an airline bag. Be slips
under the car.
Tony looks:
135 ERNIE 17:
down the street at the intersection of the avenue, surveying
traffic, signals okay.
#02154 138-A
Rev. l/18/83
,
176 CHI-CHI 176
--d-- 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
si-gnals.
#02154 139
Rev. 12/16/82
x..
TONY 178
170
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
(Spanish)
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, uh 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. Oh 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
(in a hurry)
Look it up in the Yellow Pages okay,
buddy.
(signal to her partner,
they drive off)
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!
CONTINUED
#02154 140
Rev. l/18/83
178 CONTINUED 17E
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
(Spanish)
What the fuck you doing!
TONY
(winks)
Hey that was close, hunh?
CUT TO
179 EXT. GUITERREZ' STREET - NEW YORK - DAY - EARLY NEXT MORNING 175
(Xl
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 18(
At the phone booth up corner, Tony --
the unshaven, bleary-
eyed -- is rapping on the phone.
TONY
. . . Yeah, _ yeah...nah, nah...you tell (X
_
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 (X
up the phone again, starts dialing.
181 INT. TONY'S NEW YORK SEDAN - DAY 18:
In the sedan, the peers
Shadow over, angry, at Tony.
SHADOW
(Spanish)
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,
CONTINUED
#02154 141
Rev. l/18/83
182 CONTINUED 182
ELVIRA'S VOICE (Xl
'---' Yes?
TONY
Hello baby, how's Baltimore?..hey (Xl
look Elvie, I been thinkin' 'bout us,
you know and....
The phone goes dead. Furious he slams it back down, stalks (Xl
back out to the sidewalk.
183 OMITTED 183
(X)
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, (Xl
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
(concerned)
Everything okay Tony?
TONY
Yeah roses. Where is this fuckin'
I don't got all day to piss
WY?
away.
CHI-CHI
Probably fucking his wife.
(eating pizza)
Jeezus it's cold.
185 THEIR POINT OF VIEW THROUGH TONY'S WINDSHIELD - DAY 185
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.
#a?154 142
Rev. l/18/83
186 INT. TONY'S SEDAN - DAY 1BE
CHI -CHI
What's so important about this guy
anyway? What's he a Communist? (Xl
TONY
(snorting
through
his mouth)
Nah he's no Communist. He's a kinda (Xl
symbol, that's what he is.
CHI-CC1
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
(nods his head
somberly)
Yeah?
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
(doesn't
hear him)
...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
(nervous,
to Ernie)
Ernie, what time?
CONTINUED .
#00766 143
.-
186 CONTINUED - 2 18f
ERNIE
Ten to.
TONY
(opening
his door)
I gotta call Manny.
He starts out the door. The Shadow barks out something in
preemptory Spanish.
SHADOW
(Spanish)
Sit down!
TONY
Hey, you don't tell me what to do,
you,...
CHI-CHX
Tony, he's coming!
187 EXT. MATOS' STREET - DAY 18
Tony looks around, sees:
Matos coming out the door, briefcase in hand.
Tony gets back in the car.
188 THROUGH TONY'S WINDSHIELD - DAY 16
Matos gets into his sedan a quarter block down from his
front door.
189 INT. TONY'S SEDAN - DAY 1E
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 1s
Matos sits there warming up his car, looking back at the
brownstone.
144
#00766
191
191 XNT. TONY'S SEDAN - DAY
SHADOW
(Spanish,
excited)
...The UN -- right in front of it.
In the daylight. That's the way
they want it.
Tony breaks open a fresh vial.
TONY
(English)
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
(Spanish; to
Chi-Chi)
What's he saying! You tell him stay
inside thirty metres of the ca,r okay
-- no more you just stay inside
thirty metres.
TONY
(English)
Hey okay I heard you the the first
time. One time okay. Just tell me
one time.
(snorts)
SHADOW
(Spanish)
I tell you thirty metres okay! You
understand, madre de dios, why this
hop-head is driving!
CHI-CHI
Okay, okay.
TONY
(English)
Okay, okay, cool it willya all right.
19
THROUGH TONY'S WINDSHIELD - DAY
192
of the
Mates pulls his car out parking space.
Tony puts his car in gear, prepares to pull out when:
CONTINUED
#00766 145
192 CONTINUED 19
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 19
TONY
(to Chi-Chi)
What's he doing? Where's he going?
194 MATOS' BROWNSTONE - SIDEWALK - DAY 19
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 is.
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
fuck= day, I swear!
196 THROUGH TONY'S WINDSHIELD - DAY 19r
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:
Tow, 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.
CONTINUED
#02154 146
Rev. l/18/83
CONTINUED
197 19;
SHADOW
_ (Spanish)
No! Mr. Sosa says we do it now.
We do it. Co
-0
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. (X
198 NEW YORK STREETS - DAY - FOLLOWING MATOS' SEDAN 191
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
(to himself,
Spanish)
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
(muttering)
...this is fuckin' crazy, man, this
is sloppy doing it this way, you
don't do it like this....
..._.
He hcinks furiously at a cab that tries to cut him off.
#00766 147
199 INT. TONY'S SEDAN - DAY 199
Tony, intense at the wheel, sneezing, his nose running.
SHADOW
(equally tense,
in Spanish)
You're losing them! There! That
street, they go that street!
TONY
I see 'im! I see `im!
SHADOW
(Spanish)
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 20(
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
(Spanish)
Okay, now...now. Right here.
Easy. Easy!
The decoder.
Tony snorts.
TONY
(muttering)
. .Aw
. fuck you, you fuckin' vulture....
The Shadow in stark profile.
finger depresses the first key of the decoder.
His
UNDER MATOS' CAR - DAY
202 20;
The bomb -- pulsing red light.
#02154 148
Rev. l/18/83
THROUGH TONY'S WINDSHIELD - DAY
203 20:
The Gutierrez sedan pulls off the sidestreet into the thick (Xl
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
(Spanish)
...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.
tx:
Chi-Chi in the back, leaning forward across the seat.
TON?
(muttering)
Two kids in the car, Jesus Christ!
205 UNDER GUTIERREZ' CAR - DAY 20!
(X
The bomb -- jarred by -a bump, pulsing red light.
206 THROUGH TONY'S WINDSHIELD - DAY 201
Gutierrez' sedan inches its way out of the traffic and (X
eases along the curb.
207 INT.. TONY'S SEDAN - DAY 20'
Tony honking his way through traffic after them, building
to a climax with himself.
TONY
(muttering)
...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.
sHliDow
Shut up!
CHI-CHI
(suddenly panicked)
He's gonna get out! Hurry UP, hurry
the fuck up!
CONTINUED .
#02154 149 *
Rev. 11/2/82
__ -.
CPNTINUED
207 20'
TONY
(ignoring all
the commotion)
. * . makes you feel good, hunh?
Killing the wife and the kids. Big
,f
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
Baretta free from his ankle holster. He swings it around
sharply, levelling 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
Oh 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
(continuing
to mutter)
...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 2c
(2
#02154 150
(Xl Rev. l/18/83
.-\
209 EXT. JFK AIRPORT - THAT NIGHT
205
Planes roaring.
210 INT. JFK AI RPORT
21c
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. Tow, everything
go okay, whatsa ---
TONY
Puck 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 1 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!
(repeating
to himself)
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
Uh, Tony, your mama called. Gina's ,
gone. She got to see you right .away.
CONTINUED
#02154 151
(X) Rev. l/18/83
210 CONTINUED
210
TONY
Gina's gone? Where! Oh fuck!..Tell
her 1'11 be there tonight. Okay?
ERNIE'S VOICE
Right.
TONY
(about to hang
up, pauses)
uh -- how 'bout Elvie -- did she call?
ERNIE'S VOICE
(a beat)
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 (the red Jaguar having
been shot to shreds earlier in Lopez's attempt on Tony's
life) 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....
CONTINUED
#02154 152
Rev. l/18/83
(Xl
213 CONTINUED 213
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.
e
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
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
The other phone is ringing.
hysterical and angry. 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
(into the phone)
Yeah, all right. I hear you. No
I'll be there!
problem, okay.
snorts, then pushes the button Chi-Chi indicates.
He hangs up,
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?
CONTINtTED
#02154 153
Rev. l/18/83
(Xl
.--
214 CONTINUED
214
TONY
(casual)
Oh 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
(shrugs)
Yeah, well, your guy Albert0 was a
piece 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' 8
plenty other 'Albertos'. so I'll
deliver the goods next month.
SOSA'S VOICE
(suddenly angry
and letting
Tony know)
No! We can't do that. They found
Fiat was under the car, Tony. And
our friend's got security now UP the
ass. And the heat's coming down hard
There's not
onme and my partners.
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
(simultaneous)
I told you a long time you little
ago,
fuckin' monkey, not to fuck me and....
Tony holding the mouthpiece away from his ear and talking
_- -'
at it like it was a face.
CONTINUED
#02154 154 and 155
Rev. l/18/83
214 coNTINuED 214
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!
room,
In the cavernous silence of the he listlessly turns (X)
to another line of coke.
CUT TO (Xl
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
(to Chi-Chi)
You try Manny again. Gimme five
minutes.
He hurries towards the house.
#02154 156
2nd Rev. 11/22/82
217 INT. MOTHER'S HOUSE - NIGHT 21:
Mama is angry and ravaged with worry, made weaker than
previously, as if overhelmed by events.
. 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. (XJ
Yes, you did! One time one. thousand. (Xl
dollars you gave her!...
(Xl
TONY
Mama, was there a guy with hex?
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!
Citrus
Four hundred something.
Four hundred nine. You
Drive.
gotta talk to her Tony, she don't
She says to
listen to me anymore.
me 'Shut up! Mind your own business.'
(X)
Exactly like you do to me. Ever
since you come back, she's been
getting thiseway.
He turns to leave but she clings to his arm.
,. --
CONTINUED
#02154 157
2nd Rev. U/22/82
(Xl
_-
217 CONTINUED
21:
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
(shakes himself
loose, turns on her)
No! You know why she left, Mama?
Not 'cause of me. 'Cause of you
Me?
TONY
Yeah, it's you drove her nuts with
your nagging and bitchin'.
(interrupZ$)
Nagging and bitchin'? I only demand
a little respect and dignity in this
house, is that why I am nagging and
bitchin'?
TONY
(continuing)
...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!
(interrup=)
. . . 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?. . .
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 wereyou?
CONTINUED
#02154 157-A
Rev. 12/16/82
217 CONTINUED - 2 217
( interrupzg )
You ! ..sin verguenza. From the time (X)
you were five, you gave me heartbreak
and humiliation and shame....
TONY
That's right! That's right. What
did you expect!,.,
(interrupFg)
.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
You got no love in you, Mama.
iAed:,
What do you think Papi left for? And (Xl
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.
(interrup=)
Somebody? You're proud? You're a
(Xl
(Escoria!)
nothing. You're an animal!
Tony storms out of the door as Mama pursues.
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 (Xl
a monster, such an ugly little monster....
Tony slams the door, we hold a beat on her face -- as
As
she had finally answered her own questions.
if
EXT. MOTHER'S HOUSE 218
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
#02X4 157-B
2nd Rev. 11/X/82
.a-.
219 EXT. HOUSE - COCONUT GROVE - THAT NIGHT 21'
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.
CONTINUED
#00766 158
219 CONTINUED 21
Tony, seething, snorts another line of coke laid out on the
crystal bar dividing the backseat, and rewed, goes.
TONY
(to Chi-Chi)
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.
the pause. The door opens casually. Standing there
Hold
is Manny -- with a towel around his waist.
(surprised)
Tony? .-
Tony stares, stunned.
Gina now comes into view behind Manny -- in a bathrobe, a
big smile of welcome for her brother.
GINA
Tony!
(eyes suddenly
moving downward
in alarm)
Tony with his Baretta pointed at Max-my, his expression
filled with loathing.
Manny smiles easily and shrugs, the gesture drawing Tony
over the edge.
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
Tow, terribly surprised.
Tony holds the gun, staring down, separated from himself.
Manny lies at his feet, dead.
CONTINUED
#OCj766 159
219 CONTINUED - 2
2:
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, oh 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.
somebody's seen the
Chi-Chi hurrying up to Tony, worried
shooting. Ernie follows.
CHI-CHI
come on. We gotta get out of
Tony,
here.
(to Gina)
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.
#00766 160
220 EXT. NANNY'S HOUSE - NIGHT 22
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
(to Chi-Chi)
Get the body!
Tony, back at the door, looks down again.
The eyes of Manolo staring sightlessly.
Chi-Chi runs back, grabs Tony.
CHI-MI
Tony!
Pulls him. Tony snaps out of it.
TONY
Yeah!
He goes. Chi-Chi lifting Nanny's body, hauling it.
Tony getting into the Corniche, Ernie pinning Gina against
the front seat. Chi-Chi propping MaMy 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 MaMy in
f.g. I the music surging unexorably.
GINA'
MaMy!..Manny! No!
CUT TO -
22:
MIAMI STREETS - NIGHT
221
The white Corniche whistles by like a hearse heading for
hell.
22;
222 EXT. TONY'S MANSION GROUNDS - THAT NIGHT
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. T h e cars
Eight men emerge silently, blending into the shadows.
.__ -. stop.
of the trees.
#02154 161
R e v . l/18/83
223 INT. TONY'S MANSION - NIGHT 22
Tony, scratchesacross his face, strides through the front
door into the marble foyer. Another Marielito is waiting (X
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.
(to Gina)
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, (Xl
They trundle her up the stairs. Tony
upset but passive.
turns and walks away.
224
224 INT. TONY'S OFFICE - NIGHT
.
A haze of coke rises off the
'Tony slumps on -his couch.
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. (X)
CHI-CHI (Xl
We got some pills into her, she's
cooling down.
Tony pays no attention, Ernie and Chi-Chi noticing the pile (Xl
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
(worried)
Boss, what we gonna do now?
TONY
Do? We're gonna war that's what we
We go&Z-eat Sosa for
gonna do.
.. breakfast. We're gonna close that
fucker down.
CONTINUED
#02154 162
Rev. l/18/8;
,+- .
224 CONTINUED 224
Ernie and Chi-Chi sharing a look.
(Xl
CHI-CHI (Xl
(eyeing
the coke)
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 (X)
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 f lamingoes 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...
see Tony, in long shot, throw open the terrace
. . . and we
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
(insensate)
. . . 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
The wind rustling the treetops. Tony
echoes back at him.
shaking his head at himself, He starts to cry!
CONTINUED
#02154 163
Rev. l/18/83
225 CONTINUED
22
TONY
...Ooooh fuck Manny, how the fuck
did I do that? How the fuck!..oh
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 b-g. now, behind Tony, on the video monitors
in his office we see:
The main gate and guard shack -- a Marielito crosses into (X
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....
#02154 164
Rev. X/21/82
(Xl
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 0-T
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:
.-
CONTINUED
#02154 165
R e v . l/18/83
CONTINUED
226 22
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 (X
yells up ---
Tony,
(X
ERNIE
Get outta
Tony, they're everywhere!
here!
Ernie suddenly wheels, hit in the face, by a burst of (X
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
(gently)
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.
CONTINUED
#02154 166
Rev. 12/21/82
226 c0NT1NmD - 2 22f
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 (X:
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, ihtends to beat them to the punch,
talking to himself.
TONY
So you wanna play hunh, say hello (XI
to my little friend here.
Karroooomph!
The rocket tears down the door and blows the Columbian
It sounds like
punks off the landing into the foyer.
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.
CONTINUED
#02X4 166-A
Rev. 12/21/82
226 c0NT1NuED- 3
226
TONY
Whores! Cowards! You think you (X)
can kill me with lousy bullets hunh?
He CONTINUED
#02154 167
Rev 11/26/82
(X)
226 CONTINUED - 3
f- 22
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!
Left. Right
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!!
Skull, now inches from Tony's back, pulls the trigger
The
and blows Tony's spine out his belly.
Tony crashes forward over the bannister 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.
CONTINUED
#02154 168
Rev. 31/26/82
,/-P. c 226 CONTINUED - 4 22E
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
THEEND
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