Scarface

"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

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.
 * 1) 02154                             66

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

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.
 * 1) 02154                    118-A

(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