Scarface "Enjoy yourself -- every day above ground is a good day." ANONYMOUS, MIAMI 1981 1 A PROLOGUE crawls up the screen -- with Narrator. NARRATOR In May 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. two hours, Within seventy- 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 from the harbor in Mariel, Cuba. Vessels of every nature, waving masses, demonstrations.... ;II . 3 THE CROSSING i7 Sun and storm. ,1 1 2 3 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. customs, Immigration and Nationalization Officials, Public Health, Babies bawling, FBI, Church and Relief Organizations. 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 Tony Montana...you? VOICE #1 Where'd you learn to speak the English, Tony? MONTANA My old man -- he was American. Sailor. Bum. I always know, y'know, one day I gonna come to America. I see all the movies.... VOICE #l So where's your old man now? MONTANA He's dead. He died. Somewhere.... Mother? VOICE #1 TONY She's dead too. (X) (Xl CONTINUED . #02154 3 Rev. 11/22/82 6 CONTINUED and 7 VOICE #2 What kind of work you do in Cuba, Tony? TONY This. That. The Army. Some construction work.... VOICE #2 Unhunh. Got any family in the States, Tony? Cousins, brother-in-law? TONY (a beat) N O . Nobody. Everybody's dead. MAN #I Y'ever been in jail, Tony? TONY Me jail? No way. We now reveal three men in civilian clothing in the dark afternoon light of the little room. Actually it's a plywood office somewhere in the processing hall and we hear the din from the hall over the question and answer. Two of the men sit around a desk, the Third Man stands in a corner, staring at Tony, the most authoritative-looking of the three. MAN #l (checking off a list) You been in a mental hospital, Tony? TONY (grinning) Yeah, in the boat coming over. MAN #1 How 'bout homosexuality, Tony? You. like men, y'like to dress up like a woman? TONY (to Man #2) Never tried it. What the fuck's wrong with this guy, what's he think I am? MAN #2 Just answer the questions, Tony. The voices of the men remain cool and collected throughout. 6 ant 7 (X) CONTINUED #02154 4 (Xl Rev. 11/22/82 i 6 CONTINUED - 2 and 7 TONY (to Man #l) Fuck no. MAN #1 Arrested? Vagrancy? Marijuana? TONY N O. ..NO. Never. Nothing. His eye movements are rapid (over shoulders, sides, doors) and he does a lot of touching -- objects -- lightly with the tips of the fingers. shadows. Man #3 is stepping forward out of the 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) And this? MAN #3 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. T O N Y 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? 6 ant 7 TONY Hey, so I was in the can once for buying dollars. Big deal. CONTnmED #02154 5 Rev. 11/22/82 -- 6 CONTINUED - 3 and 7 6 am 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 Hey, so I fuck Castro, what's it to you? You a Communist or something? How would you like it they tell you all the time what to think, what to do, you wanna be like a sheep, like everybody else. Baa baa? Puta! You want a stoolie on every block? You wanna work eight hours a day and you never own nothing? I ate octopus three times a day, fucking octopus is coming out my ears, fuckin' Russian shoes are eating through my feet. Whaddaya want? You want me to stay there? Hey, I'm no little whore, I'm no stinking thief! I’m Tony Montana and I'm a political prisoner here from Cuba and I want my fucking 'Human Rights' just like President Jimmy Carter says, okay?... Silence. There's a certain eloquence to the man‘s plea but 7- it falls on disbelieving ears. One of them chuckles. MAN #l Carter should see this human right. He's good. He’s very good. What do you say Harry? ix: MAN #3 (walking out) I.. 'Freedomtown.' Let them take a look at him. A long look. CONTINUED #02154 6 P- 6 CONTINUED and 7 - 4 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.... Rev. 12/16/82 That taunting smile on Tony's immigration theme, we: 7-A WT. FEDERAL BUS - HOUR LATER 6 ant 7 lips as, to the music of the DISSOLVE TO 7-P The bus is packed with the harder-looking refugee-types. The windows are caged and we see INS guards. The noise level is high, like a sack of monkeys. Manny (Manolo) Ribera's got his feet up on an empty seat. He's big, strong, handsome, (X) 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 sanitation in Cuba. .TONY I didn't tell you sanitation. I told you to tell them you was in a sanitarium, not sanitation. The bus pulling out now. CONTINUED #02154 6-A (Xl Rev. 12/g/82 7-A CONTINUED Is that what you told me?..You didn't tell me that. 7 - A TONY You know if you hadn't opened your mouth, they woulda thought you were a horse. I told you to tell them you had TB and was cured. 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 8 INT. TONY'S TENT - FREEDOMTOWN - Immigration theme, we: DISSOLVE TO NIGHT (SIX MONTHS LATER) 8 A movie projector... . . . the face of Bogart -- unshaven, paranoid. We’re watching a badly damaged 16 mm print of The Treasure of the Sierra - Madre. It's near the end of the film and he's alone, talking to himself just before the bandits get him.... The rag-tag audience is noisily yammering back at the screen, the camera moving past Manny Ray, chewing gum, hair slicked, eyes in cat-like repose...to Tony, enrapt, eyes like an eleven year old, mouth hanging open. BOGART Conscience. Conscience. What a thing. 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 #02154 6-B 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 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 nobody 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.... I know. TONY 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 Hey, c'mon. 9 Tony playfully punches Manny and they walk on into the humid night, intersecting a young punk, Chi-Chi. CONTINUED s 9 #00766 8 CONTINUED - 2 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 transvestites is conducted nightly in the harsh glare of barrack neon. He ambles past a bunch of young guys throwing a Frisbee, past a "Viva Carter!" proclamation in graffiti.... TRANSVESTITE (passing) What about you sugar -- you wanna party? 9 TONY (passing her) Yeah with whose cock, honey? CUT TO #02154 9 (X) 2nd Rev. 11/22/82 ,-- 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, rings in a distant place. his mind drifting as the phone 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, ignores it, the next party raps on the door, but Tony 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 (in passing) Don't waste your dime, Chico. You know your brother hates you. ANGEL Go fuck yourself, Tony. Manny catches up to Tony. CONTINUED 1 0 #02154 c0NT1NUED 10 (Xl TONY 2nd Rev. 11/22/82 Whatcha hanging around with that hustler for? Hey Chi-Chi's okay, he hears things, TONY What's he hear I don't hear. Angel comes over, listens. He hears we got problems. Immigration is having these hearings, y ' know? And they're saying nine out of ten of us is gonna get shipped back! Oh yeah? TONY 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! 10 CONTINUED #02154 11 and 11-A 2nd Rev. 11/22/82 10 c0NT1NuED - 2 Yeah, well, what if we gotta sit here another six months, hunh? TONY You worry too much, mi hermano. Like the man says, the balls, 'when you got 'em by follow' their hearts and minds gonna --hunh? Tony winks and walks off. The radio is playing hard rock, something like Blondie or Benatar from the stoop of a nearby barrack. sound and swings into it, Tony loves the his hips like Presley. snapping his fingers and rolling and Angel. He back-peddles, smiling at Manny TONY (in awful imitation) 'Oh yeah America! baby, oh yeah!' Love-to love you 10 (Xl CUTTO #00766 12 11 EXT. PLAYING FIELD - DAY - TWO WEEKS LATER 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? Yeah. TONY MANNY We can be outta here in thirty days. Not only that. We got a green card and a job in Miami! Hunh? We're made, Chico, we're made? TONY Yeah, whadda we gotta do, go to Cuba and hit the Beard or what? c0NT1NuED #00766 14 12 CONTINUED 12 13 14 15 16 17 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 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 form ranks outside. REFUGEES flee through a hole in the fence. GUARDS move on them, wielding clubs. SEVERAL REFUGEES are scooting down a highway. POLICE DOGS on chains are glimpsed. 13 14 15 17 18 ,.-- 19 2 0 2 1 2 2 23 THE POLICE AND GUARDS 23 24 2 5 INSIDE THE BARRACK 25 #00766 15 REFUGEES throw stones and debris from the rooftop of a barrack. REBENGA a cigarette in his mouth, nervously hurries into a barrack. ANGEL tracks him, signals.... INSIDE - REFUGEES are pulling apart their beds, going for the wooden slats. Others set fire to their mattresses. are moving through the gates, restoring order. Loudspeakers blast. Injured refugees lie bleeding on the grounds. AN ENTIREBARRACK now goes up in flames. A bewildered Emilio Rebenga grabs his papers and valuables. Manny runs up on him. Rebenga sees him, senses danger, flees down the aisle with his satchel, intersecting other panicked refugees. Manny follows. Rebenga stumbles into a bed frame, shatters his glasses, then runs on. Into the smoke and flame. Out of which Scarface now appears -- in his killing wrath. TONY Rebenga! Rebenga snaps to the sound of the voice. TONY (Spanish) From the friends you fucked! CONTINUED 15 2C 21 2 2 2 4 #02154 16 (Xl Rev. l/18/83 _,.- 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, uncomprehending 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 ?' 2 7 - A CONTINUED J3oy -- Chico? 1 6 - A (Xl Rev. l/18/83 TONY (looking around) can you believe this place.' (Spanish) Man, they weren't kidding around. 2 7 - A 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. (*SEE NOTE) TONY Hey baby what you say? (*SEE NOTE) She looks at him like he was the last thing in the she'd say anything to. CONTINUED world #02154 16-B (Xl Rev. l/18/83 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 know shit 'bout chicks Chico. When they see this, they know. They go crazy. They don't resist me. Does it again. Tony tries but lacks the speed and agility, provoking Manny's laughter. Many double checks himself in a shop window. (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 Tony walks right out into the avenue, sticking .out his arm and stopping traffic. give a shit. Cars honk angrily but he couldn't 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. 27-B 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 : 27-B #02154 16-. D Rev. l/18/83 c0NT1NuED 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.... As they walk off, back to camera. TONY Yeah, so where's this job? Don't push men, my friends gonna take care of everything. 2 8 LITTLE HAVANA RESTAURANT on Southwest 8th Street. - LITTLEHAVANA CUT TO - NIGHT 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 table is taken. It combines the social functions of a family restaurant, cafe, tourist haunt and late-night watering hole for various beasts of prey. The waitresses move like well-oiled troops along the paths to the kitchen, turning the tables at a speedy rate. The camera following past the pots and the pans and the steam and the yelling cooks -- to the deepest, darkest recess of this dungeon.... 27-B (Xl (X) (Xl (Xl 2 8 . . . 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 TONY Your big shot friend better come up with something soon. I didn't come to America to break my fucking back, querido. 29 (equally xated) Hey he's coming okay! want? What do you CUT TO INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER 28 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.... TONY Junkie! -- They got no fuckin' character. (looks at his hands) Cono! Look at these...fucking onions! They outta be picking gold off the streets. His hands are shriveled white from dishwater. (Xl (Xl COOK (Spanish) Hey you two, outside! You got company. . CONTINWED #Oil54 10 Rev. 11/12/82 29 CONTINUED That's him -- El Mono's here! TONY (contemptuous of the name) El Mono? Shit.... 29 CUT TO 30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT 30' Omar Suarez (El Mono -- looks like one. "The Monkey") is so named 'cause he Nervous, intelligence, crooked, darting eyes, feverish 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. Oh yeah! That's great...What do we gotta do? We gotta unload a boat -- grass, twentyfive tons -- that's what we gotta do. You get five hundred each. Okay! (to Tony) See, what'd I tell you. (X) TONY You gotta be kidding! Whaddayou think we are -- baggage handlers? CONTINUED #cl2154 19 Rev. 11/2/82 -- 3 0 CONTINUED 3 0 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.... Shaddup! TONY Omar sniggers, his eyes shifting head and laughs. (to Manny'Zy) So what's it with.this Chico? Don't he think to Waldo who shakes his dishwasher, 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 The idea crosses Omar's mind, He buys it, somewhat amused. OMAR Yeah.. . . (Xl CONTINUED #02154 20 Rev. U/12/82 30 coNTINuEa - 2 (back to i?y) All right, smart ass, you wanna make some big bucks? about cocaine? You know anything TONY You kidding. OMAR ...There's a bunch of Columbians. Flying in Friday. New guys. They say they got two keys for us for openers. Pure coke. In a motel over in Miami Beach. I want you to go over there, and if it's what they say it is, pay 'em and bring it back. You do that, you'll make five grand. (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. Something happens to the money, pobrecito, and my boss' gonna stick your head up your asses faster'n a rabbit gets fucked. Throws the remains of his cigarette at their.feet and pulls the Coupe De Ville out of the lot. 30 (Xl (Xl CONTINUED #02154 20-A 30 CONTINUED - 3 I'm scared. TONY (relieved) Tony you're pushin' your luck. Rev. 11/Z/82 30 c0NT1NuED #00766 21 30 CONTINUED - 3 TONY (walking away) You worry too much Manny -- you’ re gonna get yourself a heart attack one of these days. 30 Yeah, ( c a t c h i n g 7 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'. fuckin' I just don't like Columbians that's what. They're animals! COOK (intersecting, Spanish) Where you greasers going, hunh, I got plenty of plates here. TONY Wash ‘em yourself. I just retired. Throws the Cook his apron. COOK (Spanish) What the fuck you gonna do! TONY Look after my investments. CUT TO 31 EXT. MIAMI 3EACH - DAY - MOVING SHOT 31 The somewhat run-down, Miami Beach. art-deco cheaper hotels of South playing cards, The porches are filled with senior citizens street. reading papers, staring, slowly walking the The ramshackle sedan, rattles past. jammed with Tony and his gang, 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 -- . 32 INT./EXT. TONY'S CADILLAC - MI-1 Rev- 11/22/82 BEACH - DAY seen from the inside of the sedan. salsa beat on the radio, Tony turns down the Driving is Manny. In the smoking a cigarette tensely. delapidated backseat are Angel, the baby-faced punk, and Chi-Chi, both from Freedomtown. Manw, reflecting the tension, whistles a vapid series of 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, blocking her off. who is coming off the beach in a bikini, 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? CONTINUED 32 ‘(Xl 32 #02154 2 3 Rev. 11/22/82 CONTINUED ANGEL She knows her shit. She talks to Yemaya and Chango like nobody y'ever heard. 32 As he talks I his neck -- Angel fingers a Negrita charm hanging around Chango, (Xl tilted at a Cod of Fire and Thunder, his black face 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, and white beads, red kerchiefs, black hand charms red bangled bracelets, etc., silverspiritualism. all relating to their Afko-Catholic (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) Hey, shaddup -- all of ya! I told you before I don't go for that mystical voodoo shit. That's for the old cunchas waving their rooster cocks in some dark alley, There's no gods, there's no Chango -- nowhere! You make your own luck. So shaddup and act like you're in the United States here. (Xl Silence. SUN RAY -- Through the windshield, the sign of a motel -- TBE 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, something's wrong. I’m in Room 9. You ready, Angelito? CONTINUED #02154 23-A 32 ,_.-- Rev. 11/22/82 coNTmuED - 2 ANGEL Sure thing. . As Manny pulls the car up, they pull out Ingram Model-10 machine pistol with folding butt and suppressor, ten inches of kill power capable of firing 1100 rounds a minute -- it can be slipped into a man's purse, it's in vogue. Tony gettting out, to Angel: TONY Let's go.... CUT TO 3: #02154 24 33 EXT. SUN-RAY MOTEL - DAY Rev. 11/2/82 33 Tony and Angel come slowly, gingerly down an exterior corridor to a room marked "9". Nodding to Angel who remains in the stairwell with the Ingram machine pistol, (Xl Tony knocks. Pause. 34 EXT. TOAD'S MOTEL ROOM - DAY 34 The door's opened casually by an ugly, squat five-foot-fourinch Columbian, "The Toad". He's in his forties, sports shirt hanging over his polyester pants, old acne scars on his face, smiles. like Omar; he's good-natured, a nice guy, he 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@ Sure, no problem...This is Marta. CONTINUED #00766 3s CONTINUED 25 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. you're okay. So Omar says TOAD Yeah, Omar's okay. TONY You know Omar. TOAD Omar, yeah, I talk to him on the phone. Okay.... TONY TOAD Okay... so you got the money? TONY Yeah, you got the stuff? TOAD Sure I got the stuff, but I don't got it right here with me. I got it close by. TONY Yeah well I don't got it either, I got it close by, too. TOAD Where, in the parking lot? TONY No. How far's your stuff? Tony paces back towards, the door casually, $0 check Angel out.. .The Lizard staring at him. .. CONTINUED #00766 2 6 3 5 CONTINUED - 2 TOAD Not far. 35 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 and is now sitting on the bed, coiled and always watching. TONY You get to know me when you start doing business and not fucking around, Hector. TOAD Hey I'm just a friendly guy, maybe you don't.... TONY Okay, what's the stall here? Your guy late or something? 36 INT. TOAD'S MOTEL ROOM - DAY 3 6 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 2 7 Rev. 11/2/82 3 6 CONTINUED LIZARD Don't! (slang Spanish) Get up! Now shithead! She's standing there with a eyes like angry steel. .32 pointed steady at him, the Shoot. There's no mistaking her ability to 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". Uzis with silencers, They slam the door, both carrying or older than twenty, neither of them higher than five-four with their straight black Indian hair cut across their blank eyes, they look like hungry little pirranha careless about killing, in fast Columbese slang. muttering with the Lizard 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. assembling it as Lizard, Toad begin6 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: 37 EXT. SUN-RRY MOTEL - DAY Chi-Chi sitting at the wheel of the sedan, parked across the street. 36 (Xl 37 Manny paces outside the car, glances. #00766 2 8 38 39 4 0 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. EXT. SUN-RAY MOTEL - DAY 39 Manny looks at his watch. CUT TO INT. TOAD'S MOTEL ROOM - DAY Angel hangs suspended on the ropes from the top of the shower curtain bar, his legs straddling the edge of the bathtub. Toad slaps a tape over his mouth. Tony, coverd by the two kids, bathroom. watches from the lip of the 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 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. and 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 towards Angel. chainsaw slowly 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. Lizard has no expression 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. 4 0 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 Manny, definitely suspecting something now, moves with Chi-Chi across the parking lot of the Sun-Ray Motel. signal and separate. They CUT TO 42 INT. TOAD'S MOTEL ROOM - DAY 43 4 4 41 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 EXT. SUN-RAY MOTEL - DAY Manny moves crouched down the exterior corridor, Ingram pistol in hand, past an older couple who pretend not to notice. 43 At the door of Room 9, Manny waits, listens.... CUT TO 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 4 4 #00766 3 0 CONTINUED 45 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. 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 hysterical strength, he tears out the motel room door 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 halfsecond 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. I got him! TONY Manny, holding his side, empties his pistol on kid one who is still twitching. Chi-Chi sees Angel, gags. CUT TO 4 6 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 identification. CUT TO ’ #02154 32 Rev. U/16/82 47 EXT. SUN-RAY MOTEL - DAY Tony intersects Manny, holding his side, with Chi-Chi. TONY Manny, you okay? Manny nods. TONY Chi-Chi, get the car. Fast! CHI-CHI Si! 48 INT. TOAD'S MOTEL ROOM Tony strides into the shambles of Room 9, past the bodies and busted furniture to the suitcase on the bed from which the Lizard pulled the chainsaw. the corner. The TV news still plays in Inside are several kilo-sized stacks of.cocaine. 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 Chi-Chi has the sedan waiting in the parking lot. Tony hurries out, jumps in, the car speeding off. (Pisalo hasta la tabla -- Step on it.) Past the senior citizens who are retreating inside their rooms. 47 (Xl 48 4 9 (XI 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 The booth is in the busy parking lot, Tony on the phone, Chi-Chi and Manny wait in the sedan. T O N Y 50 Yeah, bunch of cowboys!..somebody fucked up Omar. CONTINUED #02154 50 CONTINUED i 3 3 (Xl - Rev. 11/22/82 5 0 OMAR’ s VOICE (shaken) Look, let me check it out right away! TONY YOU do that, Omar, you do that. OMAR’S VOICE You got the money? TONY Yeah -- -and I got the yeyo. OMAR'S VOICE You got the yeyo? Bring it here. TONY E'uck you. I'm taking it to the boss myself. Not you. M-e. 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.... Yeah? OMAR'S VOICE TONY That was some pick up you sent us on. Pause. OMAR'S VOICE What's that mean? Tony hangs up, walks back to the sedan. CUT TO 5 1 EXT. LOPEZ CONDO - SOUTH MIAMI - NIGHT 5 1 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 52 INT. LOPEZ CONDO - NIGHT 52 A deluxe apartment with the latest in electronic security and surveillance, items... and a profusion of mirrors and luxury 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 Manny Ray, he was with us on the job. LOPEZ (to Manny) I hear you caught one? (Xl Manny shrugs, works his arm, showing us the wound doesn't (Xl bother him too much. CONTINUED 52 #02154 34-A Rev. l/38/83 c0NT1NuED Just the flesh. Went right through. LOPEZ (heading for the bar) Yeah, Omar here tells me good thing about you boys. 52 (Xl (Xl CONTINUED #02154 35 52 CONTINUED .- TONY (glances at Omar) Yeah. Omar's terrific. 2nd Rev. 11/22/82 52 LOPEZ Not to mention of course the nice job you guys did for me on that Commie sonufabitch Emilio Rebenga. TONY You don't have to mention it. That was fun. LOPEZ (smiles, likes the kid's balls) Scotch? Gin? Rum? TONY Gin's fine. LOPEZ (pouring) Yeah, .I need a guy with steel in his balls. I need him close to,me, a guy like you Tony -- and your compadre here. TONY Yeah.. .well. Still a little overwhelmed by the opulence of the place, his clothes feeling narrow and cheap on him, Tony steps forward and puts the suitcase up on the bar with the gin, which Lopez passes to him, eyeing the suitcase. TONY .that’s i t . Angel died T h a t ’ s t h e two keys. ‘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 headache'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 looks up, his eyes tumbling on the most beautiful blonde he's ever seen. elevator, The lady, is coming down the glassed-in adjusting her $10,000 Yves St. Laurent burgundy dinner dress. ALTERNATIVE LOPEZ Oooh sweetheart, you look like a millions bucks. LOPEZ Where you been baby, it's ten o'clock, I'm hungry. She doesn't answer, her eyes flicking disinterestedly over Tony and Manny, knowing what the evening's going to be and not too happy about it. ELVIRA You're always hungry, you should try starving. Lopez laughs. - LOPEZ I want you to meet a friend of mine. Tony Montana...Elvira...Manny Ribera. Hello. ELVIRA Uh...hi. TONY (equally impressed) Yeah, hi. ELVIRA I assume we're going to be a fivesome. Where are we having dinner? FRANK Oh, I thought we'd eat at the Babylon. - ELVIRA Again? If anyone wanted you, you wouldn't be too 1 to assassinate hard to find. (coming toward her, laughing) Me? Who'd want to kill me? I got nothing but friends. 53 CONTINUED #02154 3 8 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 towards the door, her throat flashing a $20,000 strip of (Xl jewelry. ELVIRA Come on, Frank, let's go. Tracking a cool, polished hauteur, she exits the apartment. Lopez, after a pause, snaps at his men. LOPEZ Okay, let's go. CUT TO 54 EXT. THE BABYLON CLUB - 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 music beat, "Celebrating" or "Partying Down Tonight".... 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 INT. BABYLON CLUB 5 6 Frank Lopez, intoxicated, takes his heart pill with a slug of champagne. He sits next to Tony, who is agog at all this wealth. Omar and Ernie look on. Elvira is in conversation with a girl friend who has stopped by. They' re sitting at the best table in the place, finishing up a giant meal. The empty spot belongs to Manny. CONTINUED #02154 4 0 (Xl Rev. 12/9/82 5 6 CONTINUED 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.... 56 Their point of view -- Ronnie Echevarria, powerful, competentlooking man in conversation with a party of people. LOPEZ That guy there, Gaspar Gomez. in the purple shirt -- Bad news. Stone killer there ever was one. Stay away. Their point of view -- guy and gorgeous woman. Gaspar Gomez at a table with another LOPEZ ...the fat guy, with the chicas is Nacho Contreras -- El Gordo. Wouldn't know it to look at him but he's got more cash than anybody in here. A real haza.... Their point of view -- El Gordo is fat, dressed like a cheap slob and playing up to a bunch of chicas. LOPEZ . ..you know what a haza is, Tony? TONY 'Haza'? No Frank, what's a haza? LOPEZ It's Yiddish for pig. It's a guy he's got more'n what he needs, so he don't fly straight anymore, y'know. That’s the problem in this business, Tony, there's too many 'hazas' and they're the ones you got to watch out for. If they can fuck you outta an extra dime, they'll rip you and flip you and then fuck you with a stick for the pure pleasure of it. See it all comes down to one thing, Tony boy, never forget it! Lesson number one -- don't underestimate the other guy's greed. ELVIRA Lesson number two -- don't get high on your own supply. 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 ELVIA (to Tony) In France, it cost $100 but don't tell anybody in Miami. Tony catches her eye. She looks away, interested. 57 INT. BABYLON CLUB - NIGHT A Man passes the table. Lopez calls out. LOPEZ Hey, George -- buddy. Hey, Frank.. -how's the case coming? The Man's eyes thread the table. lidded, cigarette-eyed, He looks sharp, heavyhis voice a hoarse croak, a cigarette dangling from his mouth, his manner cool but amicable with Lopez. This is George Sheffield, Miami lawyer. LOPEZ OY, I shoulda come to you 'stead of that putz, Neufeld. SHEFFIELD Jack's a good lawyer. I taught him everything he knows. LOPEZ Yeah, almost everything. SHEFFIELD (to Elvira) Elvira, you look terrific... (to all) Enjoy .yourselves. He ambles off. LOPEZ I . . best goddamn lawyer in Miami. Cost a brick to pick up a phone. Tony looking off at him, remembering it. 56 57 LOPEZ (raising his. 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. Lopez laughs, likes the kid, tweaks him on the check. 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. Omar doesn't like it but glances away. TONY Hey, that sounds like fun, Frank. Thanks. The music shifts to slow dancing. ELVIRA (waving away cigar smoke) SO, you want to dance, Frank or you want to sit here and have a heart attack? LOPEZ He- dance? I'd rather have a heart attack. CONTINUED #00766 57 CONTINUED - 2 (rising) Don't foam into Glancing at Omar, sitting forget it. Tony nods They go. 43 ELVIRA the Dom Perignon. there obediently. Her eyes say ELVIRA (to Tony) How about you? sure, looks at his boss. LOPEZ (waves) Go on! 57 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. forward. Be just proceeds in a straight dead line, eyes off, It's not that he doesn't see the people he bumps 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 on your side, they break for you. like that their backs 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 4 4 (Xl 5 9 CONTINUED ELVIm St. James. 2nd Rev. 11/22/82 59 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. Oh, Tony, pissed, The man stops doesn't see. ELVIRA part of the Cuban crime wave? bangs once more into the elderly couple. dancing, looks at him exasperated but Tony TONY Whatta you talking crazy for, whatsa matter with.you? ELVIRA (interrupting) ...I'm sorry. I didn't know you were so sensitive about your diplomatic status. CONTINUED #02154 45 and 46 (X) 2nd Rev. 11/22/82 59 CONTINUED - 2 TONY ...Why you got this beef against the world? You got a nice face, you got great legs, you got the fancy clothes and you got this look in your eyes like you haven't been fucked good in a year. What's the problem, baby? Elvira laughs at him, furious. ELVIRA You know you're even stupider than you look. Let me give you a crash course, Jose whatever your name is, so you know what you're doing around here. TONY (interrupting) Now you're talking to me, baby! ELVIRA First who, where, why and how I fuck is none of your business, second don't call me 'baby,' I'm not your baby and last, even if I was blind, desperate, starved and begging for it on a desert island, you'd be the last thing I'd ever fuck. You got the picture now -- so fuck off. . TONY Hey, thataway. She whips off the floor, pissed. He watches her, amused. 59 CUT TO 60 60 thru OMITTED thm 62 62 #02154 63 I&IT. CAR-DAWN 47 thru 51 Rev. l/18/83 63 -- Tony and Manny drive home in the broken down Monte Carlo (X) sedan through the streets of Little Havana. They've'been partying all night, clothes rumpled, Tony smoking his cigar, feeling good. (X) 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? Lopez '6 lady. Tony, that's He'll kill us. Pause. .~ 63-A and OMITTED 6 4 TONY What are you kidding -- he's soft. I seen it in his face -- booze and a cuncha tells him what to do. CUT TO 63-A and 6 4 (Xl 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. . 6 6 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, gifts. gets out carrying a bag of 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:--- - .* .--A f. .a COPS TALK AT THE l3AXCO TODAY! Past banks of glass (Caribank, Amerifirst).., TO us... DE xL%xI.. . Ranco de Venezuela, 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, w3rm womb-like plastic heaven. etc -- a . - - -. TONY . . ..I. shoulda been here IO vears ace man. town's like a This ParaBise, fig pussy dyin' to $5 fucked, rr.an, saradisef now. I: coulda been a millionaire Get xy 3wn golf COXSP, a boat... mhi I want 2 line of bluejeans vith .?ry name on the - chicks* asses. TONY we never gcnna . ..yeah ve gotta make sore moves on our own Xanny, score the i3ig Xoney vorking for Frank. Frankvs okay. TONY Yeah -- cause he buys you a suit? a chicker,h,ead again You thinkin' like mNNY - - A -- Frank*= got a.n organization T O W Organizaticn? I got more brains than Omar and he's bigger than ~TC, organization. That's not an you do for That‘s a disorganization. a brain man? Piss in it?' pihat do ' , . . . 48. . . , ;c \ :- . Fuck you, somebody oughta shoot your misery .(seeing something) Hey catch this tomato :Z YOUi Fut YOU . .. l . . . ,a outta 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 -f-lick 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 see this, they kno?~. T h e y g o crazy. They don't resist me. . - . . 4 9 . f _~ Does it again. Tony tries but lacks the speed and agility, provoking Na~y*s laughter. a shop window. Manny double checks himself in _ ..rJr - 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+.