"SCARFACE" (1983)

"Enjoy yourself -- every day above ground is a good day."

ANONYMOUS, MIAMI 1981

crawls up the screen -- with Narrator.

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

Opening Montage Documentary Footage:

from the harbor in Mariel, Cuba. Vessels of every nature, waving masses, demonstrations....

The flagof 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.

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:

- - -

a n d CLOSEUP OF TONY MONTANA anc:

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 t h e n .Wemove to the eyes, pure in their fury. Finally we encompass the face -- the face ofa 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 fl (o.s.) Okay so what do you call yourself?

VOICE #2 (O. S.) Como se llama? MONTANA Tony Montana ...you? (X)

VOICE #1 Where'd you learn to speak the English, Tony? MONTANA My old man -- he was American. Sailor. {X) B u m .I always know, y'know, oneday I gonna come to America. I see all the movies.... VOICE #1 So where's your old man now?

VOICE #1 Mother? TONY She's dead too. CONTINUED .

R e v .11/22/82

,,-. 6 CONTINUED

and

anc

VOICE #2 What kind of work you do in Cuba, Tony?

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

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

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 t h r e e .

MAN #1 (checking off a list) You been in a mental hospital, Tony?

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 (X) 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.

(X) Rev. 11/22/82

- 6

and

anc

MAN #1 Arrested? Vagrancy? Marijuana?

His eye movements are rapid (over shoulders, sides, doors) and he does a lot of touching-- objects-- lightlywith the tips of the fingers. Man #3 is stepping forward out of the shadows.

MAN #3 So where'd you get the beauty scar?

MAN #3 And this?

He holds up Tony's hand and indicatesthe tattoo between the thumb and second finger -- a heart with the word "Madre" scaled through it.

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?

R e v .ll/22/82

- 6

and

MAN·#3 That's pretty funny, Tony.

MAN #3 What'd you mug him first? Get him outta here! (starts to walk out)

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

Carter should see this human right. He's good. He’svery good. What do ex: you say Harry?

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

Rev. 12/16/82

and anc

Man at the door stops, looks back.

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

DISSOLVE TO

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. (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 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 ..

I told them what you told me to tell them. I told them I was in sani- tation in Cuba.

The bus pulling out now.

t,02154 6-A

(X) Rev. 12/9/82

Fuck you Tony....

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

-

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

DISSOLVE TO

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 yammeringback 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.

CUT TO

Rev. 12/9/82

-

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

__ 9 CONTINUED

Fucking crazy,hunh!

He hunches, darting exaggeratedlooks 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 playfullypunches Manny and they walk on into the humid night, intersectinga young punk, Chi-Chi.

9 CONTINUED ..2

Oye Chi-Chi, what's going down.

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

A real snatch?

As they chatter, Tony moves on with amovement 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 n e o n .

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

CUT TO

(X) 2nd Rev. 11/22/82

-

Tony, five minutes later, in a phone booth, in the middle of a bank of them, dozens of Marielietospressing 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 togetherwith 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 ringsin 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? ••Bello?..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.

Manny catches up to Tony.

(X) 2nd Rev. ll/22/82

1 0 CONTINUED 10

Angel comes 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 s h i p p e db a c k !

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

2nd Rev. 11/22/82

1 0 CONTINUED• 2

1 0 (X} Yeah, well, what if we gotta sit here another six months, 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 swingsinto it, snapping his fingers and rolling his hips like Presley. He back-peddles, smiling at Manny and Angel.

CUT TO

- -

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

The game, leaving him behind, shifts downfield.

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

Tony, getting up, brushing himself off, walks off the fie towards him.

You ready for the good news, cono?

12 CONTINUED

Angel is walking towards them. Tony signals him.

As Rebenga, in long-lensed closeup, nervously smokes a cigarette, eyes roving as the guard examines his papers.

CUT TO

-

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

14 NATIONAL GUARDSMEN AND STATE POLICE 1 4

form ranks outside.

15 REFUGEES 15

flee through a hole in the fence.

16 GUARDS 16

move on them, wielding clubs.

17 SEVERAL REFUGEES 17

are scooting down a highway.

18 POLICE DOGS 18

on chains are glimpsed.

19 REFUGEES

lS

throw stones and debris from the rooftop of a barrack.

2 0 REBENGA

2C

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

2 1 ANGEL

2 1

tracks him, signals....

2 2 INSIDE REFUGEES 2 2

-

are pulling apart their beds, going for the wooden slats.

Others set fire to their mattresses.

2 3 THE POLICE AND GUARDS 2 3

are moving through the gates, restoring order. Loudspeakers blast. Injured refugees lie bleeding on the grounds.

2 4 AN ENTIREBARRACK 2 4

now goes up in flames.

2 5 INSIDE THE BARRACK 2 5

A bewilderedEmilio 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.

Rebenga snaps to the sound of the voice.

102154 16

(X) Rev. 1/18/83

25 CONTINUED

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

hending eyes encased in broken glasses Sinking out of frame.

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

DISSOLVE TO

- -

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

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 blueFlorida sky, fleeced with perfectly white clouds.. .past a giant billboard:

HOW ABOUT A MILLIONDOLLAR 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 theimageof the American flag and the reminder: "Wil'.'..thelastAmerican leaving Miami please bring flag?"

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

(X) Rev. 1/18/83

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

Y e a h .

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

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

(X) Rev. 1/18/83

27-A CONTINUED. 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.

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.

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 ih his teeth,then it's gone.

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....

Pointing to a tall, cool blonde across the avenue.

(X) Rev. 1/18/83

- 27-B

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

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

The blondehas 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 faceat 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 movesalong.

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

Tony walks over to him, mocking.

Rev. 1/18/83

27-B CONTINUED

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....

As they walk off, back to camera. (X)

CUT TO (X)

2 8 LITTLE HAVANA RESTAURANT • LITTLE HAVANA• NIGHT 2 8

on Southwest 8th Street. "Calle Ocho"....

The parkinglot 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 brightlylit glitterdomewith fancy mirrors and chandelier effects, Spanish in influence, and every table is taken. It combinesthe social functionsof a family restaurant, cafe, tourist haunt and late-night watering hole for various beasts of prey.

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

To reveal Tony Montana scubbing 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 sufficesto tell us all.

•

Rev. ll/12/82

28 CONTINUED

2 8 TONY Your big shot friend better come up with something soon. I didn't come to America to break my fucking back, querido.

CUT TO

- - 29

we are looking through a cubbyhole at the diners. Young Cuban guys with chiquitas drift in with their fancy clothes, diamonds and -- the mark of status -- large bodyguards. They're out front with the flash, shaking hands with friends, kissing, talking loud, familiar with the waitresses.

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

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

His hands are shriveled white from dishwater.

Rev. 11/12/82

That's him -- El Mono'shere!

CUT TO

3 0 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 ofgold when he smiles.

(leaning in the window) Hey Omar, Waldo, como 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.

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

Rev. 11/2/82

3 0 CONTINUED -- 3 0

Omar looks at him somehwat incredulously as Tonywipes his hands on his greasy apron as he talks.

Omar sniggers, his eyes shifting to Waldo who shakes his head and laughs.

Steps forward. Manny grabs him.

In the car, Omar looks over at Waldo.

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

Rev. 11/12/82

3 0 CONTINUED. 2

3 0 OMAR (back to Tony) All right, smart ass, you wanna make some big bucks? You know anything about cocaine?

Tony says nothing.

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

20-A

Rev.

3 0 CONTINUED 3

- 3 0 TONY I'm scared.

3 0 CONTINUED 3

- 3 0 TONY (walking away) You worry too much Manny --you’ re gonna get yourself a heart attack oneof these days.

( c a t c h i n g 7 Yeah, so who are these Columbians?

Tony strips off his greasy apron.

Throws the Cook his apron.

CUT TO

-

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.

i02154 2 2

Rev- 11/22/82

-- . 32 INT./EXT. TONY'S CADILLAC • MIAMI

seen from the inside of the sedan. Tony turns down the salsa beat on the radio, smoking a cigarette tensely. Driving is Manny. I nthe delapidated backseat are Angel, the baby-faced punk, and Chi-Chi,both from Freedomtown.

Manny, reflecting the tension, whistles a vapid series of notes under his breath as he waitsfor a light to change.

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

CHI•CHI (looking over) Whatta you crazy? She's 103year6 o l d .

Camera revealing the teenager.

Rev. 11/22/82

3 2 CONTINUED ,,..•," 3 2

As he talks Angel fingers a Negrita charm hanging around (X) 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 Marielitosin 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•··-,oi.lvcr- bangled bracelets, etc., all relating to their Afro•Catholic spiritualism.

(making fun) Yeah, Chango looking out for us, Angel? .

Silence. Through the windshield, the sign of a motel -- TBE SUN RAY -- is coming closer. (X}

The motel is coming closer in silence.

Rev. 11/22/82

3 2 CONTINUED. 2 3 :

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

CUT TO

(

Rev. 11/2/82

-

Tony and Angel come slowly, gingerly down an exterior corridor to a roommarked "9". Nodding to Angel who (X) remains in the stairwell with the Ingram machine pistol, Tony knocks. Pause.

-

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 s m i l e s .

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

-

Tony1 stepping into the conventionally tasteless orange and blue motel room(withheavy 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 abody search.

The other person in the room is a tough-lookinglittle 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, easesthe door closed.

Toad shrugs and readjusts, leaving it open a few inches, the conversation clipped and nervous throughout the scene.

TO~ Sure, no problem... Thisis 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.

Pause.

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

3 5 CONTINUED • 2 3 5

Pause. Everthing seems okay.

Tony's eyes check out the bathroom.

It's like he's stalling for time. The Lizard has made a move somewhere off-center and is now sitting on the bed, coiledand always watching.

3 6 INT. TOAD'S MOTEL ROOM ..DAY 3 6

There's suddenly a door slamming somewhere outside, then commotion.

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

Rev. 11/2/82

3 6 CONTINUED

3 6 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 (X) 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 fromTony:

Toad shrugs, he couldn't care less.

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 Tony'with 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.

3 7 EXT. SUN-RAY MOTEL DAY 3 7

-

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

Manny paces outside the car, glances.

3 8 EXT. SUN-RAY MOTEL DAY 3 8

-

A small woman -- the Lizard -- steps out in shadow in the parking lot of the Sun-Ray across the street, looks around, sees nothing, casuallygoes back in.

3 9 EXT. SUN-RAY MOTEL DAY 3 9

-

Manny looks at his watch.

CUT TO

4 0 INT. TOAD'S MOTEL ROOM DAY 4 0

-

Angel hangs suspended on the ropes from the top of the shower curtainbar, his legs straddlingthe 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 adapterand extension cord.

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 againstTony, guns pointed at his brains...o.c. we know what's happeningas we hear the chainsaw and we watch Tony's shock andr a g e .

Lizard has no expressionon her face. The machine cuts off.

The Toad steps back from the tub, blood splattered on his s h i r t ,exam:ninghisfirstcut like a butcher. He glances at Tony.

4t00766

4 0 CONTINUED 40

Abrief 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

4 1 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

-

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.

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

-

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

4 4 TOAD'S MOTEL ROOM 'DAY 4 4

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

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

4 4 CONTINUED

Tony, devastated, spits in his face.

Toad's eyes narrow meanly.

Kid one slaps the tape across Tony's mouth.

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

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

-

and the door smashes open and Manny barrels throughand shoots a surprisedLizard 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 o n e ,whois turning,in the neck.

Tony, not tied up yet, spins on kid two and smashesthe 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 crashesbackwards.

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

The Lizard, wounded on her knees, is firing her .32 at h i m .Inb. g., the window simultaneouslyblows out as Chi-Chi appears firing a burst with his Ingram.

In sharp f.g., the Lizard crumplesforward on her knees, foaming blood.

Tony, with the tape still stuck across his mouth, smashes kid two, pinned against the blood-stainedsink, 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.

4 5 CONTINUED 4 5

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 missingTony'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-wreckedmotel room.

Tony, yelling, whirls after the Toad.

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 4 6

-

The senior citizens, playing Mah-Joriggon the porch, mutter in astonishment.

As the Toad staggersout 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.

TON'f (Spanish) Your'turn, cabron!...

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

Tony emptiesthe clip into the Toad, blowing him apart.

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

The Toad's body lying awkwardly arched in the gutter, Tony turns and with a passing disinterestedglimpse at his audience, calmly walks back into the motel; the distance and the light sufficientto conceal Tony's possible identi- fication.

CUT TO

Rev. 12/16/82

-

Tony intersects Manny, holding his side, with Chi-Chi.

Manny nods.

4 8 INT.TOAD'S MOTEL ROOM 4 8

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 news still plays in the corner.

Inside are several kilo-sizedstacks 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 Chango charm into our view, fingers it, tosses it back in the tub. He goes.

CUT TO

-

Chi-Chi has the sedan waiting in the parking lot. Tony hurries out, jumps in, the car speeding off. (Pisalo hasta ex la tabla -- Step on it.)

Past the senior citizens who are retreating inside their rooms.

The camera swinging to hold on the blue and black Monte Carlo disappearing into the traffic of the Strip as two cop cars come screaming past them from the opposite direction.

CUT TO

5 0 EXT. LITTLE HAVANA RESTAURANT• PHONE BOOTH DUSK 5 0

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

(X) Rev. 11/22/82

50 CONTINUED 5 0

OMAR•S VOICE (shaken) Look, let me check it out right away!

OMAR’S VOICE You got the money?

Pause.

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-risedistrict 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 armedsecurity cops in the lobby.

Rev. 1/18/83

-

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

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

Frank shakes hands with Manny.

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

R e v .1/18/83

5 2 CONTINUED

5 2 (X) Just the flesh. Went right through.

2nd Rev. 11/22/82

5 2 CONTINUED

Still a little overwhelmedby the opulenceof the place, his clothes feeling narrow and cheap on him, Tony steps forwardand puts the suitcase up on the bar with the gin, which Lopez passes to him, eyeing the suitcase.

Pause. Lopez shakes his head, sighs.

He glanceshard at Omar who squirms.

*02154 3 6

Rev. 1/18/83

5 2 CONTINUED 2

- 5 2

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

They drink the toast. With their eyes.

Lopez looks, distracted.,down the corridor from which he c a m e ,toErnie,the bodyguard.

The big bodyguard exits smoothly.

Lopez laughs.

(X) Rev. 1/18/83

5 3 TONY

5 3

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.

(coming toward h e r ,laughing) M e ?Who'd want to kill me? I got nothing but friends.

Rev. 1/18/83

5 3 CONTINUED

5 3 ELVIRA You never know, do you? Maybe the catcher on your Little League team.

Neatly avoidinghis intended smooch, she slips by him

(X)

towards the door, her throat flashing a $20,000 strip of jewelry.

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

Lopez, after a pause,snaps at his men.

CUT TO

5 4 EXT. THE BABYLON CLUB • NIGHT 5 4

We know this is no workingman's dive when Lopez piles them out of his Rolls,and the carhops are moving Bugattis, Lamberghinisand 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.

5 5 INT.BABYLON CLUB NIGHT 5 5

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

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

5 5 CONTINUED

5 5

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

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

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

-MANNY So whaddaya say, hunh?

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

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.

CUT TO

5 6 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 con- versationwith a girl friend who has stopped by. They' re sitting at the best table in the place, finishingup a giant meal. The empty spot belongs to Manny.

(X) R e v .12/9/82

5 6 CONTINUED

5 6 LOPEZ (to Tony)

- -

... over there that's Ronnie Echeverria. Him and his brother Miguel they got a big distributionset-up here to Houston and Tucson....

Their point of view-- Ronnie Echevarria, powerful, competent- looking man in conversationwith a party of people.

Their point of view -- Gaspar Gomez at a table with another guy and gorgeous woman.

Their point of view -- El Gordo is fat, dressed like a cheap slob and playingup to a bunch of chicas.

Rev. 12/9/82

56 CONTINUED·- 2

5 6

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.

Head Waiter nods.

5 6 CONTINUED • 2

Tony catches her eye. She looks away, interested.

5 7 INT. BABYLON CLUB NIGHT 57

A Manpasses the table. Lopez calls out.

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, Miamilawyer.

He ambles off.

Tony looking off at him, remembering it.

CONTINUED .

Rev. 11/22/82

5 7 CONTINUED 5 7 'I They toast, Tony tasting it like it was Holy Water.

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

Omar doesn't like it but glancesaway.

The music shifts to slow dancing. {>:

5 7 CONTINUED 2

- 5 7 ELVIRA (rising) Don't foam into the Dom Perignon.

Glancing at Omar, sittingthere obediently. Her eyes say forget it.

Tony nods s u r e ,looksathis boss.

They go.

- 58

It's interestingto 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 o f f ,it'sthathe couldn't care less.

CUT TO

5 9 INT. BABYLON CLUB DANCE FLOOR NIGHT 5 9

-

Tony and Elvira are dancingsemiclose to a slow Billy Joel dance tune. He's no great shakes as a dancer, leaden in the legs and shoulders.

(X) 2nd Rev.11/22/82

5 9 CONTINUED

5 9 ELVIRA St. James.

He bumps into an elderlycoupledancing, ignores them.

He makes a point of looking at her.

Tony, pissed, bangs once more into the elderly couple. The man stops dancing, looks at him exasperated but Tony doesn't see.

(X) 2nd Rev. 11/22/82

5 9 CONTINUED 2

- 5 9 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.

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

CUT TO

6 0 6 0 thru OMITTED thn: 6 2 6 2

Rev. 1/18/83

6 3 INT. CAR-DAWN 6 3

(X)

Tony and Mannydrive 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.

Pause.

63-A 63-A and OMITTED and 6 4 6 4

(X) CUT TO

6 5 EXT. TONY'S MOTHER'S HOUSE SOUTHWEST MIAMI LATE DAY 6 5

- -

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 6 6

-

From his battered Monte Carlo across the curb, Tony, spruced up and nervous in a new suit, gets out carryinga bag of g i f t s .Mannyisatthe wheel, curious.

--..

64 sm~-y DAY - TWO l{Oi'!'T3SL:'\.TER

·!

The new Miami is rising ubiquitously-above Biscayne Bay, the camera moving nast bl.ossominas1-::-yscrapers,worl-::nen, huge cranes, glass,-·rr.ir:=c=sboor:d.ng'.lF'W"ardsintoa beautiful blue Florida sky, fl.eeced-~ith perfectly white c1ouds •••past a giant billboard:--- ,, "

- *'.., - ·- -· HOW ABOtJTA MILLION DOLL.;,,.~LCA..!':? COME TALK TO u~ ••• AT THE BA.~CO DE MI..2L"il••. 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 =eminder: "Wi11

the last Aroc-.::-ican

leaving Miami please bring the flag?..

Tony and Manny. on a

s::1oppir.gspree~bop along an incredibly

·luxurious shopping mall lined with the latest stores, fashions, escalators, music, tropical plants,

etc -- a

warm womb-like plastic heaven. .

MANl'."Y I want line of bluejeans with :nyname on the chicks* asses.

-

MANNY ------ Frank.•sgot a.n organization

,

-·· I

I MANNY Fuck you, somebody oughta shoot you, put you outta

,

your misery ·(seeingsomething) ..l. Hey catch this tomato __,,. ..ti ··- -

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

They glance at Tony and Manny and hurry 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 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. --

You didn't see it? You weren't

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 disgust in••

You think so hunh? ;.;e1l.youdid know shit ~bout chicks chicc. When . they see this, they kno·..r.Th e y g o crazy. They dcn•t resist me. .

j/,tI 4 9 .

/.

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

.... ..le -

TONY’ Oooh .••cono! How •bout.that one? .

Pointing to a tall, cool blonde across the avenue.

Tony ,,ral.ksrightout into the- avenu~. s .~ck1ng out his arm and stopping traffic. Cars honk angrily but he couldn't give a shit.

, Come onl

Manny followsasTonv now moves across th~ op:pcsite lane, a car screeching to a halt in front of him.

The blonde has paused to look in a shop window.

Nanny stops alongside, pretends to look. hnen Se catches her eyes, he flicks his tongue.

She looks at him, confused, then back into the -..rindo·w·. Manny looks back at Tony, winks, sidles closer to her.

Tony, 1,.-a.itingofftothe side, catches the gaze of a somber child, four, toddling along with it•s mom. He makes his own version of a funny face at the kid who looks back at him puzzled. Tony produces another face. The kid now- smiles. The mother looks over. Tony shrugs. She smiles and moves along. I '-- ...

I

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

and walks . -··- . .If -

-

Tony walks up to him, mocking.

Camera moving with Tony as he glances in an elegant -;indcw displaying je-.Je1ry.

TON"!

i You be happy. I want what's comin' to me when \_;,I' alive not when dead.

I•r.i l'm

As he goes into the store, the camera panning to the diamond's in the window.

CUT TO

6 5 , EXT. TONY'S MOTHER'S HOUSE - SOUTHWEST MIAMI - NIGHT

PAGE 47

..

, I

-

Rev. 12/16/82

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

Tony's Mother opens the door. A stout aging woman with a powerful face, she's shook to her roots. r

MAMI {X) No postcards from jail, hunh?

Pause. He doesn't offer to kissher nor she him. Mother looks behind her. Someoneelse is in the house. Mother looks back as if she has no choice. She opens the door. He steps in. He looks.

R e v .11/22/82

6 8 INT. TONY'S MOTHER'S LIVING ROOM NIGHT 6 8

The interioris 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-oldsister Gina. Their eyes lock.

She looks at her mother confused. She's a naturally dark, curly-headed beauty with a slim, graceful figure and large-liddedeyes brimming with the same energy as Tony's. (She might also be recognizablefrom the snapshot we saw in Tony's possession.)

He holds out awrapped gift towards her, about to give it.

Gina suddenly. explodesacross the room and rushes into his a r m s ,graspinghimfiercely.

Tony; over her shoulder, catches hi6 m o t h e r ’ se y e sboring into him stonily.

6 8 CONTINUED

Tony, over her shoulder,opens the gift.

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

"To Gina From Tony. Always."

The mother is amazed at the cost of the gift. Tony pulls out another present, for her.

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.

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

11/2/82 R e v .

6 8 C O N T I N U E D2

6 8 -

Tossing the empty package aside, he pulls the last gift -- a bottle of champagne.

CUT TO

- 6 9 {X:

Mama, with things on her mind, is silently cooking a l u n c h , as Tony and Gina finish the champagne at the kitchen table.

Tony nods.

Mama looks over at him on the words "bring up" and he catches her look.

He pulls out a bundle of cash, fifties and hundreds, and starts peeling them off on the table. Mamastops working, l o o k s .

6 9 CONTINUED

6 9

Pushes a thousand dollar stack towards her.

She approaches it cautiously, her fingers riffling the bills, then looks back at her son.

Sure you do Tony -- with a gun sticking in somebody's face. All we read about in the papersis 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....

69 CONTINUED 2 69

(continuing) No, no, that's not the way I am Tony and that's not the way I -- (emphasizing it) 1 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.

Tony nods his head at his mother.

CUT TO

Rev. 11/2/82

7 0 EXT. TONY'S MOTHERS HOUSE NIGHT 7 0

- (X)

Tony walks out icily.

(waiting in the car, seeing his expression) Relatives, hunh? A pain in the ass, they ---

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

Checks himself in the rearview mirror, slicks his hair.

Tony and Gina talk next to the car.

Rev. 11/22/82

7 0 ·CONTINUED 7 0

Pause. She stares intently at him, emphasizing it.

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

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

He gets in the car. She peers in.

Her eyes fall on Manny at the wheel.

He smiles back with charm.

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

7 1 INT. TONY'S CADILLAC SEDAN NIGHT MOMENTS LATER 7 1

-

Tony looks at him icily.

A beat.

CUT TO

R e v .1/18/83

7 2 MONTAGE • PASSING TIME 7 2

Music accompanying the flipping of calendar leaves.

7 3 U.S. CUSTOMS MIAMIINTERNATIONAL AIRPORT DAY 7 3

-

Tony, spruce in his new three-piece suit with the diamond on the finger and the expensive watch, looks like the young ethnic American businessmanin import-exportas he steps in front of a chunky, young Customs Officer, who looks at him coldly.

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 stockbrokerwaiting in a fourth line, glances nervously (X) 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 waivedthrough a fifth line,

7 4 OMITTED 7 4

7 5 EXT. DOLLY STASH'S HOUSE MIAMI DAY 75

-

The mother-typeunscrews 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.

7 6 THE ·OLD MAN 7 6

helped by Rafi, is removing a sophisticatedfalse bottom from his suitcase,laminated and difficult to detect.

7 7 AND GASPAR 7 7

break open wooden clothe6 hanger6 concealing cocaine a6the stockbroker changes clothes. (X)

Rev. 1/18/83

7 8 THE MOTHER 7 8

picks up the baby and removescocaine from its diaper.

While:

7 9 THEFORMERNUN 7 9

in partial habit,steps out of the toilet, adjustingher underpants; she places a package of cocaineon a table,on which we now see approximatelyfive kilos stacked.

8 0 TONY 8 0

counting out the cash for his mules, Omar there, over- looking the operation.

8 1 MIAMI INTERNATIONAL AIRPORT DAY 8 1

-

Again. But this time going out.

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

8 2 TONY 8 2

watching, glances up at the electronic informationboard -- Houston clocks out the time.and the boarding gate...we move to Los Angeles --"on time” ---

Tony's eyes moving to the mother, now withoutthe child, buying her ticket-at the counters.

Manny joins him, nodding okay. Tony, with a glance athis 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.

8 3 OMITTED 8 3 thru thru 8 5 8 5

(X)

8 6 EXT. GOLF COURSE MIAMI DAY 8 6

-

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

kev. l/18/83

0 7 INT. LAUNDRY RESTAURANT NIGHT 8 7

- (X)

The plush millionaire'srestaurantis to be seen again. (X) Frank has his arm around Tony, introducinghim to a business-type. Elvira looks on.

8 8 INT. HIGH-FASHIONSTORE DAY 8 8

In a high-fashionstore, 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.

8 9 INT. LOBBY LOPEZ CONDO DAY 8 9

-

and and 9 0 Elvira steps out of the lobby into the driveway. Tony is 90 waiting for her. She's surprised.

Elvira contemplating him with distaste.

She sighs, walks across the lobby. He follows.

11/26/82 Rev.

8 9 CONTINUED and 8 9 9 0 She steps out in a Pucci summer dreds, looks around. He and points. 9 0

Rev. 12/21/82

89 CONTINUED 2 89

-

and an< 9 0 She looks. The car is a yellow Cadillac convertible with 90 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.

-

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.

Rev. 11/2/82

91 CONTINUED

Rev. 11/22/82

- 91 SALESMAN Twenty-eight thousand dollars. Fully equipped.

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

CONTINUED .

2nd Rev. 11/22/82

9 1 CONTINUED •3 9 1

Thanks, yeah....

He reaches into his pocket,pulls out a decal, a private j o k e .Heslapsit on the rear fender. It's the same stickerwe saw earlierof the Americanflag with the epitaph, "Will the Last American leaving Miami please bring the flag."

Elvira wonders about it as he joins her.

9 2 EXT. LUXURY MOTORS DAY 9 2

-

Tony leads her to his yellow Cadillac convertible parked (X) out of eyesightof the others.

They get in the car. (X)

(X) 2nd Rev. 11/22/82

92 CONTINUED 9 2

She has a coke vial out, casually hits one nostril, then the other, then takes a last hit through the mouth,

He reachesover 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.

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

CUT TO

- -

Subtitle appears:

COCHABAMBA, BOLIVA

Alejandro Sosa is a playboy, about six-foot-two, black wavy h a i r ,athleticbodyand a Copacabanatan, the clothes, a casual polo shirt and the latest pants from Calvin Klein.

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

Accompanying him everywhere is the Shadow, athin, intense venomous-lookingHispanicman 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.

93 CONTINUED 9 3

Sosa is showing Tony and Omar through his coke processing lab, past four coal-fired stoves, each with mas.sive iron kettles bubblingwith coca paste ...across to a row of ovens where the refined coke dries. The chemists and Indians working there all acknowledge "el rey del rey" as he passes, as proud of his factoryas a vine growerhis vineyard.

Sosa looks at him like that's obvious and moveson. In his skinny suit, with the wet cigarette clamped between his nervous fingers, Omar's not quite in his league with Sosa.

Tony, awed by the scope of it all, follows along, stops to look at a sample of the dried coke.

The Shadow stops, eyeballs him.

Tony eyeballs him back, playing a game with him, then samples the coke off his thumb into his nose. Pause. His expressionsays I like it. He moves on.

The Shadow moveswith him.

9 3 CONTINUED 2 9 3

- SOSA Y e s ,itwould'vebeen nice if he could have come.

Looking over the laboratory likeit was his. Omar glances at him, annoyed.

CUT TO

9 4 INT. SOSA VILLA BOLIVIA • DAY 9 4

The camera moves past a spectacular view of the mountains to a cavernous dining room highlightedby 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 servantsmove to and fro, con- stantly changing dishes, confusing Tony (ad-lib during scene).

9 4 CONTINUED 94

Sosalooks over at him, not quite knowing yet what to make of this guy.

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.

Interrupted, Sosa looks over at his black aide who suddenly appears at the door, apparently with a message. Sosa waves him in.

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

--

with academic, 'horn-rimmed glasses and close-cropped hair on a huge and impressive skull. He combines the physical qualities of an animal with an intellectual. As he approaches, he glances down the table, his eyes falling

94 CONTINUED 2 9 4

briefly on Omar who doesn't connect. The Skull falters -- just for a moment -- then continues towards Sosawith 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.

Tony shrugs.

Omar shoots a poisonous glance at Tony.

CONTINUED .

lt:00766 7 1

CONTINUED 3 9 4 9 4 .. - He looks embarrassed at Sosa who has been watching, sensing - - also an advantage in the split.

Omar is taken aback by the speed of the plan.

Sosa laughs. Omar scowls.

CUT TO

Rev. 1/18/83

9 5 EXT. SOSA VILLA DAY 9 5

-

The helicopter blades whirr. The Skull waits inside with the Shadow. They both stareat:

Omar, who, with one hesitant look, steps inside.

The chopper lifts off the lawn, the camera moving to the polo players exercising in the di stance...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.

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.

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

R e v .11/22/82

9 5 CONTINUED 9 5

She nods to him in that somewhatuninterested,rude, upperclass Latin way.

She withdraws. Tony watches her go.

ex

S o s a ,pleased,reachesfor an expensive set of binoculars on the patio table, looks up through them, at the heli- copter rising off the lawn.

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

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

Sosa passes him the binoculars.

Tony, astonished, looks up.

terrified, being positioned at the door of the chopper by the Shadow and the Skull,his hands tied to his back and a length of thick rope looped around his neck. He is struggling backwards in vain.

Through the binoculars -- they throw Omar out of the chopperand he flies downwardsand jerks back up as the rope stretches taut, snapping his neck. He hangs there like a broken doll on a string as the chopper moves out of sight.

A silence.

9 7 TONY 9 7

s h a k e n ,lowersthebinoculars.Sosa watches him closely for his reaction. Tony looks back at him, contemplative. Sosa goes over,pours himself some coffee.

2nd Rev. 11/22/82

9 7 CONTINUED 9 7

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.

Their eyes locked together.

CUT TO

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

Rev. 1/18/83

9 9 EXT. LOPEZ MOTORS AUTO DEALERSHIP LITTLE HAVANA DAY 9 9

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'sfavorite 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

1 0 0 INT. AUTO LOPEZ OFFICE DAY 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.

R e v .1/18/83

1 0 0 CONTINUED 100

Rev. 1/18/83

1 0 0 CONTINUED 2 10(

- TONY You saying I'm not being straight (X'. with you Frank?

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

Long pause. Tony's eyes meeting Lopez's. He gave Sosa his w o r d .

He turns to leave, nods to Manny.

Getsto the door, Manny joining him.

Tony, saying nothing, goes out the door with Manny.

1 0 1 EXT. AUTO LOPEZ OFFICE 101

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

CUT TO

- -

NIGHT

Rev. 11/2/82

10: (X

Tony, impeccablein Cardin whites, and Manny, also slicked up, are shown by an elegant secretaryinto a plush office. Behind the desk sits the heavy-lidded, cigarette-eyed lawyer,

102 CONTINUED 1 0 2

George Sheffield smoking yet another cigarette, his voice a hoarse gravelled croak, the eyes -- with their dead.manstare -- 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.

Manny, standing in the b.g., nods.. -Sheffield shifts his eyes briefly, back to Tony who plops himself in a chair.

He sticks out his hand. Manny slaps an envelope in it. Tony begins counting out the cash, right on the tabletop.

CUT TO

Rev. 11/2/82

1 0 3 EXT. LOPEZ CONDO SOUTH MIAMI DAY 10

Tony waits in his red Jaguar in the driveway ofthe building.

Lopez and his bodyguard exit the building. c:x

A limousine pulls up.

Tony watches.

The threesome get in the limo and drive away.

Tony gets out of the car, crossesto the entrance.

-

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 looks at him, still astonished and waiting for an explanation. There is none.

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

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

Rev. 11/2/82

104 CONTINUED 10~

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

She's puzzled. He drinks a toast.

She drinks to it.

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

2nd Rev. 11/22/82

,.,•-, 1 0 4 CONTINUED 2 1 0 4

Elvira'slooking at him like he's on the moon.

Silence.

She laughs, a short harsh laugh.

flattered.

CUT TO

-

The place is raging tonight as Tony and Manny arrive, in tuxedos, making their way through the crowd greeting the many people who know them now. We might note Tony has refined the art of walking and no longer bulls people out

-

of his path, he angles through them.

Tony stops, spots his sister Gina, in an expensive looking dress, with a flashy young Cuban guy in a burgundy suit.

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

Tony spots a Large Man coming towards him. Caucasion, about 250 pounds.

R e v .12/16/82

1 0 5 CONTINUED 1 0

There's something ugly in his smile,maybeit's 'cause just the eyes do the smiling.

Tony looks at him.

CUT TO

1 0 6 INT. BABYLON CLUB CORNER TABLE TONY AND MEL lC

-

in a cornerof the-Babylon -- talking. (:X

Rev. 11/22/82

1 0 6 CONTINUED lOt

He holds the paper up brieflyin front of Tony. It says “25,000”

R e v .11/22/82

Tony just stares at him. Bernstein smiles, points.

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....

1 0 7 INT. BABYLON CLUB ENTRANCE• NIGHT lOi

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.

L o p e z ,inconversationwith the Owner, glances over, sees Tony with Elvira,his expression narrows.

li:02154 8 7

R e v .12/16/82

1 0 7 CONTINUED 1 0 7

- -

you really are.

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

Tense look on Frank'sface. The bodyguard circles.

Frank is livid.

The bodyguard moves closer to Tony who doesn't move.

Manny suddenly slides into frame, backing Tony.

Pause. Something'sabout to pop, turns back just at the c r e s t .Lopezabruptlyturns away.

:#00766 88

107 CONTINUED 2 10;

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

What happened?

They stroll back to the table.

What for?

You're kidding!

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?

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.

107 CONTINUED 3 107

- MANNY Hey, where you going?

He doesn't answer.

CUT TO

-

Tony comesdown the plush velvet stairs, flings himself into the Ladies room...the ladies, surprised, look back at him. No Gina.

1 0 9 INT. BABYLON CLUB MEN'S ROOM AND STAIRS NIGHT lOS

-

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 snortingcoke, with burgundy suit running his hantls along her ass.

He grabs burgundy suit by the collar and whips him several times into the wall.

He rips the cokeout of her hands and scatters it across the tiles.

1 0 9 CONTINUED 101

Manny runs in, several others now lookingin from the hall.

Tony!

Tony shoves burgundy suit .out of the stall, past Manny.

109 CONTINUED 2 109

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

The argument has moved across the bathroom to the lip of the hallway. Several more people are watching.

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

The crowd is silent. Tony stands there, abated.

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

He turns and bulldozes his way through the growing crowd, no regrets, but disturbed.

Manny helps Gina to her feet.

CUT TO

-

Tony, isolated and edgy, reenters the main room, circling the edges of the crowd, up to the bar.

110 CONTINUED llC

(to the bartenderess, pointing) Gimme a double of that!

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

CUT TO

1 1 1 EXT. MIAMI STREETS NIGHT 111

Manny drives Gina home in his two-seater Mercedes sports coupe. She's still angry.

He loves you, what do you want. He feels he raised you.

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....

'Gainst assholes -- like the sleaze ball in the red suit.

He says it like it's personal.

(aface) 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?

Rev. 12/16/82

1 1 1 CONTINUED 1 1 1

She gives him a look.

She's looking straight at him now, challenging.

1 1 2 EXT. TONY'S MOTHER'S HOUSE •NIGHT 1 1 2

Pulls the car over to the curb.

Pause.

Rev. 12/16/82

She leans across the front seat and lightlylays 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

-

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

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 asan 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 grotesquelyto the sleek song; once the mood of laughter has been established, the music suddenly shifts upbeat to "Saturday Night Fever" and the clown, like a butterfly from a worm,starts shedding the stuffing from his clothes, his big eyes staring out at us in theatrical melancholy.

Tony watches, sitting alone, distracted by the clown.

More laughter, more clothes coming off, building a tempo. When the head mask comes off, we see the gaunt handsome face of a young clown in white paint with the large blackened eyes staring without expression at the laughing audience.

Tony is hooked by the image, lookson.

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...

1 1 3 CONTINUED 1 1 3

...exceptTony 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 acrossthe 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 morescreaming.

Tony lets the gunman have another burst then runs out the door, his clothes ripped with blood and'glass.

The clown, Octavio, lies dead on the silent dance floor.

CUT TO

- 114

Tony runs out, crouched, to his red Jaguar.

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

He jumps into the Jaguar, his windows being blown out.

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

The third hitter advancing, carhops scattering.

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

Carhops scattering, the hitters seeking cover.

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

Tony now pops a button. Bulletproof blackout shutters whap across the shattered windows.

He guns the Jaguar out into the lot, bullets careening off the armor plating,whining against the shutters.

Tony suddenly brakes the car and reaches down and slams the gear shift into reverse.

In an instant, his warmobile acceleratesinreverse, 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

1 1 5 INT. SAFE HOUSE • THAT NIGHT 115

Tony, aching from his wound, is attended by a Doctor, who reveals to Us an ugly wound on his rib cage. Tony looks at it, doesn't express a reaction.

CUT TO

- 116

Miriam's a tough-looking little chick in panties and a tank top with "Cocaine" written on it.

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

R e v .11/22/82

1 1 7 INT. SAFE HOUSE NIGHT 1 1 7

1 1 8 INT. MIRIAM'S APARTMENT NIGHT 1 1 8

What happened!

1 1 9 INT. SAFE HOUSE NIGHT 1 1 4

Tony hangs up.

1 2 0 INT. MIRIAM'S APARTMENT NIGHT 12c

-

Hey, I'm better looking.' (hits the coke again) Don't do it all,I'll be back later.

CUT TO

1 2 1 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

Yeah, Tony, I got it, no problem....

CUT TO

-

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-openedoffice door.

Tony, Manny and Chi-chi slide into the room, the latter two with guns casually drawn.

Lopez, his nose in a glass of scotch, almost muffs it right there and then, but manages to recover.

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.

R e v .11/22/82

....... LOPEZ

Jesus! Who?

Tony, in his ripped suit, shoulder in a sling, face cut, 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.

Pause.

The phone rings.

Lopez lets the phone ring.

1 2 3 CONTINUED 2 1 2 3

- LOPEZ Uh .•.Mustbe Elvira. You know women. After we left that joint she....

The phone rings again.

He hangs up. Pause.

Tony, angry now, grabs Lopez by the shirt and hauls him forward across his desk so his gut lies flat across it.

t00766 1 0 1

-

He squashesan imaginary cockroach right infront of

flailing.

Melsits there impassively.

He sobs pathetically.

He turns to Manny.

Tony steps aside.

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.

R e v .11/22/82

1 2 3 CONTINUED 4 1 2 3

...,·

He fixes his eyes on Mel Bernstein.

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

He produces his Baretta from his sling and holds it in his left hand pointed at the big man.

Whoever said you were one?

He fires.

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

He fires several times into him until we can imagine he is no longer of the living. Tony turns towards the door.

1 2 3 CONTINUED 5 1 2

Tony notices.

The bodygurad, Ernie, the middle-aged Cuban,-waits stoically.

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.

CUT TO

Elvira lies in her silk sheets. The doorbell rings. S h e gets up.

In a nightgown,she opens the front door.

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

Tony just stands there.

:t,t:00766 104

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 ofMiami wink at his feet....

..'the camera moving to one sign down therethat says it all, flashing its big neon bracelet---

THE WORLD IS YOURS

PAN AMERICAN. TO EUROPE, AFRICA, SOUTH AMERICA

Tony drinks it in.

CUT TO

Montage Passing Time:

125 MULTI-SCREEN IMAGES 12!

Spin to lively, marching music.

126 HANDS 12E

counting money.

127 HANDS

12:

sealing cocaine bags...guaaludes...marijuana.

Sosa on the phone in Bolivia.

12~

Tony on the phone in Miami.

-

Tony -- with Manny, Gaspar,and Ernie -- exits the Montana Realty Company in Little Havana.

-

Tony -- with Manny, Gaspar and Gigi -- enters the Montana Diamond Trading Company inLittle Havana.

Rev. l./18/83

1 3 2

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

1 3 3

-

Camera moving from a sign saying"Banco Del Sur Miami" to Chi-Chi and Rafi unloading duffel bags from the back of a (X) Volkswagenvan in the parkinglot of the bank. Tony and Mannysupervise... the four of themnow 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 (to be seen again). They sit down to talk.

Chi-Chi's on the phone worried with Gigi. ex

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

1 3 6 INT. TAP TRAILER DAY 1 3

-

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

1 3 7 EXT. STASH HOUSE NIGHT 1 3

R a f i ,anotherMarielito,is led off in handcuffs from a suburban stash house by the cops.

1 3 8 NEWSPAPER HEADLINES 1 3

“Raid Nets $100 Million Cocaine Stash!" Time Magazine covers.

139 VIC, THE NEWSCASTERON TV 1~

"135 drug-relatedhomicides so far this year!"

fl:02154 106

(X) Rev. 11/2/82

139-A NICK THE PIG 139-A

shaking down punk in Cuban park.

139-B LITTLE HAVANA NIGHT GINA 139-B

- -

exits flashy car.

1 4 0 OMITTED 14(

141 HANDS 143

stripping false bottoms from suitcases.

1 4 2 EXT. GINA'S BEAUTY SALON DAY 1 4 :

-

G i n a ,withTony,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 h e r .

Manny buying a new suit....

- 14•

Mama washing dishes, looking up at the clock.

- 14!

Elvira snorting.

1 4 6 OMITTED

14l

-

And Hernando, another of the Marielitos, now sprawls dead over a video machine in an amusementarcade.

1 4 8 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.

(X) R e v .1/18/83

as the morguepiles 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

In an exclusive area of Coral Gables,surrounded by walls, security gates, acres of lawns and a guardedboat 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 Elviratake their marriagevows 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, withan extremely short dress, looping earrings, the camera moving to Gina, her eyes covertly trackingto Manny who gazes back at her, evenly and openly as....

Tony and Elvira kiss.

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

Across a moat of water,a striped nine-foot Bengal tiger stretches majestically under a solitary banyan tree, extend- ing agiant claw and licking himself.

Tony and Chi-Chikidding around with the tiger.

Intercut to:

Behind some nearby bushes, Gina and Manny are making out in the grass. They hear the sounds of Tony's voice, freeze, making shushing signals, then almost laugh when they con- sider their childish state. \··-

CONTINUED .

(X) Rev. 1/18/83

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 c a k e .

CUT TO

Tony, accompanied by Manny, walks a young, thirtyish bank president into his office,which is rigged with video monitors surveilling all areas ofthe 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 shrewdlyback and forth, the type of guy who followsthe Hong Kong money markets on weekends, a guy who never stops thinking money.

(X) Rev. 1/18/83

151-B CONTINUED

151-B BANKER (Cont'd) T o n y ,wegot 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.

Hey, Tony, we go someplace else.

Tony looks broodingly. Jerry glances at his watch, suggesting he has another engagement,

Going. Tony watches, raging inside. He pulls a drawer open and reachesfor a private cocaine supply. It's the first indicationwe have of this. As he snorts:

(X) Rev. 1/18/83

151-B CONTINUED 2 151-E

- TONY I don't know. Mob guys -- guineas -- I don'ttrust '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 Mannywho does his hit.

1 5 2 INT. TONY'S MANSION OFFICE DAY VIDEO MONITORS 1 5 2

-

Tony's eyes fixing on the cable TV truck parked across the street. A man is hauling cable. There are other private gates visible. The area is lush with gardens, Spanish moss, cypresses and quietly respectable million dollar houses with their Spanish tile roofs and balconies.

Yeah?

{X) R e v .l/18/83

1 5 2 CONTINUED

1 5 ; The truck could be anything. We're not the only dopers living on the block y'know.

Manny looks over at a joggerrunning by the gate -- of the porcine quality, civilian-looking, fifties.

CUT TO

1 5 3 1 5 3 thru OMITTED thru 1 5 7 1 5 7

Rev. 1/18/83

A-158 EXT. TONY'S MANSION NIGHT ESTABLISHING SHOT

1 5 8 INT. TONY'S MANSION BATHROOM NIGHT CLOSE ON

- - - 1 5 8

TELEVISION COMMERCIAL

(X)

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 qowntown Mimias a backdrop. Skyscrapers, glinting glass, cranes....

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 characterin a Futzie Nutzie loafing cartoon, with his TV hookedto one side of the tub, a long phone line to the other, and a radio and portable bar all within reach.

Listen, these guys been here for a thousand years. They got all the angles figured.

Manny straddlesa chair next to the tub watchingthe TV news that was interrupted by the Florida Security Trust commerical. Behind him Elvira's in robe, fixing herself up in front of a giant mirror. It's some bathroom -- giganticwith a chandelierhanging in the middle of it, rugs, Italian marble, plants, skylights, etc....

Rev. 1/18/83

1 5 8 CONTINUED

lSE TONY You know what capitalismis -- Getting fucked.

She's doing a toot of coke off a flat mirror.

(changing the subject) So I had a pow-wow with this guy Seidelbaum today. He checks out. I •gotanother meetset up.

Tony pointsto a figure on the TV.

Visual of silver-haired television Anchorman -- Vic Phillips -- with a bit of show businessimage in him -- to be seen a g a i n .Underneathhisface, it says "Editorial."

R e v .1/18/83

1 5 8 CONTINUED 2

- lSE NEWS ANCHORMAN ...the question is how with a small law enforcementbudget 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 Prohibitionwas 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) I am not one of those voices.

Rev. 1/18/83

1 5 8 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 forgetit.

2nd Rev..11/22/82

1 5 8 CONTINUED 3

- 15: ELVIRA (starts out) It's too bad. Somebody should've given it to you. You would've been a nicer person.

Tony, c'mon....

She goes.

He splashes the water in his tub and slams the TV shut.

2nd Rev. 11/22/82

A friendly smile but Tony just stares glumly after Elvira.

(rises) I gotta hot date....

1 5 8 CONTINUED 4

1 5 8 TONY (glaring into his bathwater) This Seidelbaum thing?

Yeah?

(very surprised) w h y !It'smy deal.

Hey wait a second, I'm your partner Tony, you can't trust me, who the fuck can you trust?.

P a u s e .Tonymumblessomething, barely heard.

( c a t c h i n g 7 Junior partner my ass!

He leaves, pissed,Tony mumbling to himself in his bath.

DISSOLVE TO

- -

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'renear 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.

- 16

The office is bare and ugly, the furniture naugahyde black. There's noisefrom 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 themin 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-typewith 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, smilesa lot and bullshits -- two sordid guys who look the part.

It's a tedious process counting a million five in twenties, it takes four/five hours; and throughout the desultory dialogue Tony, absorbed by the money, and Nick never stop the monotonous work of counting and stacking and noting the amounts. At alltimesallfour men, thoroughly aware of the largestacks on the table, move and talk gingerly although they appear casual and bored. They drink a lot of coffee.

CONTINUED .

1 6 0 CONTINUED

Yeah, I also know Paul Newman. I worked with him in Tucson.

Uh.. LUIS

Seidelbaum ignores it, counting up another stack.

2nd Rev. 11/22/82

1 6 0 CONTINUED 2

- 1 6 0 NICK (to Luis) How come you don't know Benny Alvarez?

DISSOLVE TO

- 1 6 1

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 e y e s .

Fulls a pistol from his ankle and rises.

Tony astonished.

Eyes darting. Considering the options. The little fat (X) man's eyes are suddenly agile and mean ...Tony reads them, lifts his arms.

(X) 2nd Rev. 11/22/82

1 6 1 CONTINUED

1 6 1

Luis moves around Tony to disarm him.

Luis, produces a wallet with identification,shoves it under Tony's nose.

I n s e r t :PhotographandDrug EnforcementAgency ID.

1 6 2 INT. SEIDELBAUM'S WAREHOUSE OFFICE DAY REVERSE ANGLE ON

-

VIDEOTAPE

Blurry image of the men in the room. Tony is not that clear an imageas he glances briefly, uninterested, into the camera.

(X) 2nd Rev. 11/22/82

1 6 2 CONTINUED

The angle goes black.

1 6 3 BACK TO SCENE 1 6 3

s t i c k .Youknowit,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

-

"Drug King Posts Record $5 Million Bond" -- a front page photo of Tony, Elvira,and Sheffield, the lawyer.

CUT TO

1 6 5 INT.TONY'S BATHROOM DAY 1 6 5

Tony, tense, checks himself in the mirror,adjusts h a i r .Avial 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 increasinglyheavy basis.

CUT TO

(X) 2nd Rev.11/22/82

1 6 6 INT. LAWYER'S OFFICE..NIGHT 1 6 6

Tony is pacing nervously. Manny looks on. Red-headed Sheffield rasps through a cloud of cigarettesmoke behind his desk.

1 2 6

1 6 6 CONTINUED

what'sMANNYthreeyears?It's Hey, Tony, It's not like Cuba here. like going to a hotel.

Tony shakes his head, grimacing like he's having an epileptic fit.

Tony paces back and forth like a tiger, corking his fury. Abruptly coming to a decision, he whirls and leans across Sheffield's desk.

Pause.

Tony nods to Manny who hauls a briefcaseup on Sheffield's d e s k .Tonyabruptly walks out, a vial appearing in his hands as he steps out of the office. He sniffs. .

CUT TO

- 1 6 7

Camera follows Tony with Ernie and Chi-Chi down the outside gallery onto the veranda where Sosa is reclining with several other men -- all in casual clothes, enjoying their coffee after lunch.

They hug like they were the closest of friends.

They laugh, nervously. Sosais a little more reserved with him than before -- in tune.with the other men at the meeting.

He smoothly guides Tony towards the group of men who rise.

1 6 7 CONTINUED 1 6 7

Camera tracking through ad-lib introductions,the music assuming a faint martial stride.

The man is in civilian clothes.

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.

He smells like a government guy. Sosa summons the black aide -- in a hushed voice.

The black aide goes.

Tony is shown a chair in the middle of the veranda, surroundedon all sides. There is a strainedbeat 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 oppositeTony, almost touching knees.

Rev. 12/16/82

Tony waits.

Pause. Tony looks. The American guy, Goodson, shifts his gaze away.

Sosa looks around, stands up.

Tony cautiously stands to follow him.

CUT TO

-

MATOS STUDY

A "Phil Donahue-type" setting. A segment now in progress with the "Donahue-type" interviewing Dr. Orlando Gutierrez. (X) Gutierrez is a young charismatic man, very well dressed and polished in a South American manner who exudes a sense of enormous passion.

(X) R e v .1/18/8~

1 6 8 CONTINUED

16~ INTERVIEWER I've heard whispers, Doctor Gutierrez, about the financial support your govern- ment receives from the drug industry in Bolivia.

Gutierrezholds up a photograph-- insertthe face on the TV screen, dour,ruthless.

Laughter.

169 TONY 169.

watching, touchinghis nose a lot, blowing it, hyped from the coke usage.

Rev. 1/18/83

170 GUTIERREZ

1 7 0 (X)

holds up another photograph-- insertthe face on the TV screen.

1 7 1 TONY 1 7 1

staring intently at him, reluctantly impressed.

Sosa flips off the television. The lights come on. He's alone with Tony.

Sosa looks up.

Rev. 1/18/83

1 7 1 CONTINUED

1 7 1

The Shadow (seen before at the disposalof Omar) comes into the room,thin and quiet, his venomous eyes flicking over Tony. The Skull leads him in.

'·

1 7 1 CONTINUED

Alberto nods icily, remains standing adjacent.

Tony looks around the faces, then:

Alex nods, pleased.

Hold on Tony. He blows his nose again.

CUT TO

- - 17.2

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.

Vic -- who we saw before editorializingon television.-- cranes his leonine white head of hair around with a patrician annoyance reserved for bores in restaurants.

VIC Oh, is that so?

Aren't you.. .Tony Montana?

1 7 2 CONTINUED 17~

The half-dozenrich people in the dinner party are intrigued.

Waves farewellto them, pats Vic once more on the shoulder, and leaves them murmuring.

Not caring if he's overheard, Tony seems to be in the grip of an anguish he does not understand.

1 7 3 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 w i n e ,cigars....

1 7 3 CONTINUED 1 7 3

He pulls out his own vial under the table between eating and drinking.

Manny remembers.

He takes a hit, unnoticed.

(to Tony) I don't like it.

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.

1 7 3 CONTINUED 2

1 7 : ELVIRA I'm not hungry.

She quickly does one nostril with a quick, practicedmove- ment of her hand.

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-eyednow and drunk, continuesto look at Elvira, then away, encompassing the restaurant.

It's not so bad Tony, could be worse....

1 7 3 CONTINUED 3 173

Elvira reacts -- wanting to kill. She gets up and dumps her plate filled with food on him. Slop drips all over him.

They got a black tie audience now. The waiter tipping around to clean up the mess. Tony slowly wiping the food off himself.

The audience is hushed, involved,the camera moving over the faces of Vic and his rich friends.

Tony acidly quiet,looks around at the people,back to her.

1 7 3 CONTINUED 4 1 7 3

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.

Pause. She starts wobbling out. Past the silent spectators, their eyes moving between her and Tony.

Manny rises to follow.

Stumbling once, Elvira disappears out the door. Tony's eyes follow her. Pause.

(X) Rev. 1/18/83

1 7 3 CONTINUED 5 1 7 3

The whole room is watching him sitting there covered with food, the silence cathedral. He stands,wiping at the food and throwingseveral hundred dollar bills on the table, then looks up angrily at the staring millionaires.

He wobbles against the table. Manny tries to help. Tony shakes him loose.

He starts out, staggers.

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

-

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:

'~.;........,1 3 5ERNIE 17!

down the street at the intersectionof the avenue, surveying traffic, signals okay.

Rev. 1/18/83

1 7 6 CHI-CHI 1 7 6

waits in Tony's sedan double-parkeddown the block.

feeling everything's okay, does ·a nervous, quick

Tony, s n o r t ,pacesnextto 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 centipedein the long agile fingers of the Shadow,who delicately presses a tester. A glass button on the bomb now flashes red at soothing intervalsas the Shadow winds a roll of black tape from the bomb to an axle of the car.

1 7 7 ERNIE 17i

si-gnals.

Rev. 12/16/82

178 TONY 1 7 8

sees it.

A cop car comescruising 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.

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 looks at them go, takes another snort, walks over to the car, bangs on the hood severaltimes.

Rev. 1/18/83

1 7 8 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.

CUT TO

1 7 9 EXT. GUITERREZ'STREET - NEW YORK DAY EARLY NEXT MORNING

- - 17~ ex

Ernie, Chi-Chi, and the Shadow huddle cold and uncomfortable in the sedan, waiting -- eating pizzas and drinking beers. The morninghas come down ice cold.

1 8 0 INT. PHONE BOOTH - NEW YORK - DAY 18(

At the phone boothup the corner, Tony -- unshaven,bleary- eyed -- is rapping on the phone.

He waits, hangs up, snorts some more, impatient.He picks (X up the phone again, starts dialing.

1 8 1 INT. TONY'S NEW YORK SEDAN - DAY 1 8 :

In the sedan, the Shadow peers over, angry, at Tony.

In the booth, Tony,snorting another nostril, moves back and forth as the phone rings at the other end. Finally she picks up,

Rev. 1/18/83

1 8 2 CONTINUED 1 8 2

The phone goes dead. Furious he slams it back down, stalks (X) back out to the sidewalk.

1 8 3 OMITTED 1 8 3

{X)

-

He gets in the driver'6 seat. The Shadow's next to him with the radio transmitter,Chi-Chi, in the back. Tony, (X) seeminglyunaffected 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-filledexpression, saying nothing.

1 8 5 THEIR POINT OF VIEW THROUGH TONY'S WINDSHIELD DAY 1 8 5

The door of the brownstone. No movement. Though now there's increasing traffic on the street and passing pedestrians.

Rev. l/18/83

1 8 6 INT. TONY'S SEDAN DAY 18E

Tony snorts another line -- seen through the rearview mirror.

Pause.

CONTINUED .

1 8 6 CONTINUED 2 lBE

- ERNIE Ten to.

He starts out the door. The Shadow barks out something in preemptory Spanish.

1 8 7 EXT. MATOS' STREET DAY 1 8

-

Tony looks around, sees:

Matos coming out the door, briefcase in hand.

Tony gets backin the car.

- lE

Matos gets into his sedan a quarter block downfrom his front door.

- lE

Tony staring.

The Shadow,most excited of all, like a pantherthat just spotted his prey, eyes alive for the first time.

- 1~

Matos sits there warmingup his car, lookingback at the brownstone.

1 9 1 INT. TONY'S SEDAN DAY 19J

- 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.

The chatter comes out jagged, irritating the Shadow who doesn't understand Tony's English anyway.

1 9 2 THROUGH TONY'S WINDSHIELD DAY 19

Matos pulls his car out of the parkingspace.

Tony puts his car in gear, prepares to pull out when:

1 9 2 CONTINUED 1 9

Matos stops his car, backs up -- in the direction of his front door.

Matos comes to a halt, double-parked,honks.

1 9 3 INT. TONY'S SEDAN DAY 1 9

-

1 9 4 MATOS' BROWNSTONE SIDEWALK DAY 1 9

- -

The wife opens the door, steps out -- followed, moments later, by two schoolchildren,books in hand. Matos waves to them to come along.

1 9 5 INT.TONY'S SEDAN DAY 19.

-

Tony looks astonished,back at Chi-Chi.

- 191

The two children are now climbing in the back of Matos’ s e d a n ,thewifegettinginto the pasenger seat. They drive o f f .

1 9 7 INT. TONY’SSEDAN DAY 1 9 :

-

Tony, upset n o w ,goesto his vial, snorts, turns sharply to the Shadow.

Rev. 1/18/83

1 9 7 CONTINUED

19~ SHADOW (Spanish) No! Mr. Sosa says we do it now. We do it. Co

He has the strength of a born psychopath, brookingno other reality but his own. He stares a hole throughTony who gives way to his intensity,goinginto a slow angry burn at himself, putting the sedan in gear and going after Matos, muttering to himself.

Chi-Chi, in the back, looks on worried. (X

1 9 8 NEW YORK STREETS DAY FOLLOWING MATOS' SEDAN

l9l

through Manahattan,towards the UN.

The Shadow making the final adjustments on his decoder. He now sticksa 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 collisionwith 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.

Perspirationstarting to break out on his forehead.

Tony also feels the sweat coming on.

He honks furiouslyat a cab that tries to cut him off.

1 9 9

Tony, intense at the wheel, sneezing, his nose running.

S H A D O W (equally tense, in Spanish) You're losing them! There! That street, they go that street!

S H A D O W (Spanish) Thirty metres! Thirty metres! Go! G o !

Honking like a madman and accelerating past a truck....

- 20(

Mato's sedan pulling off at 47th and Second Avenue heading for the United Nations building which now appears at the end of the street.

2 0 : SHADOW (Spanish) Okay, now...now. Right here. E a s y .E a s y !

The decoder.

Tony snorts.

The Shadow in stark profile.

Hisfinger depresses the first key of the decoder.

- 20~

The bomb -- pulsing red light.

Rev. 1/18/83

2 0 3 THROUGH TONY'S WINDSHIELD DAY 20~

-

The Gutierrez sedan pulls off the sidestreet into the thick ex; of First Avenue traffic-- approaching the striking facade of the United Nations.

-

The Shadow is in a full sweat.

His finger hovering around the second key of the decoder.

Chi-Chi in the back, leaning forward across the seat.

ex

- 20~ (X

The bomb -- jarred by -a bump, pulsingred light.

- 201

Gutierrez' sedan inches its way out of the traffic and (X eases along the curb.

2 0 7 INT.. TONY'SSEDAN DAY 20'

Tony honking his way through traffic after them, building to a climax with himself.

Honk, honk.

CONTINUED .

R e v .11/2/82

2 0 7 20'

I)

m a n .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 mylife.

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.

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.

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.

CUT TO

208 OMITTED 2 c

(X) R e v .1/18/83

2 0 5

Planes roaring.

2 1 c

Chi-Chiwaiting in a busy lounge coveringTony on the phone; Tony's still wearing the same clothes with patches of blood on them.

E R N I E ' SV O I C E I had a delivery.Tony, everything go okay, whatsa ---

(X) Rev. l/18/83

210 CONTINUED

Tony hangs up. A moment of despair. Then he snorts another spoon and snaps back.

CUT TO

2 1 1 EXT. AIRPORT NIGHT 211

Plane taking off.

CUT TO

2 1 2 -

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.

-

Ernie meets them at the door.

(X) Rev. l/18/83

2 1 3 CONTINUED

2 1 3 TONY Yeah, yeah, yeah...Chi-Chi, get him on the line. In the office.

Chi-Chi goes.

Ernie shakes his head.

Tony stalks off, towards his office.

Amid his computer space games and half-dozen televisions and stereos, Tony picks up the ringing phone.

The other phone is ringing. Her voice on the phone sounds 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-moonpattern. He snorts. Chi-Chisignals he's got Sosa on the other line.

He hangs up, snorts, then pushes the button Chi-Chi indicates. The telephone should be the latest in gimmickry.

Pause. voice at the other end is very controlled, very c o l d .

(X} Rev. 1/18/83

214 CONTINUED

Pause at the other end.

Tony holding the mouthpiece away from his ear and talking at it like it was a face.

R e v .1/18/83

214 CONTINUED

2 1 4 TONY Who the fuck you think you're talkin' to, hunh! Whatta you think I am? Your fuckin' slave! You don't tell mewhat to do, Sosa. You re s h i t !Youwant a war, you got it?

Slams the phone down.

In the cavernous silence of the room, he listlesslyturns (X) to anotherline of coke.

CUT TO (X)

2 1 5 EXT. MIAMI STREETS ..NIGHT 2 1 5

Tony in the backseat in his white Corniche staring straight a h e a d .Erniedriving,Chi-Chi with him.

The bulletproofwhite Corniche pulls up, Ernie and Chi-Chi getting out first, checking the street, Tony following quickly.

He hurries towards the house.

2nd Rev. 11/22/82

21:

Mama is angry and ravaged with worry, made weaker than previously, as if overhelmed by events.

....she...,......gotaplaceofherown,she don't tell me where. One day I follow her in a taxi. She goes into this fancy house in Coconut Grove.

You! You were giving her the money, what do you think -- don't you see what you do to her, don't you....

(X) 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.

Four hundred something. Citrus Drive. Four hundred nine. You gotta talk to her Tony, she don't listen to me anymore. She says to me 'Shut up! Mind your own business.' Exactly like you do to me. Ever (X) since you come back, she's been getting this·way.

He turns to leave but she clings to his arm. --

{X) 2nd Rev. ll/22/82

217 CONTINUED

2 1 : 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....

Where was I?

Rev. 12/16/82

,,,,---,, 2 1 7 CONTINUED 2

- 2 1 7 MAMA (interrupting) You! ..sin verguenza. From the time (X) you were five, you gave me heartbreak and humiliation and shame....

Tony storms out ofthe door as Mama pursues.

AsTony slamsthe door, we hold a beat on her face-- as if she had finally answeredher own questions.

Tony stomps into his white Cornic:he,Ernie discreetly closingthe door and gettingin 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 stronghit of coke. The car whistles off.

CUT TO

2nd Rev. ll/22/82

_.......

- 2 1 '

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.

219 CONTINUED

Tony, seething, snorts another line of coke laid out on the crystal bar dividing the backseat, and rewed, goes.

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.

Holdthe pause. The door opens casually. Standing there is Manny -- with a towel around his waist.

Tony stares, stunned.

Gina now comes into view behind Manny -- in a bathrobe, a big smile of welcomefor her brother.

Tony with his Baretta pointed at Manny, 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.

Tony fires a second time.

Manny slowly slumps downward against the doorjamb, eyes on Tony, terribly surprised.

Tony holds the gun, staring down, separated from himself.

Manny lies at his feet, dead.

219 CONTINUED •2

2 : GINA Manny!

She goes down to her knees, stunnedout of her mind, shakes h i m .

She looks up, insanely, at Tony, her eyes huge with disbelief.

Shaking her head at him incredulously.

Tony stands there, doubly stunned by the news.

She hugs his corpse tightly to her breast and makes horrible strangled sounds with her throat.

Chi-Chi hurrying up to Tony, worried somebody's seen the shooting. Ernie follows.

Suddenly she goes berserk.

And shoving Chi-Chi aside, launches herself on Tony, screaming incoherentlylike a madwoman, trying to kill h i m .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

scream.

- 2 2

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.

Tony, back at the door, looks down again.

The eyes of Manolo staring sightlessly.

Chi-Chi runs back, grabs Tony.

Pulls him. Tony snaps out of it.

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 Mannyinto the driver's seat with him. The car roars away.

The camera closing on Gina as she looks through the glass partition of the Corniche,at the slumped head of Manny in f.g., the music surging unexorably.

G I N A ' Manny! .. Manny!No!

CUT TO •

2 2 1 MIAMI STREETS NIGHT 22:

-

The white Corniche whistles by like a hearse heading for h e l l .

-

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 c a r s s t o p .Eightmen emerge silently,blending into the shadows. of the trees.

R e v .1/18/83

- 2 2

Tony, scratches across 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.

What do we do with her Tony?

She looks up at him through her stupor and spits in his f a c e .Chi-ChiandErnie pull her away -- as Tony stares, (X) upset but passive. They trundle her up the stairs. Tony turns and walks away.

2 2 4 INT. TONY'S OFFICE NIGHT 2 2 4

-

velvet like a snow scene paintingon a Christmascard. 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)

Tony pays no attention,Ernie and Chi-Chi noticing the pile (X) 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.

Rev. 1/18/83

,.,,.,.l 224 CONTINUED

Ernie and Chi-Chi sharing a look. (X)

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

The Bengal tiger paces his spot, restless.

A monsoon-like wind blows through the trees on the estate.

The monkeys listen quietly.

The f lamingoesflutter.

II•Then there's a burst of loud music from the stereo speakerson the balcony -- a Billy Joel song, something smooth and easy about the high times and how fast they g o . . .

•Itand we see Tony, in long shot, throw open the terrace doors and stagger out onto the balcony, overlookinghis estate.

...Ona closer angle, wetrack him to the edge of the balustrade. He's done so much coke now he's practically catatonic; staggering and muttering to himself.

His point of view -- panning his estate. The dark emptiness echoes back at him. The wind rustling the treetops. Tony shaking his head at himself, He starts to cry~

Rev. 1/18/83

225 CONTINUED

2 2 TONY ...Oooohfuck Manny, how the fuck did I do that? How the fuck!..oh Manny, Manny.. .you were there for me, youwere 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.

As Tony turns and startsback throughthe 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:

(X) Rev. 12/21/82

- 2 2 6

As he crosses into his office,the cameramoves to reveal Gina standing there half-dressedin the doorway, her eyes blazing with hatred.

Tony sees her.

She steps forward, offering her body almost naked toher brother.

Tony shocked.

She fires the Barettawe 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 d e s k .Shefires again. Again.

Bullets ripping into the desk. She advances, offering her sex,methodically shooting out the clip at rhythmic intervals.

He spins across the run away from thedesk,trying to put distance between them. She sees him scurrying,.turns, an expression like a demented angel.

Advancingon 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 overto the terrace windows. Her next shot shatters the windowand as Tony ducks again to the side, we see outside onto the terrace behind him:

R e v .1/18/83

2 2 6 CONTINUED 2 2

A young Columbian punk nomore 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 r o o m ,spineseveredand 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 To??,y,yellsup ---

ERNIE {X Tony, they're everywhere! Get outta 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 underneaththe 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.

Running his hands along her face, trying to rouse her, gently lifting her eyelids. Blood's running out of her mouth in rivers.

R e v .12/21/82

226 CONTINUED. 2

22E TONY (X: Come on Gina, get off the floor. You're all dirty now, you need a bath...Ma.miIsgonna 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 heats it, looks up, then over at the monitors.

One of them reveals Chi-Chi standing there outside the door pounding it.

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.

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.

Karroooomph!

The rocket tears down the door and blows the Columbian punks off the landing into the foyer. It sounds like Armageddon, one of the hitters screaming, smoke billowing wildly.

Tony, at the height of his mad glory, steps out at the apex of the stairs, firing his machine gun and yelling.

Rev. 12/21/82

226 CONTINUED_ 3

He f,ires now. Left. Right.

A hitter tumbles down the left-handstair.

{X) Rev 11/26/82

- 22

Another hitter tumbles down the right-hand stair.

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.

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.

The Skull, now inches from Tony's back, pulls the trigger and blows Tony's spine out his belly.

Tony crashes forward over the bannister into the interior swimming pool below.

He floatsquietly 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"

Andso, for the brief moment, it was.

Rev. 11/26/82

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 thatobscene word "Chivato" in blood on the outsidewalls, 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