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Al Pacino - Scarface Script Lyrics

Scarface

By: Oliver Stone

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

1 A PROLOGUE
crawls up the screen -- with Narrator.

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

The prologue is shredded diagonally by the blade of a
stiletto and in the empty black void we:

CUT TO

Opening Montage - Documentary Footage:
2 THE DISEMBARKATION
from the harbor in Mariel, Cuba. Vessels of every nature,
waving masses, demonstrations....

3 THE CROSSING
Sun and storm.

4 THE LANDING - KEY WEST
The flag of the United States. Choppers swooping over the ragged coastline of the Keys. Emerald waters dotted with fishing trawlers and pleasure craft, an "America the Beautiful"-type Immigration theme surging over this.
5 THE PROCESSING
Long lines. Immigration and Nationalization Officials, customs, Public Health, FBI, Church and Relief Organizations.
Babies bawling, arguments over paperwork, refugees being
interviewed by TV news, people crying, people eating,
families huddled on floors... chaos.
The music theme continuing in stately calm as we:

CUT TO
6 INT. OFFICE - PROCESSING HALL - AFTERNOON -
A FULL and CLOSEUP OF

7 TONY MONTANA 7
the scar-faced one, in the young angry prime of his life.
We dwell first on the scar which he likes to scratch now and
then. We move to the eyes, pure in their fury. Finally we
encompass the face -- the face of a man about to explode --
muscle, tissue, brain -- a man willing to live or die and
on the increment of a moment, inflict or receive either one.
He is clothed in rags crossed with holes, his shoes broken
cardboard, his hair unkempt, his complexion sallow from
prison.

Over this:

VOICE #1 (o.s.)
Okay so what do you call yourself?
VOICE #2 (o.s.)
Como se llama?

MONTANA
Tony Montana...you?

VOICE #1
Where'd you learn to speak the English, Tony?

MONTANA
My old man -- he was American. Sailor. Bum.
I always know, y'know, one day I gonna come to America.
I see all the movies...

VOICE #1
So where's your old man now?

MONTANA
He's dead. He died. Somewhere...

VOICE #1
Mother?

TONY
She's dead too.
VOICE #2
What kind of work you do in Cuba, Tony?

TONY
This. That. The Army. Some construction work....

VOICE #2
Unhunh. Got any family in the States, Tony? Cousins, brother-in-law?

TONY
(a beat)
Nobody. Everybody's dead.

MAN #I
Y'ever been in jail, Tony?

TONY
Me jail? No way.

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

MAN #l
(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 fuck's wrong with this guy, what's he think I am?

MAN #2
Just answer the questions, Tony.

The voices of the men remain cool and collected throughout.

TONY
(to Man #1)
Fuck no.

MAN #1
Arrested? Vagrancy? Marijuana?

TONY
NO. ...NO. Never. Nothing.

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.

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

Silence.
There's a certain eloquence to the man`s plea but
it falls on disbelieving ears. One of them chuckles.

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

MAN #3
(walking out)
I... 'Freedomtown.' Let them take a look at him. A long look.

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

Man #3 at the door stops, looks back.

TONY
Send me here, send me there. This.
That. Nothing you can do to me
Harry, Castro didn't do -- nothing....

That taunting smile on Tony's lips as, to the music of the
immigration theme, we:

DISSOLVE TO
7-A INT. FEDERAL BUS - HOUR LATER 7-A
The bus is packed with the harder-looking refugee-types.
The windows are caged and we see INS guards.
The noise level is high, like a sack of monkeys.

Manny (Manolo) Ribera's got his feet up on an empty seat.
He's big, strong, handsome, with dashing darkly feminine
eyes -- younger than Tony, and dapper in his cheap clothing.
He's eating a Baby Ruth candy bar.

MANNY
Seat's taken.

TONY
So I'll sit in your lap.

Tony pushes his feet off, sits. He takes the Baby Ruth out
of Manny's hand, peels out the bar of chocolate, then
returns the empty wrapper to Manny,

TONY
So what'd you tell them?

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

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

The bus pulling out now.

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

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

MANNY
Fuck you Tony....

TONY
You did nothing right. I shoulda left you in Cuba.

7-B EXT. MIAMI FROM BUS - ESTABLISHING SHOT 7-B
of Miami as, to the music of the Immigration theme, we:

DISSOLVE TO
8 INT. TONY'S TENT - FREEDOMTOWN - NIGHT (SIX MONTHS LATER) 8

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

The rag-tag audience is noisily yammering back at the screen,
the camera moving past Manny Ray, chewing gum, hair slicked,
eyes in cat-like repose... to Tony, enrapt, eyes like an eleven year old, mouth hanging open.

BOGART
What a thing.
Conscience. Conscience.
If you believe you've got a conscience, it`ll pester you to death. But if you don't believe you've got one, what can it do to you? Makes me sick so much talking and fussing about nonsense.
Time to go to sleep.
(closes his eyes
but not for long)

CUT TO

9 INT. TENT - LATER THAT NIGHT 9
Tony is moving down 23rd Street, the walk proud and jungle
in the rock of the hips and the cast of the shoulders --
now accompanied by his handsome compadre, Manny.

TONY
That Bogart, Chico, hunh?

MANNY
Fucking crazy, hunh!

TONY
That gold dust blowing in the wind.
Y'see Manny, he's always looking over his shoulder. Hunh? Like me....

He hunches, darting exaggerated looks over his shoulder,
imitating Bogart. Manny laughs. In his black shirt with
zig-zag dots and colors and the baggy pants and sunglasses,
Tony's starting to look American. He's even got himself a
pop button pinned to his shirt that says "Fuck Off and Die."
And his English rolls faster off his tongue, his confidence
more pronounced.

TONY
. . . don't trust nobody.

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

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

MANNY
Yeah, how do you know....

TONY
I know.

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

TONY
Assholes, I go crazy. You Manny, I never go crazy with you. You're
like my brother, I love you!

MANNY
Yeah, sure.

TONY
Hey, c'mon.

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

CHI-CHI
(to Manny; Spanish)
Hey Manny.

MANNY
Oye Chi-Chi, what's going down.

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

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

CHI-CHI
Want some new snatch? A pussycat
name of Yolanda just rolled onto the
Boulevard ---

MANNY
Oh yeah, what she look like?

CHI-CHI
She look like you 'cept she got a snatch.

MANNY
A real snatch?

CHI-CHI
You're not kidding. It talks.

As they chatter, Tony moves on with a movement of the head
for Manny. "Later."

He's in the middle of the "Boulevard" where a bustling black
market in toiletries, clothing, cigarettes, and transvestites is conducted nightly in the harsh glare of barrack neon.

He ambles past a bunch of young guys throwing a Frisbee,
past a "Viva Carter!" proclamation in graffiti....

TRANSVESTITE
(passing)
What about you sugar -- you wanna party?

TONY
(passing her)
Yeah with whose cock, honey?

CUT TO

10 EXT. FREEDOMTOWN GROUNDS - NIGHT 10
Tony, five minutes later, in a phone booth, in the middle of a bank of them, dozens of Marielietos pressing to get in, trying still to contact somebody -- anybody -- on the outside.

Tony is dialing, his eyes shifting down to the telephone
number written in pencil on the back of a snapshot- As he
finishes the number, he flips the snapshot over and we see
a young girl, about thirteen years old, dark, tiny, fiery,
standing together with a dog and Tony, early twenties, in
shadow, the fringes of the photo heavily tattered with
handling. Tony stares at it, his mind drifting as the phone
rings in a distant place. A brief moment of repose we have
not yet seen in Tony.

Someone picks up the phone. An older woman's Voice. His
expression alters to uncertainty.

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

Tony changes his mind, hangs up. Pause. The faces of those
in line peer in, the next party raps on the door, but Tony
ignores it, slips the snapshot back into the wallet in his
pants, then at his own pace, exits the phone booth.

He walks a few beats, his eyes pensive. Then recognizes
somebody in another phone booth and goes over.

Angel Fernandez has got the face of one, as he argues on
the phone, then hangs up, a desolate look on his face, a
worn phone book in his hand.

TONY
Angel, how ya doin'?

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

TONY
(in passing)
Don't waste your dime, Chico. You know your brother hates you.

ANGEL
Go fuck yourself, Tony.

Manny catches up to Tony.

TONY
Whatcha hanging around with that hustler for?

MANNY
Hey Chi-Chi's okay, he hears things,

TONY
What's he hear I don't hear.

Angel comes over, listens.

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

TONY
Oh yeah?

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

TONY
Shit, I coulda told you that.

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

ANGEL
Oh shit!

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

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

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

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

Tony winks and walks off.

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

TONY
(in awful imitation)
'Oh yeah America! Love-to love you baby, oh yeah!'

CUT TO

11 EXT. PLAYING FIELD - DAY - TWO WEEKS LATER


Camera on Tony shuffling and feinting a soccer ball in an impromptu game; he's covered with sweat, tires a fancy move
around a younger kid who not only steals the ball away off him but manages to lay him flat on his face.

TONY
(lying there)
Aw fuck....

The game, leaving him behind, shifts downfield.

MANNY
Aye ! Tony! C'mon!

Manny, just arrived at the edge of the field, waves him off.
Tony, getting up, brushing himself off, walks off the field
towards him.

ANGEL
(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.

MANNY
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?

Angel is walking towards them. Tony signals him.

MANNY
(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
13 MONTAGE - THE RIOT - FREEDOMTOWN - DAY

The visuals are swift, dispassionate and documentary-like.
The refugees storm the barbed wire at the main gate,
carrying bricks and wooden slats.

ALL
(in unison)
Libertad! Libertad!

14 NATIONAL GUARDSMEN AND STATE POLICE
form ranks outside.

15 REFUGEES
flee through a hole in the fence.

16 GUARDS
move on them, wielding clubs.

17 SEVERAL REFUGEES
are scooting down a highway.

18 POLICE DOGS
on chains are glimpsed.

19 REFUGEES
throw stones and debris from the rooftop of a barrack.

20 REBENGA
a cigarette in his mouth, nervously hurries into a barrack.

21 ANGEL
tracks him, signals....

22 INSIDE - REFUGEES
are pulling apart their beds, going for the wooden slats.
Others set fire to their mattresses.

23 THE POLICE AND GUARDS
are moving through the gates, restoring order. Loudspeakers
blast. Injured refugees lie bleeding on the grounds.

24 AN ENTIRE BARRACK
now goes up in flames.

25 INSIDE THE BARRACK
A bewildered Emilio Rebenga grabs his papers and valuables.

Manny runs up on him.

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

Manny follows.
Rebenga stumbles into a bed frame, shatters his glasses,
then runs on. Into the smoke and flame. Out of which Scarface now appears -- in his killing wrath.

TONY
Rebenga!

Rebenga snaps to the sound of the voice.

TONY
(Spanish)
From the friends you fucked!

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

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

26 EXT. FREEDOMTOWN - DAY
The riot is over. The grounds are still, smoke and debris the aftermath.

DISSOLVE TO

27 INT. PROCESSING ROOM - DAY - A MONTH LATER

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

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

End of montage. Music continues.

DISSOLVE TO

27-A EXT. DOWNTOWN MIAMI - SUNNY DAY
The new Miami is rising ubiquitously above Biscayne Bay,
the camera moving past blossoming skyscrapers, workmen,
huge cranes, glass, mirrors booming upwards into a
beautiful blue Florida sky, fleeced with perfectly white
clouds... past a giant billboard:

HOW ABOUT A MILLION DOLLAR LOAN?
COME TALK TO US...
AT THE BANCO DE MIAMI...
TODAY!

Past banks of glass (Caribank, Banco de Venezuela, Amerifirst)...

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

Tony and Manny bop along the street in their hand-me-down
clothes, oogling the chicas and the bodegas (in a plush
modern area of Miami). Boats. Buildings. Cars.

TONY
(looking around)
Boy -- can you believe this place, Chico?

MANNY
(Spanish)
Man, they weren't kidding around.

TONY
(pointing to a little old man walking towards them)
See that old guy over there?

MANNY
Yeah.

TONY
Millionaire.

MANNY
How do you know?

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

MANNY
(almost believing)
Yeah? Hey Tony catch this tomato.
(adjusting his pants)
Ooooh baby doll...

A hot Cuban girl in heels comes down the sidewalk towards
them with a female friend.

TONY
Hey baby what you say?

She looks at him like he was the last thing in the world
she'd say anything to.

Tony waves her off, then changes his mind and runs up
behind her and throws up her skirt and peeks at her ass.
Before she can react, he hops away laughing as the two
Cuban girls ad-lib Spanish expletives at him.

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

He wiggles his tongue up and down, fast like a small
whirring motor part, then slips it back into his mouth in
the flick of an eye.

TONY
...the fuck was that?

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

Does it again, quickly; it looks like a baby robin's head
peeking out of a nest in his teeth, then it's gone.

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

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

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

MANNY
(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.

MANNY
No problem.

27-B EXT. MIAMI SHOPPING STREET - DAY
Tony walks right out into the avenue, sticking out his arm
and stopping traffic. Cars honk angrily but he couldn't
give a shit.

TONY
Come on?

Manny follows as Tony now moves across the opposite lane, a
car screeching to a halt in front of him.

TONY
(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. He makes his
own version of a funny face at the kid who looks back at
him puzzled. Tony produces another face. The kid now
smiles. The mother looks over. Tony shrugs. She smiles
and moves along.

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

Tony walks over to him, mocking.

TONY
Pobre hijo de puta -- you got it all mixed up.
This country first you gotta get the money, then you get
the power and when you got the power, then you get the women -- and then, Chico, you got the world by the balls. Por los conjones.

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

As they walk off, backs to camera.

TONY
Yeah, so where's this job?

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

CUT TO
28 LITTLE HAVANA RESTAURANT - LITTLE HAVANA - NIGHT
on Southwest 8th Street. "Calle Ocho"....

The parking lot is crammed with Moby Dick-size cars and
casual Cubans in sports clothes bunched in conversations
around their wheels or at the ice cream stand.

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

The waitresses move like well-oiled troops along the paths
to the kitchen, turning the tables at a speedy rate. The
camera following past the pots and the pans and the steam
and the yelling cooks -- to the deepest, darkest recess of
this dungeon....

. . . To reveal Tony Montana stubbing grease off the pots and
Manny Ray washing a stack of dishes. They're filthy and
exhausted. A dish slips through Manny's fingers and crashes
to the floor. A look between them suffices to tell us all.

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

MANNY
(equally irritated)
Hey he's coming okay! What do you want?

CUT TO

29 INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER
We are looking through a cubbyhole at the diners. Young
Cuban guys with chiquitas drift in with their fancy clothes,
diamonds and -- the mark of status -- large bodyguards.
They're out front with the flash, shaking hands with friends, kissing, talking loud, familiar with the waitresses.

Staring through the smeared window enrapt are Tony and
Manny, wiping the sweat off their faces with towels.

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

TONY
Yeah, look at the punk with her.
What's he got that I don't got?

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

TONY
Junkie! -- They got no fuckin' character.
(looks at his hands)
Cono! Look at these... fucking Onions! They outta be picking gold off the streets.

His hands are shriveled white from dishwater.

COOK
(Spanish)
Hey you two, outside! You got company...

MANNY
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
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.

MANNY
(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.

MANNY
Oh yeah! That's great... What do we gotta do?

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

MANNY
Okay!
(to Tony)
See, what'd I tell you.

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

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

TONY
...five hundred dollars -- shit!
What'd I do for you guys in the slammer, hunh? What was the Rebenga hit -- game of dominoes or somethin'? You're talkin' to important guys here.

MANNY
(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.

OMAR
(to Manny only)
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.

MANNY
Hey! -- Tony, Tony....

In the car, Omar looks over at Waldo.

OMAR
Guy's a lunatic, let's go.

WALDO
What about them Indians ---

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

OMAR
Yeah...
(back to Tony)
All right, smart ass, you wanna make some big bucks? You know anything about cocaine?

TONY
You kidding.

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

MANNY
(to Tony)
Hey, that sounds great, Tony...

Tony says nothing.

OMAR
You know how to handle a machine gun?

MANNY
Sure, we was in the Army together.

OMAR
You're gonna need a couple other guys...

MANNY
No problem.

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

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

TONY
I'm scared.

MANNY
(relieved)
Tony you're pushin' your luck.

TONY
(walking away)
You worry too much Manny -- you' re gonna get yourself a heart attack one of these days.

MANNY
(catching up)
Yeah, so who are these Colombians?

TONY
So what does it matter?

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

Tony strips off his greasy apron.

TONY
So nothin'. I just don't like fuckin' Colombians that's what.
They're animals!

COOK
(intersecting, Spanish)
Where you greasers going, hunh, I got plenty of plates here.

TONY
Wash yourself. I just retired.

Throws the Cook his apron.

COOK
(Spanish)
What the fuck you gonna do!

TONY
Look after my investments.

CUT TO
31 EXT. MIAMI BEACH - DAY - MOVING SHOT
The somewhat run-down, art-deco cheaper hotels of South
Miami Beach. The porches are filled with senior citizens
playing cards, reading papers, staring, slowly walking the
street.

The ramshackle sedan, jammed with Tony and his gang,
rattles past. It's a beaten-up black and blue Monte Carlo,
jacked up on its springs with dune buggy threads and
needing paint. You'd arrest these guys on sight.

32 INT./EXT. TONY'S CADILLAC - MIAMI BEACH - DAY
seen from the inside of the sedan. Tony turns down the salsa beat on the radio, smoking a cigarette tensely. Manny is driving. In the dilapidated backseat are Angel, the baby-faced punk, and Chi-Chi, both from Freedomtown.

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

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

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

CHI-CHI
(looking over)
Whatta you crazy? She's 103 years old.

MANNY
Not her stupido! Her....

Camera revealing the teenager.

TONY
(the light changing)
Drive, willya.

MANNY
(mocking)
Sure, sure. Not to worry, Tony -- You get a heart attack.
(looking in the rearview mirror)
Angel, 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.

MANNY
You still going to that cuncha?

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

As he talks Angel fingers a Negrita charm hanging around
his neck -- Chango, God of Fire and Thunder, his black face
tilted at a carnal angle. Sharp teeth glinting, his eyes
rolling in orgasmic imagery, his head crowned with gold.
Many of the Marielitos in the film will be wearing this,
also pendants with an eye to ward off the evil spirits, red
and white beads, red kerchiefs, black hand charms silver-
bangled bracelets, etc., all relating to their Afro-Catholic
spiritualism.

MANNY
(making fun)
Yeah, Chango looking out for us,

CHI-CHI
Angel?

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

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

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

TONY
Okay, this is it. Pull over across the street.
The motel is coming closer in silence.

TONY
(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, something's wrong. I'm in Room 9. You ready, Angelito?

ANGEL
Sure thing.

As Manny pulls the car up, they pull out Ingram Model-10
machine pistol with folding butt and suppressor, ten inches
of kill power capable of firing 1100 rounds a minute -- it
can be slipped into a man's purse, it's in vogue. Tony getting out, to Angel:

TONY
Let's go....

CUT TO

33 EXT. SUN-RAY MOTEL - DAY
Tony and Angel come slowly, gingerly down an exterior
corridor to a room marked "9". Nodding to Angel who remains in the stairwell with the Ingram machine pistol, Tony knocks.
Pause.

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

TOAD
Hey, oye amigo....

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

35 INT. TOAD'S MOTEL ROOM - DAY
Tony, stepping into the conventionally tasteless orange and
blue motel room (with heavy blue drapes blocking the windows), spreads his hands in a similar posture indicating he too is not carrying; but this is only symbolic, it's not meant to be a body search.

TONY
(as he steps in)
How you doing amigo...?

The other person in the room is a tough-looking little dark
Colombian chick with expressionless eyes, red fingernails, and short boy-cut hair, "The Lizard"; she's tinier than the Toad, about five-two.

The Toad looks around the corridor, eases the door closed.

TONY
(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.

TOAD
Sure, no problem... This is Marta.

TONY
Hello, Marta.
She nods woodenly, stays across the room. Behind her, the
television set is on to the Cable Newswatch. The protagonists
intermittently flick their eyes to it, soothing the tension.

TOAD
I'm Hector...

Pause.

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

TOAD
Yeah, Omar's okay.

TONY
You know Omar.

TOAD
Omar, yeah, I talk to him on the phone.

TONY
Okay...

TOAD
Okay... so you got the money?

TONY
Yeah, you got the stuff?

TOAD
Sure I got the stuff, but I don't
got it right here with me. I got it
close by.

TONY
Yeah well I don't got it either, I
got it close by, too.

TOAD
Where, in the parking lot?

TONY
No. How far's your stuff?

Tony paces back towards, the door casually, to check Angel
out... The Lizard staring at him...

TOAD
Not far.

Pause. Everything seems okay.

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

TOAD
(changes 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 and is now sitting on the bed,
coiled and always watching.

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

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

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

36 INT. TOAD'S MOTEL ROOM - DAY
There's suddenly a door slamming somewhere outside, then
commotion.

ANGEL
Tony!

Tony goes for his cheap handgun when he hears a frightening
female shriek, like a bird.

LIZARD
(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 or older than twenty, with their straight black Indian hair cut across their blank eyes, they look like hungry little piranha careless about killing, muttering with the Lizard in fast Columbese slang.

As Toad strips the handgun from Tony:

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

Toad shrugs, he couldn't care less.

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

TONY
Why don't you try sticking your head up your ass? See if it fits

Toad, completing the body search, rips out the stiletto
taped to the small of Tony's back. As he mutters something
in hard Columbian slang to the two kids who shove Angel
into the bathroom, producing strands of thick rope.
Even more worrisome is the chainsaw that the Lizard now
pulls out of the suitcase under the bed. Toad begins
assembling it as Lizard, still covering Tony with her gun, completes the deadpan process by turning up the volume on the television set. The news, ironically not in Miami, is about a drug-related triple-homicide.

CUT TO:

37 EXT. SUN-RAY MOTEL - DAY

Chi-Chi sitting at the wheel of the sedan, parked across
the street. Manny paces outside the car, glances.

38 EXT. SUN-RAY MOTEL - DAY
A small woman -- the Lizard -- steps out in shadow in the
parking lot of the Sun-Ray across the street, looks around,
sees nothing, casually goes back in.

39 EXT. SUN-RAY MOTEL - DAY
Manny looks at his watch.

CUT TO

40 INT. TOAD'S MOTEL ROOM - DAY
Angel hangs suspended on the ropes from the top of the shower curtain bar, his legs straddling the edge of the bathtub. Toad slaps a tape over his mouth.

Tony, covered by the two kids, watches from the lip of the
bathroom. He bucks angrily but the two kids ram their
pistols up against his temple and pin him to the door.
Angel looks at Tony; the eyes between them steady. They're
dead and they know it.

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

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

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

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

TOAD
Now the leg, hunh?

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

CUT TO

41 EXT. SUN-RAY MOTEL - DAY
Manny, definitely suspecting something now, moves with
Chi-Chi across the parking lot of the Sun-Ray Motel. They
signal and separate.

CUT TO

42 INT. TOAD'S MOTEL ROOM - DAY
The Toad turns off the chainsaw and steps back, now drenched with Angel's blood, totally unaffected. He looks at Tony.

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

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

He nods. The kids shove Tony forward and we glimpse Angel
lying hunkered at his feet in the bathtub, in the steam of
his blood, piss dead.

CUT TO

43 EXT. SUN-RAY MOTEL - DAY
Manny moves crouched down the exterior corridor, Ingram
pistol in hand, past an older couple who pretend not to
notice.

At the door of Room 9, Manny waits, listens...

CUT TO

44 INT. TOAD'S MOTEL ROOM - 'DAY
The kids are starting to strap Tony up to the top of the
shower.

The Lizard watches from the lip of the bathroom, impassively.

TOAD
Last chance, carajo?

Tony, devastated, spits in his face.

TONY
Go fuck yourself.

Toad's eyes narrow meanly.

Kid one slaps the tape across Tony's mouth.

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

The Toad turns on his chainsaw when suddenly there's a
gunshot from the hall.

45 INT./EXT. TOAD'S MOTEL ROOM - DAY
and the door smashes open and Manny barrels through and
shoots a surprised Lizard as she raises her pistol. She crashes backwards into the room, wounded. Everything happens very fast now.

Manny is at the lip of the bathroom, he fires and hits kid
one, who is turning, in the neck.

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

The Toad, chainsaw in hand, slashes at Manny.

Manny fires a burst into him and the Toad crashes backwards.

Manny now spins into a wall, hit in the side.

The Lizard, wounded on her knees, is firing her .32 at
him. In the background, the window simultaneously blows out as Chi-Chi appears firing a burst with his Ingram.

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

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

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

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

Meanwhile, kid two, with a rattlesnake life in him, produces
a knife out of nowhere, just missing Tony's gut by a half-second as Tony dances back, getting a grip on the machine pistol.

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

Tony, yelling, whirls after the Toad.

TONY
I got him!

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

Chi-Chi sees Angel, gags.

CUT TO
46 EXT. SUN-RAY MOTEL - DAY 46
The senior citizens, playing Mahjong on the porch, mutter
in astonishment, as the Toad staggers out into the parking lot, blood flying, chainsaw in hand, moving like a jerky chicken.

Their eyes follow.

As Tony comes out, walking after him deliberately, eyes set in cold fury, machine gun swinging loosely at his side.
There's no rush, no fear of the police, getting even is all
that counts. He stands behind the Toad.

TONY
(Spanish)
Your turn, cabron!

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

Tony empties the clip into the Toad, blowing him apart.

The bystanders just stare, stunned by the ferocity. Then
an old lady faints.

The Toad's body lying awkwardly arched in the gutter, Tony
turns and with a passing disinterested glimpse at his
audience, calmly walks back into the motel; the distance
and the light sufficient to conceal Tony's possible identification.

CUT TO

47 EXT. SUN-RAY MOTEL - DAY
Tony intersects Manny holding his side, with Chi-Chi.

TONY
Manny, you okay?

Manny nods.

TONY
Chi-Chi, get the car. Fast!

CHI-CHI
Si!

48 INT. TOAD'S MOTEL ROOM
Tony strides into the shambles of Room 9, past the bodies
and busted furniture to the suitcase on the bed from which
the Lizard pulled the chainsaw. The TV news still plays in the corner.

Inside are several kilo-sized stacks of cocaine.

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

CUT TO
49 EXT. SUN-RAY MOTEL - DAY

Chi-Chi has the sedan waiting in the parking lot. Tony
hurries out, jumps in, the car speeding off. (Pisalo hasta 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 two cop cars
come screaming past them from the opposite direction.

CUT TO
50 EXT. LITTLE HAVANA RESTAURANT - PHONE BOOTH - DUSK
The booth is in the busy parking lot, Tony on the phone, Chi-Chi and Manny wait in the sedan.

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

OMAR'S VOICE
(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
Yeah -- and I got the yeyo.

OMAR'S VOICE
You got the yeyo? Bring it here.

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

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

TONY
Hey Omar...

OMAR'S VOICE
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 EXT. LOPEZ CONDO - SOUTH MIAMI - NIGHT
on Bricknell Avenue in a swank high-rise district adjacent
Coconut Grove and Coral Gables, the hub of South Miami...

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

52 INT. LOPEZ CONDO - NIGHT 52
A deluxe apartment with the latest in electronic security and surveillance, and a profusion of mirrors and luxury items... and a hefty, Indian-looking bodyguard (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 Manny, with a phony effusion of warmth. He's of Cuban-Jewish extraction, now Americanized in a rough and handsome sort of way, on the heavy side, the face going slightly soft, but the eyes and bulk carrying an odor of danger about him.

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

TONY
Mr. Lopez... real pleasure.

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

TONY
Okay Frank.

Frank shakes hands with Manny.

LOPEZ
Howya doing?

MANNY
(awed)
...Fine yeah.

TONY
Manny Ray, he was with us on the job.

LOPEZ
(to Manny)
I hear you caught one?

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

MANNY
Just the flesh. Went right through.

LOPEZ
(heading for the bar)
Yeah, Omar here tells me good things about you boys.

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
...that's it. That's the two keys. Angel died 'cause of this shit. And here's the money.
(produces the money)
It's my gift to you -- from me.

Pause. Lopez shakes his head, sighs.

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

He glances hard at Omar who squirms.

Without opening it, Lopez signals the bodyguard who takes
the suitcase and the money from under Tony's nose.

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

They drink the toast. With their eyes.

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

TONY
Yeah, I hope I have that problem someday.

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

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

The big bodyguard exits smoothly.

LOPEZ
(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.

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

LOPEZ
Oooh sweetheart, you look like a million bucks.

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

**ALTERNATIVE**
LOPEZ
Where you been baby, it's ten o'clock, I'm hungry.

ELVIRA
You're always hungry, you should try starving.

Lopez laughs.

LOPEZ
I want you to meet a friend of mine.
Tony Montana... Elvira... Manny Ribera.

ELVIRA
Hello.

TONY
Uh... hi.

MANNY
(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.

ELVIRA
Again? If anyone wanted to assassinate
you, you wouldn't be too hard to find.

LOPEZ
(coming toward her, laughing)
Me? Who'd want to kill me? I got nothing but friends.

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

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

ELVIRA
Come on, Frank, let's go.

Tracking a cool, polished hauteur, she exits the apartment.

Lopez, after a pause, snaps at his men.

LOPEZ
Okay, let's go.

CUT TO
54 EXT. THE BABYLON CLUB - NIGHT
We know this is no workingman's dive when Lopez piles them
out of his Rolls, and the carhops are moving Bugattis, Lamborghinis and Corniches in a long snaking line down the driveway. Single girls in high-collared silver lame jumpsuits with cinched waists, prowl like big glistening tents back and forth across the entry doors, rich young coiffed playboys in their Porsches honking their horns in appreciation. Brain drain.

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

The crowd, a combination of Caucasian and Latin, is mostly
young, rich and happy and a lot of them coked; the girls, upperclass in sleek dresses, trim figures, heels, hats, sensuous bodies, yell as they dance to a black American music beat, "Celebrating" or "Partying Down Tonight".

The waitresses, mostly blondes, wear little coca channel
hats pinned to their heads and the barest pants with hose
and high heels.

Rich young guys with a lot of gold and diamonds on their
necks and hands huddle briefly in groups or chat.

Down at the vid games are younger chicks in jeans and
tough-looking tank tops with "Motherfuckah" and "Fuck Me"
written on them. Manny's coming from the toilets, tries to pick one of them up.

MANNY
So whaddaya say, hunh?

He flashes his tongue. She looks at him, amused.

CHICK
You got a buck?

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

CHICK
(indicates the machine)
Put it in, let's play.

MANNY
I had other things in mind.

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

MANNY
(looks off, concerned, then confronts the complex machine)
Fuck, how do you play this thing?

CUT TO
56 INT. BABYLON CLUB 56
Frank Lopez, intoxicated, takes his heart pill with a slug
of champagne. He sits next to Tony, who is agog at all this wealth. Omar and Ernie look on. Elvira is in conversation with a girl friend who has stopped by. They're sitting at the best table in the place, finishing up a giant meal. The empty spot belongs to Manny.

LOPEZ
(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 underestimate the other guy's greed.

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

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

LOPEZ
That's right. Course not everybody follows the rules.
(eyeing Elvira)

HEAD WAITER
There you go, Mr. Lopez.

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

LOPEZ
Give it to everybody and bring another, willya Jack?

Head Waiter nods.

LOPEZ
(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?

ELVIRA
(to Tony)
In France, it cost $100 but don't tell anybody in Miami.

Tony catches her eye. She looks away, interested.

57 INT. BABYLON CLUB - NIGHT
A Man passes the table. Lopez calls out.

LOPEZ
Hey, George -- buddy.

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

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

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

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

LOPEZ
Yeah, almost everything.

SHEFFIELD
(to Elvira)
Elvira, you look terrific...
(to all)
Enjoy yourselves.

He ambles off.

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

Tony looking off at him, remembering it.

LOPEZ
(raising his champagne glass)
So... here's to old friends...and new friends.

They toast, Tony tasting it like it was Holy Water.

LOPEZ
Well, Tony?

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

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

LOPEZ
(checking Tony's 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.

Omar doesn't like it but glances away.

TONY
Hey, that sounds like fun, Frank. Thanks.

The music shifts to slow dancing.

ELVIRA
(waving away cigar smoke)
So, you want to dance, Frank or you want to sit here and have a heart attack?

LOPEZ
Dance? I'd rather have a heart attack.

ELVIRA
(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?

Tony nods sure, looks at his boss.

LOPEZ
(waves)
Go on!

They go.

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

LOPEZ
(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. He's no great shakes as a dancer, leaden in
the legs and shoulders.

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

ELVIRA
St. James.

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

He bumps into an elderly couple dancing, ignores them.

ELVIRA
Baltimore...

TONY
Baltimore? Where's that?

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

TONY
Just trying to be friendly.

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

He makes a point of looking at her.

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

ELVIRA
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 diplomatic status.

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

Elvira laughs at him, furious.

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

TONY
(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
Hey, thataway.

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

CUT TO

63 CAR - DAWN
Tony and Manny drive home in the broken down Monte Carlo sedan through the streets of Little Havana.

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

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

MANNY
(driving)
Oh yeah, how you know that?

TONY
The eyes, Manny -- they don't lie.

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

TONY
What are you kidding -- he's soft.
I seen it in his face -- booze and a cuncha tells him what to do.

Pause.

63-A OMITTED

64 EXT. DOWNTOWN MIAMI - SUNNY DAY - TWO MONTHS LATER
The new Miami is rising ubiquitously-above Biscayne Bay,
the camera moving past blossoming Skyscrapers, workmen,
huge cranes, glass, mirrors booming upwards into a beautiful blue Florida sky, fleeced with perfectly white clouds... past a giant billboard:

HOW ABOUT A MILLION DOLLAR LOAN?
COME TALK TO US...
AT THE BANCO DE MIAMI...
TODAY!

Past banks of glass (Caribank, Ranco de Venezuela, Amerifirst)...

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

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

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

MANNY
I want a line of bluejeans with my name on the
chicks' asses.

TONY
Yeah, we gotta make some moves on our own Manny,
We never gonna score the big money working for Frank.

MANNY
Frank's okay.

TONY
Yeah -- cause he buys you a suit? You thinkin' like
a chickenhead again

MANNY
Frank's got an organization.

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

MANNY
Fuck you, somebody oughta shoot you, put you outta your misery
(seeing something)
Hey catch this tomato

Catching the eye of one of two young Girls passing, Manny
primps for them.

MANNY
Ooooh baby doll

TONY
Yeah, what do you girls say? you manna have some
ice cream with us somewhere?

They glance at Tony and Manny and hurry on.

Tony waves her off, then changes his mind and runs up
behind her and throws up her skirt and peeks at her ass.
Before she can react, he hops away laughing as the two
Cuban girls ad-lib Spanish expletives at him.

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

He wiggles his tongue up and down, fast like a small
whirring motor part, then slips it back into his mouth in
the flick of an eye.

TONY
...the fuck was that?

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

Does it again, quickly; it looks like a baby robin's head
peeking out of a nest in his teeth, then it's gone.

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

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

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

MANNY
(doing it again)
Takes practice, mi sengre, but they just love it when you flop that pussy with it...

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

Pointing to a tall, cool blonde across the avenue.

MANNY
No problem.

EXT. MIAMI SHOPPING STREET - DAY.

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

TONY
Come on!

Manny follows as Tony now moves across the opposite lane, a
car screeching to a halt in front of him.

TONY
(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 looks back at Tony, winks, sidles closer to her.

Tony, exiting off to the side, catches the gaze of a somber
child, four, toddling along with it's mom. He makes his
own version of a funny face at the kid who looks back at
him puzzled. Tony produces another face. The kid now
smiles. The mother looks over. Tony shrugs. She smiles and moves along.

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

Tony walks up to him, mocking.

TONY
I'm telling you man you got it- all mixed up.
This country first, you gotta get the money; then you get the power, and when you got the power, then you get the women -- then, chico, you got the world by the balls. Por Los cojonesl

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

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

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

MANNY (shakes his head)
Yeah, what's comin' to you Tony?

TONY
The world man, and everything in it.

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

CUT TO

65 EXT. TONY'S MOTHER'S HOUSE - SOUTHWEST MIAMI - LATE DAY
The house, bathed by a torpid setting sun amicable to lizards and Spanish moss, sits undistinguished and without shielding trees in the midst of a lower middle class neighborhood with look-alike yards and streets without people.

66 INT. TONY'S CADILLAC SEDAN - SIMULTANEOUS DAY
From his battered Monte Carlo across the curb, Tony, spruced
up and nervous in a new suit, gets out carrying a bag of
gifts. Manny is at the wheel, curious.

TONY
Be back in an hour okay.

MANNY
Okay... be cool.

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

67 EXT./INT. TONY'S MOTHER'S HOUSE - LATE DAY
Tony's Mother opens the door.
A stout aging woman with a powerful face, she's shook to her roots.

TONY
(gently, in Spanish)
Mami... long time