"SCARFACE" (1983)

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 then. We move to the eyes, pure in their fury. Finally we encompass the face -- the face of a man about to explode -- muscle, tissue, brain -- a man willing to live or die and on the increment of a moment, inflict or receive either’ one. He is clothed in rags crossed with holes, his shoes broken cardboard, his hair unkempt, his complexion sallow from prison. Over this: VOICE #1 (0.8.} Okay so what do you call _ yourself? VOICE #2 (0.5.) Como se llama? MONTANA Tony Montana... you? (X) VOICE #] Where'd you learn to speak the _ English, Tony? MONTANA My old man -- he was American. Sailor. (X) Bum. 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? MONTANA He's dead. He _ died. Somewhere.... VOICE #1 Mother? TONY

She's dead _ too. CONTINUED .

Rev. 11/22/82 CONTINUED 6 anc

VOICE #2 What kind of work you do in Cuba, Tony? TONY This. That. The Army. Some con- struction work.... VOICE #2 Un hunh. Got any family in the States, Tony? Cousins, brother-in-law? TONY (a beat) NO. Nobody. Everybody's dead. _ MAN #I Y'ever been in jail, Tony? TONY Me jail? No way. We now reveal three men in civilian clothing in the dark afternoon light of the little room. Actually it's a plywood office somewhere in the processing hall and we hear the din from the hall over the question and answer. Two of the men sit around a desk, the Third Man stands in a _ corner, staring at Tony, the most authoritative-looking of the three. MAN #1 (checking off a list) You been in a mental hospital, Tony? TONY (grinning) Yeah, in the boat coming over. MAN #1 How 'bout homosexuality, Tony? You. like men, y'like to dress up like a woman? TONY (to Man #2) Never tried it. What the fuck's wrong (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 CONTINUED » 2 6 anc

His eye movements are rapid (over shoulders, sides, doors) and he does a lot of touching -- objects -- lightly with the

tips of the fingers. Man #3 is stepping forward out of the shadows.

MAN #3 So where'd you get the beauty scar? TONY This?.. (scratching the scar, shrugs) I was a kid. You should see the other kid. (a grim chuckle) MAN #3 And this?

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

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?

Rev. 11/22/82

CONTINUED » 3

Silence.

it

falls

MAN #3 That's pretty funny, Tony.

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

XXX

Bey, so I fuck Castro, what's it to you? You a Communist or something? How XDMMou like it they tell you all the time what to think, what to do, you wanna be like a _ sheep, like everybody else. Baa baa? Pytat You want a stoolie on every block? You wanna work eight hours a day and you never own nothing? I ate octopus’ three times a day, fucking octopus is coming out my ears, fuckin' Russian shoes. are

eating through my feet. Whaddaya want? You want me to stay there? Hey, I'm

no little whore, I'm no- stinking’ thief! 'm Tony Montana and I'm a political prisoner here from Cuba and I want my fucking ‘Human Rights' just like President Jimmy Carter says, okay?...

There's a certain eloquence to the man‘s plea _ but on disbelieving ears. One Mthem chuckles.

MAN #1

Carter should see this human right.

He's good. He’s very good. What do (X) you say Harry?

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

Rev. 12/16/82

CONTINUED - 4 6

TONY

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

Man #3 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. MANNY Seat's taken. TONY

So I*l11 sit in your lap.

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

tation in Cuba.

I didn't tell you sanitation. I told you to tell them you was in a sani- tarium, not sanitation.

The bus pulling out now.

7-A

(X) Rev. 12/9/82 CONTINUED 7-A MANNY Is that what you told me?..You didn't tell (&bKthat. TONY You know if you hadn't opened your mouth, they woulda thought you were a_ horse. I told you to tell them you had TB and Xured. MANNY Fuck you Tony.... TONY You did nothing right. I shoulda left you in Cuba.

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

BOGART

Conscience. Conscience. What thing. If you believe you've got a _ conscience, ‘it‘ll pester you to death. But if you don't believe you've got one, what can it do to you? Makes XX¥ick so much talking and fussing about nonsense. Time to go to _ sleep.

(closes his eyes

but not for _ long)

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

He hunches, darting exaggerated looks over his’ shoulder, imitating Bogart. Manny laughs. In his black shirt with zig-zag dots and colors and the baggy pants and sunglasses, Tony's starting to look American. He's even got himself a pop button pinned to his shirt that says "Fuck Off and Die." And hi6 English rolls faster off his tongue, his confidence more pronounced.

be crazy like that.

Yeah, how do you know....

TONY

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

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

CONTINUED » 2

I don't’ know,

ee CHI-CHI Want some new snatch? A _ pussycat name of Yolanda just rolled onto’ the Boulevard --- MANNY Oh yeah, what she look like? CHI-CHI She look like you 'cept she got a snatch. MANNY A real snatch? CHI-CHI You're not kidding. It talks. As they chatter, Tony moves on with Movement of the head for Manny. "Later." He's in the middle of the "Boulevard" where a bustling black market in toiletries, clothing, cigarettes, and transves- tites is conducted nightly in the harsh glare of barrack neon. He ambles past a bunch of young guys throwing a _ Frisbee, past a "Viva Carter!" proclamation in graffiti.... TRANSVESTITE (passing) What about you sugar -- you wanna party? TONY (passing her) Yeah with whose’ cock, honey? CUT ‘TO

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

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

Tony is dialing, his eyes shifting down to the telephone number written in pencil on the back of a snapshot. As he finishes the number, he flips the snapshot over and we _ see

a young girl, about thirteen years old, dark, tiny, fiery, standing together with a dog and Tony, early twenties, in shadow, the fringes of the photo heavily tattered with handling. Tony stares at it, his mind drifting as the phone

rings in a distant place. A brief moment of repose we have not yet seen in Tony.

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

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

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

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

Angel Frenandez has got the face of one, as he argues on

the phone, then hangs up, a desolate look on his face, a worn phone book in his hand.

Manny catches up to Tony.

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

TONY

Whatcha hanging around with that hustler for?

Angel comes’ over, listens.

TONY

Hey, I tell you guys this isn't Cuba here, this is the United States. They got nothing but lawyers here. We're on the television. We're in the newspapers. Whatta they gonna do -- ship us back to Cuba? Castro -- he don't want us. Nobody no place wants us so whatta they gonna

do -- put us in a gas chamber so all the people can see? They're stuck with us, chico -- they gotta let us go!

2nd Rev. 11/22/82 CONTINUED = 2 10

MANNY ; (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 swings into 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 a;

impromtu game; he's covered with sweat, tires a fancy mo, around a younger kid who not only steals the ball away f: him but manages to lay him flat on his face.

The game, leaving him behind, shifts downfield. MANNY Oye! Tony! C'mon!

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

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

(looking around) Let's walk.

They walk.

We can be outta here in thirty days. Not only that. We got a green card and a job in Miami! Hunh? We're made, chico, we're made?

TONY

Yeah, whadda we gotta do, go to Cuba and hit the Beard or what?

on chains are glimpsed.

REFUGEES

throw stones and debris

REBENGA

a cigarette in his_ mouth, ANGEL

tracks him, signals.... INSIDE » REFUGEES

are pulling apart’ their

Others

THE POLICE AND GUARDS

beds,

from the rooftop of a barrack.

nervously hurries into a

are moving through the gates,

blast. Injured refugees

AN ENTIREBARRACK

now goes up in flames.

Rebenga sees him, his satchel,

senses

Manny follows.

Rebenga stumbles into a

Rebenga

intersecting

lie bleeding on _ the

danger, other

bed frame,

then runs. on. Into the smoke Scarface now appears -- in his TONY Rebenga! Rebenga snaps to _ the TONY (Spanish) From the friends you

grabs his

going for the wooden slats.

set fire to their mattresses.

restoring order. grounds.

papers and

aisle refugees.

flees down the panicked

shatters his and flame. Out of which killing wrath.

sound of the voice.

fucked!

barrack.

Loudspeakers

valuables.

glasses,

2c

2.7

27-A

(X) Rev. 1/18/83

-And Emilio Rebenga staggers wildly in the smoke, uncompre- 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 blue Florida sky, fleeced with perfectly white clouds.. .past a giant billboard:

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

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

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

Tony and Mannyop 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.

27-A

(X) Rev. 1/18/83 CONTINUED o7-A TONY (looking around) Boy -- can you believe this place, Chico? MANNY (Spanish)

Man, they weren't kidding around.

his pants) Ooooh baby doll...(*SEE NOTE)

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

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

27-A

(X) Rev. 1/18/83

Before she can react, he hops away laughing as the two Cuban girls ad-lib Spanish expletives at him.

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.

looking. Hey you gotta watch for it.

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

Does it again. Tony tries but lacks the speed and agility,

provoking Manny's laughter. Many double checks himself in a shop window.

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.

27-B

(X) Rev. 1/18/83

Tony walks right 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 blonde has paused to look in a_ shop window.

Manny stops alongside, pretends to_ look. When he catches her eyes, he flicks his tongue.

She looks at him, confused, then back into the _ window. Manny look back at Tony, winks, sidles closer to _ her.

Tony, waiting off to the side, catches the gaze of a somber child, four, toddling along with it's mom. Be makes his own version of a funny 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 moves along.

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.

gotta get the money, then you get the power and when you got the

power, then you get the women -- and then, chico, you got the world by the balls. Por log conjones.

There you go talking bic again man. You don't know shit about the world. Who was it got us the green card,

who got us the friends with the connections, hunh -- who's’ getting

27-B

Rev. 1/18/83

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.

CUT TO

LITTLE HAVANA RESTAURANT » LITTLE HAVANA = NIGHT

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

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

The inside is a brightly 1lit glitterdome with fancy mirrors and chandelier effects, Spanish in influence, and_ every table is taken. It combines the social functions of a family restaurant, cafe, tourist haunt and late-night watering hole for various beasts of prey.

The waitresses move like well-oiled troops along the _ paths to the kitchen, turning the tables at a speedy rate. The camera following past the pots and the pans and the steam

and the yelling cooks -- to the deepest, darkest recess of this dungeon....

».+TO reveal Tony Montana 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 suffices to tell us all.

27-B

(X) (X)

(X)

{X)

Rev. 11/12/82

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

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

friends, kissing, talking loud, familiar with the waitresses.

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

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

TONY

Junkie! -- They got no fuckin' character.

(looks at

his hands) Cono! Look at these...fucking onions! They outta be picking gold off the streets. (X)

His hands are shriveled white from dishwater. COOK (Spanish) Hey you two, outside! You got company.

Rev. 11/12/82

of the name) El Mono? Shit....

CUT TO

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. MANNY (leaning in the window) Hey Omar, Waldo, como esta...my friend J told you about. Tony Montana.. .Omar Suarez, Waldo Rojas.... Waldo mumbles something indistinct, Omar just stares briefly as Tony hangs back, nodding arrogantly. Omar's eyes move back to Manny. OMAR I got something for you. MANNY Oh yeah! That's great...What do we gotta do? OMAR We gotta unload a boat -- grass, twenty- (X) five tons -- that's what we gotta do. You get five hundred each. MANNY Okay! (to Tony) See, what'd I tell you. TONY You gotta be kidding! Whaddayou think we are -- baggage handlers?

Rev. 11/2/82

_ 30 CONTINUED 30 Omar looks at him somehwat incredulously as Tony wipes his hands on his greasy apron as he _ talks.

Rev. 11/12/82

CONTINUED = 2

Tony says

some big bucks? you know anything about cocaine?

openers. Pure coke. In a motel over in Miami Beach. I want you

to go over there, and if it's what they say it is, pay ‘em and

bring it back. You do that, you'll make five grand.

nothing.

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

pulls

(X)

(xX)

CONTINUE}

20-A

TONY

I'm scared.

your luck.

Rey 11/2/

CONTINUED, 3

(catching7 Yeah, so who are these Columbians?

_ TONY So what does it matter?

Tony strips off his greasy apron.

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

Throws the Cook his apron.

_ TONY Look after my investments.

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 Mkts springs with dune buggy threads and needing paint. You'd arrest these guys on sight.

Rev- 11/22/82

seen from the inside of the sedan. Tony turns down the salsa beat on the radio, smoking a cigarette tensely. Driving is Manny. In the delapidated backseat are Angel, the baby-faced punk, and Chi-Chi, both from Freedomtown. Manny, reflecting the tension, whistles a vapid series of notes under his breath as he waits for a light to change.

Rev. 11/22/82

Yemaya and Chango like nobody y'ever heard.

As he talks, Angel fingers a Negrita charm hanging around (X) his neck -- Chango, Cod of Fire and Thunder, his black face tilted at acarnal angle. Sharp teeth glinting, his eyes

rolling in orgasmic imagery, his head crowned with gold. Many of the Marielitos in the film will be wearing this, also pendants with an eye to ward off the evil spirits, and white beads, red kerchiefs, black hand charms, bangled bracelets, etc.,

red eilwver- all relating to their Afro-Catholic

spiritualism. MANNY (making fun) Yeah, Chango looking out for us, Angel? ANGEL Chango looking out for all the 'bandidos' everywhere. But you gotta pay him his dues, y'know. You gotta let him know you respect him. You don't, Chango -- he gets pissed an’.... XxX! (angr Hey, shaddup -- all of ya! I told {X) you before I don't go for that mystical voodoo shit. MThat's for

the old cunchas waving their rooster cocks in some dark alley, fThere's no gods, there's no Chango -- nowhere! You make your own luck. So shaddup and act like you're in the United States here.

Silence. Through the windshield, the sign of a motel

-- THE SUN RAY -- is coming closer. (X) TONY Okay, this is it. Pull over across the street.

The motel is coming closer in silence.

thing's wrong. I’m in Room 9. You ready, Angelito?

Rev. 11/22/82

CONTINUED + 2

As Manny pulls the car up, they pull out Ingram Model-10 machine pistol with folding butt and suppressor, ten inches of kill power capable of firing 1100 rounds a minute -- it

can be slipped into a man's purse, it's in vogue. Tony gettting out, to Angel:

CUT TO

Rev. 11/2/82

Tony and Angel comeslowly, gingerly down an exterior corridor to a room marked "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 smiles.

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

Tony, stepping into the conventionally tasteless orange and blue motelroom (with heavy blue drapes blocking the windows), spreads his hands in a similar posture inducating

he too is not carrying; but this is only symbolic, it's not meant to be abody search.

The other person in the room is a tough-looking little dark Columbian chick with expressionless eyes, red fingernails,

and short boy-cut hair, "The Lizard"; she's tinier than the Toad, about five-two.

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

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

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

Yeah. I'm Tony. SO Omar says you're okay.

Okay... so you got the money?

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

CONTINUED « 2

TOAD

Not far.

Pause. Everthing seems okay.

Where you from?

Tony's eyes check out the bathroom.

TOAD

1 like to get to know who I do business with.

It's like he's stalling for JRIXX The Lizard has made a Xkkxxgomewhere off-center and is now sitting on the bed, XDiikx<and always watching.

TONY

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

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

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

Rev. 11/2/82

CONTINUED 36

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 from Tony:

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

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 begin6é 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.

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

Manny paces outside the car, glances.

3.9

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

Manny looks at his_ watch.

CUT TO

Angel hangs suspended on the ropes from the top of the shower curtain bar, his legs straddling the edge of the bathtub. Toad slaps a tape over his mouth.

Tony, coverd by the two kids, watches from the lip of the bathroom. He bucks angrily but the two kids ram their pistols up against his temple and pin him to the door.

Angel looks at Tony; the eyes between them steady. They're dead and they know it.

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

Lizard reenters the room, shakes her head at the Toad who nods and turns on the whirring machine.

The Toad smiles amiably and angles the chainsaw slowly towards Angel.

The two kids press tight against Tony, guns pointed at his brains...o.c. we know what's happening as we hear the chainsaw and we watch Tony's’ shock and rage.

Lizard has moO expression on her face. The machine cuts off.

The Toad steps back from the tub, blood splattered on his

shirt, emamining his first cut like a butcher. He glances at Tony.

CUT TO

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

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

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

Tony, devastated, spits in his face.

Toad's eyes narrow meanly. Kid one slaps the tape across Tony's mouth.

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

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

and the door smashes open and Manny barrels through and shoots a surprised Lizard as she raises her pistol. She crashes backwards into the room, wounded. Everything

happens very fast now.

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

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

The Toad, chainsaw in hand, slashes at Manny.

Manny fires a burst into him and the Toad crashes _ backwards. Manny now spins into a wall, hit in the side.

The Lizard, wounded on her knees, is firing her ,32 at

him. In b.g., the window simultaneously blows out as

Chi-Chi appears firing a burst with his Ingram.

In sharp f.g., the Lizard crumples forward on her_ knees, foaming blood.

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

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

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

As the Toad staggers out into the parking lot, blood flying, chainsaw in hand, moving like a jerky chicken.

Their eyes’ follow.

As Tony comes out, walking after him deliberately, eyes set in cold fury, machine gun swinging loosely at his_ side.

There's no rush, no fear ofthe police, getting even is all that counts. He stands behind the _ Toad.

The Toad whips around to the voice, eyes stark with terror. Tony empties the clip into the Toad, blowing him apart.

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

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

and the light sufficient to conceal Tony's possible identi- fication.

CUT TO

Rev. 12/16/82

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

Manny nods.

a TONY Chi-Chi, get the car. Fast! CHI-CHI Si! (X)

Tony strides into the shambles of Room 9, past the bodies and busted furniture to the suitcase on the bed from which

the Lizard pulled the chainsaw. The TV news still plays in the corner.

Inside are several kilo-sized stacks of ‘cocaine.

He shuts the suitcase, exits, stops, looks in the bathroom at the corpse of Angel o.¢. He goes, stoops, brings Angel's Chango charm into our view, fingers it, tosses it back in the tub. MHegoes.

CUT TO

Chi-Chi has the sedan waiting in the parking lot. Tony hurries out, jumps in, the car speeding off. (Pisalo hasta (X 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

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

(xX) Rev. 11/22/82 CONTINUED 50 OMAR' S VOICE (shaken) Look, let me check it out right away! TONY You do that, Omar, you do that. OMAR’S VOICE You got the money? TONY Yeah -- and I got the yeyo. OMAR'S VOICE You got the yeyo? Bring it here. TONY Fuck you. I'm taking it to the boss myself. Not you. Me. OMAR' s VOICE Okay, okay. All right. Frank's gonna wanna see you anyway. Look, meet me tonight at Hector's at eight. TONY Hey Omar.... OMAR'S VOICE Yeah? TONY That was some pick up you sent us on. Pause. OMAR'S VOICE What's that mean? Tony hangs up, walks back to the sedan. CUT ‘TO

on Bricknell Avenue in a_ swank high-rise district adjacent Coconut Grove and Coral Gables, the hub of South Miami....

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

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. LOPEZ How ya doing, Tony? Glad to meet you. How ‘bout a = drink? TONY Mr. Lopez... real pleasure. LOPEZ Call me Frank, Tony. Everybody calls me Frank. My Little League team, even the prosecutors ‘round town, they all call me _ Frank. TONY Okay Frank. Frank shakes hands with Manny. LOPEZ Howya doing? (awed) . Fine yeah. TONY Manny Ray, he was with us on the job. LOPEZ (to Manny) (X) I hear you caught’ one? Manny shrugs, works his arm, showing us the wound. doesn't (X} bother him too much.

Rev. 1/18/83

(X) Just the flesh. Went right through. LOPEZ (X) (heading for

the bar) Yeah, Omar here tells me good _ thing about you _ boys.

2nd Rev. 11/22/82

He glances hard at Omar who squirms.

Rev. 1/18/83 CONTINUED «= 2

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

LOPEZ

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

They drink the toast. With their eyes.

figuring out what to do with all the goddamn cash.

(drinks)

TONY

Yeah, I hope I have that problem some

day.

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

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

The big bodyguard exits smoothly.

TONY

I guess you gotta catch her in the middle, hunh?

Lopez laughs.

TONY

Yeah sure, [J could eat a_ horse.

(X) Rev. 1/18/83

TONY

looks up, his eyes tumbling on the most beautiful blonde

he's ever seen. The lady, is coming down the glassed-in elevator, adjusting her $10,000 Yves St. Laurent burgundy dinner dress.

ALTERNATIVE

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.

Tony Montana...Elvira...Manny Ribera.

I assume we're going to be a_ fivesome. Where are we having dinner?

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

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

Rev. 1/18/83

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. Jt'g a lavish fun spot that will play a central role in [POOR Ridrug dealer haven and nighttime capital of South America.

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

sitting at the best table in the place, finishing up a giant meal. The empty spot belongs to Manny.

5 6

{X) Rev. 12/9/82

(to Tony) .,.QOver there that's Ronnie Echeverria. Him and his brother Miguel they got a big distribution set-up here to Houston and Tucson....

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

Gaspar Gomez. Bad news. Stone killer there ever was one. Stay away.

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

know it to look at him but he's’ got more cash than anybody in here. A real haza....

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

LOPEZ

It's Yiddish for pig. It's a guy he's got more'n what he needs, so he don't fly straight anymore, y'know. That’s the problem in this business, Tony, there's too many ‘hazas' and they're the ones you got to watch out for. If they can fuck you outta an extra dime, they'll rip you and flip you and then fuck you with a stick for the pure

pleasure of it. See it all comes down to one thing, Tony boy, never’ forget it! Lesson number one -- don't under-

estimate the other guy's’ greed. ELVIRA

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

Rev. 12/9/82

56 CONTINUED = 2 56

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

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

This the '64?

Head Waiter nods.

. (to Tony)

Five hundred fifty dollars for this bottle Tony, what do you think of that, hunh? For a bunch of fucking grapes -- isn't that something?

CONTINUED e» 2

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, Miami lawyer.

(to all) Enjoy ‘yourselves.

He ambles off.

Tony looking off at him, remembering it.

so.. .here’s to old friends...and new friends.

CONTINUED 7

Rev. 11/22/82

CONTINUED 57

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

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

Tony's threads) Yeah, get you some new clothes, some $500 suits, you'll look real_ sharp. I'd like you and your boys to handle some stuff for me, Tony, work with Omar here. We're doing something big next month. Running a string of mules out of Columbia. You do good on that, there'll be other’ things.

Omar doesn't like it but glances away.

(% The music shifts to slow dancing. (x

attack?

CONTINUED «# 2

Tony and Elvira are dancing semiclose to a slow Billy Joel

dance tune. He‘s no great shakes as a dancer, leaden in the legs and_ shoulders.

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

He bumps into an elderly couple dancing, ignores them.

need another one, 'specially one who just got off the banana _ boat.

He makes a point of looking at her.

Oh, part of the Cuban crime wave?

Tony, pissed, bangs once more into the elderly couple.

The man stops dancing, looks at him exasperated but Tony doesn't see.

thru

45 and 46 (X} 2nd Rev. 11/22/82 oe 59 TONY

...Why you got this beef against the

world? You got a nice face, you got

great legs, you got the fancy clothes

and you got this look in your eyes

like you haven't been fucked good in

a year. What's the problem, baby?

Elvira laughs at him, _ furious.

She whips

OMITTED

course, Jose whatever your name is,

so you know what you're doing around here.

Y

baby!

NX] I

off the floor, pissed. He watches her, amused. CUT TO

thru

63-A and

6 6

Rev. 1/18/83

x Tony and Manny drive home in the broken down Monte Carlo (x) sedan through the streets of Little Havana. They've'been partying all night, clothes rumpled, Tony (X) smoking his cigar, feeling good. TONY That chick he's with...she loves. me. MANNY (driving) Oh yeah, how you know that? TONY The eyes, Manny -- they don't lie. MANNY You're serious? Tony, that's Lopez 's lady. He'll kill us. TONY What are you kidding -- he's soft. I seen it in his face -- booze anda cuncha tells him what to do. Pause. 63-A OMITTED and 6 4 (X) CUT TO

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.

From his battered Monte Carlo across the curb, Tony, spruced up and nervous in a new suit, gets out carrying a bag of gifts. Manny is atthe wheel, curious.

The new Miami is rising ubiquitously tabove Biscayne Bay, the camera moving past blossominabSkyscrarers workmen,

huge cranes, glass, mirrers booming upwards into a

beautiful blue Florida sky, fleeced with perfectly white Clouds...past a giant billboard:--- - . — wt —

HOW ABOUT A *TLLION DOLLAR LOAN? COME TALK TO US... AT THE BANCO DE MITAMT.,. TODAY ! Past banks of glass (Caribank,

Amerifirst)...

Insert a car sticker going ky with the image of the American flag and the reminder: «414 the last -i- leaving Miami please bring the flag?" American

Banco de Venezuela,

Tony and Manny, on a sho ing spree uxurious shopping mall PPAS with 2nBOP a APIs BL egncredibly fashions, escalators, music, tropical plants, etc --a

Warm womb-like plastic heaven.

MANNY ; X want gq line of biue jaans with my name on the aon chicks* asses. TONY

s+yeah we Gotta Make sone moves on our own Manny, we never gcnna score the Big Money working for Frank.

MANNY ~~ -— = _—- Frank's got a.n organization

. TOW

Organization? - m I got more brains than Omar and he's 1igger t an re. That*s not an organization. That's a disorganization. what do

you do for a brain man? Piss in it?'

(seeing something) , Hey catch this tomato = we

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

TONY

Yeah, What do you girls say? you Wanna have some ice cream with us somewhere?

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.

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

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

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

Does it again. Tony tries but lacks the speed and agility, provoking Manny’s laughter. Manny double checks himself in a shop window. —— mn = . MANNY (doing it again) Takes practice, mi sangre, but they just love it when } you flop that pussy with it.

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

Pointing to a tall, cool blonde across the avenue.

Tony walks right 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 th2 oppesite lane, a car sereeching to a halt in front of him.

TONY a (points) Okay Rober Retfor, strut your stuff.

The blonde has paused to look in a shop window.

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

She Jooks at him, confused, then back into the window. Manny looks back at Tony, winks, sidles closer to her.

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

smiles. The mother looks over. Tony shrugs. She smiles and moves along. ._ =

a

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 awaye .— ae =

—

Tony walks up to him, mocking.

MANNY

Hey Tony, last time this year you was ina fuckin* cage in Cuba. Why don't you take it easy chico, slow down, one step at a time, be happy what you got you know? You get on your death bed you look around

you think to yourself twhen was I ever happy?'

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

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

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

CuT TO

65, EXT. TONY'S MOTHER'S HOUSE » SOUTHWEST MIAMI @ NIGHT PAGE 47

Okay.,. be cool. Tony approaches the house, against his’ chest.

51-A

MANNY

with the

Rev.

paper

12/16/82

bag held high

Tony's Mother opens the door. A_ stout powerful face, she's shook to her roots. TONY (gently, in Spanish) Mami... long DX XD No postcards from jail, hunh? Pause. He doesn't offer to kiss her nor she him. looks behind her. Someone else is in the _ house. looks back as if she has no choice. She opens’ the

He steps in. He

looks.

aging woman with a

Mother Mother door.

(X) (X)

Rev. 11/22/82

The interior is comprised of small, narrow rooms filled ‘with religious objects from macumba and waist-high black Jesus statues in various corners. The floor is without rugs and mosaicked with inexpensive, Aztec-type tiles, the impression clean, cluttered, Catholic, somewhat depressing. Stepping forward to the center of the living room like a cautious cat is his ninteen-year-old sister Gina. Their eyes lock. TONY (moved) Hi Gina.... GINA Tony? She looks at her mother confused. She's a naturally dark, curly-headed beauty with a = slim,’ graceful figure and large-lidded eyes brimming with the same energy as Tony's. (She might also be recognizable from the snapshot we saw in Tony's possession.) TONY (covering his unwonted emotion) Yeah, look at you, you're’ beautiful... what's it been seven years? Last (X)

time | saw you, you looked like a _ boy. Now look at you, you got great big eyes just like me! Yeah, SO...

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

Gina suddenly. explodes across the room and rushes into his arms, grasping him fiercely.

Tony, over her shoulder, catches hi6~ mother’s eyes boring into him stonily.

I never thought I'd see you again -- never!

Tony, over her shoulder, opens the gift. TONY Hey pussycat, c'mon -- you think

they can keep a guy like me down?

Disengaging gently, he holds up the contents of the gift

box in font of her. It's a beautiful diamond locket to wear around her neck. Her eyes open wide. TONY ---yeah for you...and look -- here.

What I got written on it....

"To Gina From Tony. Always." GINA It's beautiful Tony, it's just beautiful....

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

Moving towards her, he opens the package and pulls out an

exquisite pera] 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.

of it) Well anyway, here we are hunh? The three musketeers! We made it to

America hunh? Let's’ toast!

Romie /2/82 DIK XERKXEK XX RN Tossing the empty package aside, he pulls the last gift -- a bottle of champagne. TONY Oye ! To America! (singing) ‘America. America....' CUT ‘TO

Mama, with things on her mind, is silently cooking a lunch, 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.

factory.

He pulls out a bundle of cash, fifties and hundreds, and starts peeling them off on the _ table. XkXXstops working, looks.

a success. I wanted to surprise you. That's how XXXXM didn't show. my face around before. I wanted you

to see what a good boy Ibeen.

CONTINUED 69

Pushes a thousand dollar stack towards her.

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

a lotta political contributions....

Sure you do Tony -- with a gun sticking in somebody's face. All we read about in the papers is the animals like you and the killings, what about the Cubans who come here and work hard and make a good name for themselves? What about....

bum now!

CONTINUED « 2 69

worked up like

a madwoman now) Who do you think you are, we haven't heard a word from you in five years and you suddenly show up here and throw DXXIXXKXXhxKaround and you think you can get my respect? You think you can buy MXxiewelry? You think you can come into my house with your hotshot clothes and your gutter XX Miind make fun of....

_, MAMA (continuing)

No, no, that's not the KXXX kXony and that's not the way I -- (emphasizing it)

iI raised Gina to be. You're not going to destroy her. I dont' need your money, thanks. I work for KMMiving

-- and I don't want you in this house anymore and I don't want you around Gina. So leave us alone...go on, get out! And take this lousy money with you, it stinks!

She casts the bundle of bills back across the table at him like dead lettuce.

A silence. Tony sits there livid, soothing his scar, about

to explode, but doesn't. Gina mutters something in the silence. GINA Oh Mama.. .why do you got to spoil it RK everybody. (to Tony)

I'm sorry Tony, I....

Tony nods his head at his mother.

Okay, Mama, okay....

CUT TO

Rev. 11/2/82

. (X) Tony walks out icily.

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.

she's proud, you got to understand that?

GINA

Mama, she doesn't understand...but I just want you to know, y'know, I don't care. Five years, ten years,

Rev. 11/22/82

‘ CONTINUED 70 GINA (Cont'd) it doesn't matter how long you been away, you're my blood. Always. Pause. She stares intently at him, emphasizing it. TONY Hey I know...I know. She gives him a soft kiss. He takes out his money roll. TONY Say, I want you to keep this for yourself. Okay? Help Mama out, but don't tell her I gave you this, okay? She hesitates.. He nudges her on the cheek and slaps'the whole wad into her palm. TONY Go on! Go out and have some fun, what the hell? You gonna beat your- self to death at nineteen, pussycat like you? He gets in the car. She peers in. GINA You can come by the shop y'know, any afternoon, I'll be there okay? Her eyes fall on Manny at the wheel. He smiles back with charm. Gina's eyes pause on him, then withdraw. The sedan drives off.

, MANNY (driving) Hey, cono, you -never told me you had such a good-looking doll for a_ sister! Tony looks at him icily. TONY Stay away Manny, don't ever let me (X

catch you fuckin’ around with her, don’t ever fuck around with her....

Sure...sure.

A beat.

CUT TO

Rev. 1/18/83

MONTAGE # PASSING TIME 72

Music accompanying the flipping of calendar leaves.

U.S. CUSTOMS = MIAMI INTERNATIONAL AIRPORT # DAY 73

Tony, spruce in his new three-piece suit with the diamond on the finger and the expensive watch, looks like the young ethnic American businessman in import-export as he steps in

front of a chunky, young Customs Officer, who looks at him coldly.

Tony, XXKiXMunzips the chic leather single suitcase, his eyes drifting around....

A woman, with a child and toy panda in a baby carriage, is cursorily checked through an adjacent’ line.

A nun is waived through the third line.

A stockbroker waiting in a fourth line, glances’ nervously (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 waived through a fifth line,

OMITTED 74

The mother-type unscrews the handles of the baby carriage, pulling out the wrapped cocaine, while Chi-Chi extricates another load from the kid's panda bear which is now in

shreds.

from his suitcase, laminated and difficult to detect.

MANNY AND GASPAR ad

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

8 0

thru

8 6

Rev. 1/18/83

THE MOTHER

picks up the baby and removes cocaine from its diaper. While: THEFORMERNUN 79 in partial habit, steps out of the toilet, adjusting her underpants; she places a package of cocaine on a table, on which we now see approximately five kilos’ stacked. TONY 80 counting out the cash for his mules, Omar there, over- looking the operation. MIAMI INTERNATIONAL AIRPORT w DAY 81 Again. But this time going out. The nun, now a housewife, going through an exit gate carrying hand luggage. TONY 82 watching, glances up at the electronic information board -- Houston clocks out the time and the boarding gate...we move to Los Angeles —- "on time” --- Tony's eyes moving to the mother, now without the child, buying her ticket-at the counters. Manny joins him, nodding okay. Tony, with a glance at his watch, starts out the terminal. The roar of the aircraft blending with city sounds as we continue the rapid pace of the montage with music. OMITTED 83 thru

(X)

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

and

kev. 1/18/83

(X)

The plush millionaire's restaurant is to be seen again. (X) Frank has his arm around Tony, introducing him to a business-type. Elvira looks- on.

In a high-fashion store, Tony buys a beautiful dress for Gina who is delighted when she sees herself in the mirror, hugs Tony. Manny watches, unable to take his eyes off her.

to Tony) Your wife looks terrific in that. TONY My wife? You gotta be kidding.

and

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

TONY

He got held up at the golf club. He told me to pick you up. He‘ll meet us at the race track.

Elvira contemplating him with distaste. TONY He said if he was late to bet Ice

Cream in the first.

She sighs, walks across the lobby. He follows.

ey 11/26/82

KIX XRD!

ta iin!

and

Rev. 12/21/82

CONTINUED = 2 89 an She looks. Te car is a yellow Cadillac convertible with 30

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. Flvira waits aloofly off to the side.

Tony been dragging me around to the zoos, looking at tigers. He wants to buy one of them too.

(amused) He do that he gonna have no friends left. Not that he got any now.

63-A Rev. 11/2/82

You going to drive around with a tiger in your passenger seat Tony?

Rev. 11/22/82

91 CONTINUED » 2 91

the car) Funny guy hunh...Manny, C'mere.

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

..-And one of those radio scanners, y'know, pick out flying saucers and stuff.

of. ELVIRA (joining them) Don't forget the fog lights.

; ; ELVIRA (impatiently) I thought you were taking me to Frank?

2nd Rev. 11/22/82 CONTINUED «# 3 91 TONY (glances at his watch) We still got an hour. You _ hungry? ELVIRA No but I'm _ bored. TONY Figgers. Check it out, will you Manny and pay the guy and grab a taxi out to the track.... MANNY Thanks, yeah.... TONY (before leaving) Oh yeah wee He reaches into his pocket, pulls out a decal, a _ private joke. He slaps it on the rear fender. It's the same sticker we saw earlier of the American flag with the epitaph, "Will the Last American leaving Miami please bring the flag." Elvira wonders about it as he joins her. TONY Somebody gotta keep the animals. out.

Tony leads her to his yellow Cadillac convertible parked (X) out of eyesight of the others. TONY I'm glad you came. ‘I wouldn't (X) buy the car you didn't like it. ELVIRA Planning on driving the girls crazy,’ aren't you? TONY Yeah -- you know who. They get in the car. (X) ELVIRA And what would Frank say?

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

CONTINUED 92

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

He reaches over and takes the coke from her. Does a_ toot,

starin at her. She's uncomfortable. When he finishes he ooo las if to return it to her. She leans to take it. He kisses her. She goes with it.

A

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 hair, athletic body and a Copacabana tan, the clothes, a casual polo shirt and the latest pants from Calvin Klein.

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

Accompanying him everywhere is the XXX xMaéMhin, intense venomous-lookin Hispanic man in his thirties, he has_ the look of SOE an unsmiling face. He is always in proximity to his Jefe, usually slightly behind the person or persons addressing - in ort of garotte

position, his eyes swivelling to stare down the person who might glance at him. He is MMontinual source of tension underplaying the scenes, particularly coming to affect Omar who is insecure to begin with.

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

XXX --so this and my other factory I can can guarantee production of 200 kilos refined every month of the year. Problem is I have no_ steady market. Some months JI can't get rid of fifty keys, other months I have to do 2 to 300 keys, it's crazy, hunh? Nobody can run a business that way ---

Sosa looks at him like that's obvious and MXMiWn. 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 expression says I like it. He moves on. The Shadow MXMMWith him.

XXX)

(meanwhile) ..-Basically what I'm looking for is somebody to share the risks with me, somebody in the States who might guarantee Kbomething like...say 150 kilos a _ month.

XiXIXX That's a big commitment Mr. Sosa. It's too bad Frank's not here. Something

like that you should talk to him. XIXIKDRKXD

CONTINUED « 2 93

to slip outta the country right now, y'understand?

Looking over the laboratory like it was his.

L Omar glances at him, annoyed.

CUT TO

The camera moves past a spectacular view of the mountains

to a cavernous dining room highlighted by huge _ paintings

from the Spanish classical period and ornate’ candelabra.

At the table are Sosa, Omar, Tony. The Shadow sits impas- sively in a folding chair off to the side, watching Omar

and Tony. Tony is impressed, looking at the plates, the glasses, the silverware, uncomfortable, trying to fit in.

He eats the salmon off a silver plate with oafish movements of his knife and fork as the servants move to and fro, ¢on- stantly changing dishes, confusing Tony (ad-lib during scene).

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

TONY

Split the risk. Guarantee your delivery as far as Panama.

TONY

13.5! What are you nuts? We still gotta take the shit to Florida. You know what that's like these days? They got the Navy all over the fuckin' place. They got frogmen, they got EC 2s with satellite tracking shit in ‘em, they got fuckin' Bell 209 assault choppers up the ass, we're losing one

out of every nine loads. It's no duckwalk for us anymore, y'know. Forget it.

Omar is looking at him, ready to explode at his blithe assumption of power -- whereas Sosa chuckles, amused by his brashness, starting to be intrigued by this animal.

SOSA

What do you suggest is a fair...? Excuse me.

Interrupted, Sosa looks over at his black aide who suddenly

appears at the door, apparently with a message. Sosa waves him in.

The black aide es. The Skull -- is a slim, tall imposing man with academic, ‘horn-rimmed glasses and close-cropped hair on a huge and impressive skull. He combines the physical qualities of an animal with an intellectual. As he approaches, he glances down the table, his eyes falling

CONTINUED = 2 94 briefly on Omar who doesn't connect. The Skull falters

just for a moment -- then continues towards XX same stony, loyal expression.

Sosa lends his ear and the Skull whispers his information.

A beat. He whispers a second thought. Xikikxteacts minimally. Then he nods, dismissing the Skull who heads out the room. Sosa glances at his gold Rolex.

Tony shrugs.

right?

Omar shoots MMoisonous glance at Tony.

authority to buy 200 keys, that's it, that's my limit. I got no right to

negotiate for Frank Lopez on anything larger than that. So why don't we...

CONTINUED.

CONTINUED = 3

He looks embarrassed at Sosa who has been watching, also an advantage in the split.

right. Maybe you should talk to Frank.

Okay. I don't think this is something I want to do on an overseas phone, but

I can go back to Miami and talk to Frank personally.

that'1l have you in Miami in five hours.

You can be back here tomorrow. For lunch.

Omar is taken aback by the speed of the plan.

(glancing at Tony, to Omar) ...leave your friend here. While you're

gone maybe he can tell me how to run my business.

Sosa laughs. Omar scowls.

CUT TO

sensing

Rev. 1/18/83

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

Omar, who, with one hesitant look, steps inside. The chopper lifts off the lawn, the camera moving to the polo players exercising in the distance...a woman on a horse rides by and we swing with her towards the villa. Sosa walks Tony down an outside gallery towards the veranda where servants lay out the coffee and fruits. TONY You know why they say Cubans are all screwed up? SOSA Why? TONY ‘Cause the islands in the Caribbean, the governments in Russia, the Armys in Angola, and the people live in Miami. Sosa laughs. They reach the veranda, Tony glancing past Sosa to an exotic-looking, dark-eyed senorita who gets off her horse, held by a servant, and joins them. TONY (overlapping the joke) ..,They got a beard there that's all. With a cigar and a big mouth. SOSA Maybe he'll move to Miami too... Gabriella, my rose -- how was the ride? (X) Sosa changes his personality completely with her, dewy- eyed and loving. They peck each other's cheek lightly. GABRIELLA (distracted) {X) Lovely... .but the sheep in the north

pasture, they're destroying the grass,

it's turning yellow. You must move them darling.

SOSA

1'11 take care of it myself. (X)

Rev. 11/22/82

I gotta hand it to you. You got everything a man could want.

Sosa, pleased, reaches for an expensive set of binoculars on the patio table, looks up through them, at the _ heli- copter rising off the lawn.

in you.. ,Unfortunately I don't feel the same way about the rest of your

organization.

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

This garbage was recognized by my

associate at lunch. From several

years ago. In New York. He was an

informer for the police.... Tony, astonished, looks up. THROUGH THE BINOCULARS - OMAR 9 6 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.

SOSA

He put Vito Duval and the Ramos

Brothers -- Nello and Gino -- away

for life. My associate used to work

up there. Through the binoculars -- they throw Omar out of the chopper and he flies downwards and jerks back up as the | 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. TONY 97

shaken, lowers the binoculars. Sosa watches him closely for his reaction. Tony looks back at him, contemplative. Sosa goes over, pours himself some coffee.

SOSA

So how do I know you're not a

‘chivato' too Tony?

and my word -- and [| don't break ‘em.

2nd Rev. 11/22/82

But that's history. ’'m here. He's

not. You wanna go on with me, say it.

You don't, make your move, hodedor! (X)} SOSA

(moves away) I think you speak from the heart Montana, but I say to myself this Lopez -- your boss -- he has '‘chivatos' like that working for him, his judg- ment stinks. So I think to myself, what other mistakes has this Lopez guy made, how can I trust his organi- zation...hunh? You tell me Tony.

TONY

Hey Frank's smart. Don't blame him for that animal. It's crazy business we're in, it can happen to anybody -- even you y'know. I'll talk to Frank myself. I'11 fix this thing up right between you.

(then) You got my word on that.

Sosa approaches Tony, focusing an intense stare on him, makes an elaborate gesture of putting his hands out, Tony followng the pantomine, puts his out. osa now grips them.

Their eyes locked together.

CUT TO AERIAL VIEW - MIAMI - TWILIGHT 98

In all its Caribbean splendor with the long curving beach and rich white buildings, bathed in a lovely violet light.

Music theme continuing over.

REVERSE WIFE TO

a9

Rev. 1/18/83

In long shot we see an agitated Lopez entering his dealership with his bodyguard. Against a background of used American cars without great distinction, he ad-libs his way through some customers and salesmen, shaking hands and acting like everybody's favorite uncle...till we see him approach Tony, who is waiting for him with Manny outside his office. He jerks his head. Inside. They go.

CUT TO

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.

TONY

Hey take it easy Frank, cono. LOPEZ

Cono my ass! TONY

At 10.5 a key, it's pure Frank...we can‘t lose money, no way, we make seventy-five million on this deal, Frank. Seventy-five mill! That's serious money.

77-A Rev. 1/18/83

eyeing Tony) Maybe I made a mistake sending you down there? Maybe you and Sosa know some- thing I don't’ know?

Rev. 1/18/83

100 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. LOPEZ (carefully) Let's just say I want things to stay the way they are. For now. Stall your deal with Sosa. Long pause. Tony's eyes meeting Lopez's. He gave Sosa his word. TONY (finally) ..-have it your way boss. He turns to leave, nods to Manny. LOPEZ Montana... just remember I am the boss. TONY Sure you're the _ boss. Gets to the door, Manny joining him. LOPEZ Y'know I told you when you started Tony, the guys who last in this busi- ness are guys who fly straight, real low key, real quiet...the guys who want it all, the chicks and the cham- pagne and the flash -- they don't last. Tony, saying nothing, goes out the door with Manny.

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

NIGHT

Rev. 11/2/82

Tony, impeccable in Cardin whites, and Manny, also_ slicked (x up, are shown by an elegant secretary into a plush office. Behind the desk sits the heavy-lidded, cigarette-eyed lawyer,

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.

you gotta ask, you're outta your league.

tion. So I want a class guy like you on the payroll -- advising me. Starting now. SHEFFIELD

(a longer pause than usual)

...Start with a $100,000. Cash. On the table. TONY

(an equal pause} Sure....

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

CUT TO

Rev. 11/2/82

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

Lopez and his bodyguard exit the building.

(x A limousine pulls up. Tony watches. The threesome get in the limo and drive away. Tony gets out of the car, crosses to the entrance.

Tony waits outside the door, pushes the buzzer again. Elvira opens it, a look of utter surprise on her face. She's 1n jeans, barefoot and casual. ELVIRA Tony? TONY Hi there.

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

eases slowly across the room towards her, awkwardly trying to make conversation.

She's puzzled. He drinks a toast.

TONY

Here's to the land of opportunity. ELVIRA

For you maybe.

She drinks to it.

TONY

Hey, do you like kids?

ELVIRA

Kids? Sure, why not -- as long as

there's a nurse. TONY

Good. Cause I like kids too. I like boys and girls.

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

104 CONTINUED

Elvira's l

Silence.

She laugh

. He goes. flattered.

2nd Rev. 11/22/82

- 2 104 ELVIRA (Cont'd)

to be back any moment and when he

walks through that....

be somebody here in Miami. I could (X) be like Frank but bigger -- The biggest!...

ooking at him like he's on the moon.

is that... .uh I like you. I think you're

terrific. I known this the first time I seen you. You belong to me. We're tigers. The two of us...I want you to

marry me and be the mother of my _ children.

Ss, a short harsh laugh.

Yeah.. .marry me.

about it, okay? I want you to think hard... 1'11 see you the next time.

She stares at him, still dazed, yet deep down --

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. TONY What the fuck is she doing here, SNE Ss ons (heading towards her) MANNY (stops him).

Hey c'mon Tony, it's okay, it's just a disco for chrissake. What do you give her money for if you don't want her to go out, have some fun?

Gina spots Tony, hesitates, waves to him. Manny

waves back. Tony nods. Burgundy suit checks them out. TONY Who's she with? MANNY

Some kid, he works for Luco, he's

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

TONY

Keep your eye on her. Make sure he don't dance too close.

Hello Tony, you remember me?

Rev. 12/16/82 105 CONTINUED

Large Man) Yeah, sure. You're... (snaps fingers trying to remember )

...Bernstein, right. Mel Bernstein. Narcotics, right?

BERNSTEIN

That's right, Tony. I think we better talk.

(indicates a quieter area)

There's something ugly in his

smile, maybe it's the eyes do the

‘cause just smiling. TONY Talk about what, what's there to talk about? I ain't killed anybody lately. BERNSTEIN No not lately but we can go back to ancient history. Like Emilio Rebenga, like a bunch of whacked Indians at the Sun-Ray Motel in Miami Beach.... (X TONY Oh yeah?,.you know Mel whoever's giving you your information must _ be taking you guys fora long ride. BERNSTEIN Are we gonna talk or am I _ gonna bust your wiseass spice balls, Tony baby -- here and now? Tony looks at him. CUT TO

in a corner of the Babylon -- talking. (x

He holds “25,000” ,

Rev. 11/22/82

the paper up briefly in front of Tony. It

says

10t

(xX,

(X)

(X)

XXX

XXX 11/22/82

CONTINUED «= 2 Xx BERNSTEIN (Cont'd) (getting up) I don't want this discussion going (X) any farther than this table. my guys have families, they're legitimate cops, I don't want none of [Kbgetting' embar- rassed [RX f my guys are gonna suffer, then they're gonna make you _ suffer. Comprendre?..Qh yeah and I got a vacation

comin' up. I wanna take the wife to London, England. We never been’ there. ‘ Throw in two round-trip tickets. First class. Tony just stares at him. Bernstein smiles, points. BERNSTEIN I like the scar. Like Capone. Nice.

But you oughta smile more, Tony. Enjoy yourself. Everyday above ground's a good day.

He winks and goes. Tony sits there brooding on it, eyes flicking back to the dance _ floor.

Burgundy suit there is snuggling up to Gina on the dance

‘floor. Too. close.

Tony is getting pissed, he looks around for Manny then spots....

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.

Lopez, in conversation with the Owner, glances over, sees Tony with Elvira, his expression narrows.

TONY

SO.. .Did you think about what I said? About the kids?

Rev. 12/16/82

Pause. Something's about to pop, turns back just at the crest. Lopez abruptly turns away.

107 CONTINUED = 2 10; LOPEZ (to Elvira) Let's go! ELVIRA Frank, this is ridiculous.... LOPEZ C'mon! He crowds her. Angry, she goes. Tony watches as they exit the club. MANNY What happened? TONY That cocksucker! -- He put that

homicide prick Bernstein on me.

They stroll back to the table.

Who else knew about it? Omar's fertilizer, ain't he? lLopez is letting me know he's got weight on me.

He stops, his eyes darting to pick out Gina laughing as she follows burgundy suit out of the main room and down the stairs to the toilets.

Without hesitation, his irritation peaking now, Tony darts after her.

CONTINUED = 3 107 MANNY Hey, where you going?

He doesn't answer. CUT TO

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

He moves over to the Men's room, throws the door open. There are four legs visible in one of the stalls. Tony

moves past two men washing up, and hurls’ himself against the door.

It crashes open on Gina in the act of snorting coke, with burgundy suit running his hands along her ass.

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

crazy!

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

burgundy suit) Get the fuck out of here, maricon, y'hear, I'11 kill you next time.

CONTINUED 10

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

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

GINA _ It's none of your business!

a, TONY The fuck it isn't! fThree dollar hooker, that's what you are. Snorting shit like that at your age,

you oughta ---

CONTINUED «= 2 109

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

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

them! Tony, raging, smacks her ikKthe 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.

(tender ) Come on, baby, it's okay. ..it's okay, he didn't mean it. (strokes her face)

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

Manny helps Gina to her feet.

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

CONTINUED 11¢ TONY (to the bartenderess, pointing)

Gimme a double of that! He turns, catches a last glimpse of Gina leaving with Manny.

CUT TO

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

hurt me anymore. He‘ll never see me again. Never!

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

He says it like it's personal.

don't you go out with somebody who's going somewhere?

Rev. 12/16/82

She gives him a_ look. GINA Like who? MANNY Like a doctor or a dentist or _ something. GINA What about you? Why don't you_ take me out? She's looking straight at him now, challenging. MANNY What? Me? GINA Yeah, you. I see the way you look at me -- Manolo Ribera. (X) MANNY (nervous ) Hey, Tony's like my brother.. You're his kid sister, okay? GINA So what? MANNY SO... GINA (taunting) You afraid of Tony? you afraid of Tony's kid sister? MANNY Fuck =7no....

Pulls the car MMMMKlo the curb. MANNY I guess we're here. Pause. GINA You think about it, okay, you’ think about it real hard, Manny. ‘Cause you don't know what you're’ missing....

£12

Rev. 12/16/82

CONTINUED 112

She leans across the front seat and lightly lays a. challenging kiss on his cheek. fThe 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 as an enormously fat old man with a Quasimodo mask covering both the front and back of his head and neck. With a red bulb for a nose, he _ gyrates grotesquely to the sleek song; once the mood of laughter has been established, the music suddenly shifts upbeat to "Saturday Night Fever" and the clown, like a butterfly from a worm, starts shedding the stuffing from his clothes, his big eyes staring out at us in theatrical melancholy.

Tony watches, sitting alone, distracted by the clown.

More laughter, more clothes coming off, building a tempo. 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, looks on.

The clown is down to his leotards, thin as a stick, and pulling the girls out onto the floor to dance with him,

bouncing around like yo-yos. Everybody is laughing, everybody is merry...

CONTINUED 113

...except Tony and the clown, weaving in and out of the sharpening spotlight in his white face as the act comes to its close, a haunting figure of mockery....

Tony, absorbed by his thoughts, is lucky this time. His antennae warn him. Out of the side of his eye, he sees....

The two hitters moving on him.

He sprawls. Machine gun fire rips through the upholstery, smashing the mirrors....

Screams, crowd diving for cover....

Tony, hit in the shoulder, rolls, gets his Baretta out of his ankle, firing....

Hits one of the gunmen in the chest; the man staggers

across the disco floor firing volleys into the mirrors and ceilings....

Tony moving under the tables, towards the door, firing....

The second hitter is pinned, firing back, breaking more mirrors, and more screaming.

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

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

CUT TO

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.

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

, TONY'S VOICE Miriam? fYeah...Tony. Manny there?

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

MANNY ; Tony cono, whatcha doing --_ checking up on me, too?

TONY Look, get your fuckin' clothes- on and meet me outside Lopez's’ office in forty-five minutes. That phone booth on 9th. Yeah. Move your ass!

MANNY What happened!

TONY (v.o. ) Nothing we can't fix. Tony hangs up.

MANNY (grabs his pants) I gotta go. MIRIAM This is worse than fucking a grass- hopper, man. Hey, I'm better looking.’ (hits the coke again) Don't do it all, I'll be back later. CUT TO

Tony ignores the doctor taping him, checking his’ watch. TONY (to Nick) Nick, when we get there, call Lopez at three exactly. You got’ that? (X° NICK Yeah, don't worry Tony. £ got At. TONY

All you say is guys at the Club -- there was a _fuckup, he

got away....

Rev. 11/22/82

you're one of the "Hello, Mr.

Lopez,

CONTINUED 121

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-opened office door.

LOPEZ'S VOICE

... you're kidding! Three to two? Son of a bitch!...

(cradling the

phone ) Guess what. My softball team, y'know, the Little Lopezers? They won the Division tonight. We're

going to Sarasota for the State Championship...Hunh!

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

. _ TONY Yeah, it sure is Frank. What'd you do -- fix the umpire?

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

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.

TONY

Yeah, lookit. They spoiled one of my $800 suits.

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.

TONY

Hitters. Somebody musta brought ‘em

aun. Never seen ‘em before...Hiya

Mel. Is there an answer to this too? BERNSTEIN

(uneasy) Always is Montana, always is....

Pause. LOPEZ

(awkward) Well... .What are the guns for Tony?

What for? I'm paranoid I guess.

The phone rings.

Lopez lets the phone ring.

TONY | Why don't you answer it ‘Frank?

123 CONTINUED = 2 123 LOPEZ Uh.,.Must be Elvira. You know women. After we left that joint. she....

The phone rings’ again.

her.. .Hello?...

(anxious ) Yeah... all right honey, don't worry... I'll be home in an _ hour. 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.

fuckin' cockroach!

Why would I hurt you, Tony, I brought you in! So we had a few differences, no big’ deal. I gave you your start Tony, I believed in you !

no word, he's a_- cockroach!

123 CONTINUED » 3 123

He squashes an imaginary cockroach right in front of Frank's eyes, then pulls him further across the desk, flailing.

Mel sits there impassively.

Spain. We'll get on a plane. It's yours, all of it...Elvira? You want Elvira? She's yours, okay! I go way Tony, I disappear, you'll never

see me again. Just gimme a_ chance, gimme a _ second chance Tony, please... please!

He sobs’ pathetically.

TONY

Yeah you're right Frank, you always had somebody else do it for you.

He turns to Manny.

Lopez crashes backwards, draped over his desk like Marat in his bathtub, amid his patriot flag and his Kennedy photographs.

CONTINUED i

Rev. 11/22/82

CONTINUED = 4 123 TONY

..-Every dog has his day.

He fixes his eyes on Mel _ Bernstein.

in his_ chair) I told him it didn't make sense -- clipping you when he coulda had you working for us instead. But he got hot tonight, y'know, about the _ broad. He fucked up.

I'm not Mel. You are.

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

He fires.

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

have a good trip.

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

CONTINUED = 5 12 MANNY (indicating the bodyguard) What about him?

Tony notices.

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

TONY

Come see me tomorrow.

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.

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.

home.

CONTINUED 124

Pause. She understands, moves quietly past him'towards the bedroom.

Tony ambles over to the windows and steps out on the terrace, breathing in the air. The lights ofMiami wink at his feet....

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

THE WORLD IS _ YOURS PAN AMERICAN. TO EUROPE, AFRICA, SOUTH AMERICA Tony drinks it in.

CUT TO Montage = Passing Time:

MULTI-SCREEN IMAGES

12s Spin to lively, marching music. HANDS 121 counting money. HANDS 12: sealing cocaine bags...quaaludes...marijuana.

Sosa on the phone in Bolivia.

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 in Little Havana.

4 kxX iia Rev. 1/18/83

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

Camera moving from a sign saying "Banco Del Sur Miami"}to Chi-Chi and Rafi unloading duffel bags from the back of a (X) Volkswagen van in the parking lot of the bank. Tony and XIKXXXXsupervise... the four of [MXXbhow 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. (X) "INT. MANNY'S APARTMENT - DAY 13!

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

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

Rafi, another Marielito, is led off in handcuffs from a suburban stash house by the cops.

VIC, THE NEWSCASTER ON ITV

"135 drug-related homicides so far this year!"

(X) Rev. 11/2/82

139-A NICK THE PIG

shaking down punk in Cuban park.

139-B LITTLE HAVANA »* NIGHT «# GINA exits flashy car. 140 OMITTED

141 HANDS

stripping false bottoms from suitcases.

Gina, with Tony, Manny, Waldo, Hernando, Gigi and Elvira looking on, cuts the ribbon for the new Gina Beauty Salons

in Little Havana. She looks towards her brother, then her

eyes linger on Manny. He suppresses his smile, winks at her.

Manny buying a new suit....

Mama washing dishes, looking up at the clock.

Elvira snorting.

146 OMITTED

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

-»«.- and a bloated Cigi floats in from the ocean onto the

139-A

139-B

14(

14;

14;

14!

14°

lush white surf of Miami Beach, alongside some kids playing

with their shovels.

(X)} Rev. 1/18/83

...as the KXiMRXX¥iles 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 guarded boat dock on a canal. Tony has erected his fortress-like Shangri-La, to which he has -=- with a sense of humor -- added a large neon sign on the front lawn that says:

Just like it should be. ...as Tony and Elvira take their marriage vows in front of the Monsignor; the triumphant montage music rising to its full glory as a beggar's banquet of gang members and _ various girl friends (but no sign of kids) looks on. Chi-Chi is with a girl who looks like an animal, Kin XOORKXMH short dress, looping earrings, the camera moving to Gina, her eyes covertly tracking to Manny who gazes back at _ her, evenly and openly as.... Tony and Elvira kiss.

Tony, eating his wedding cake, his arm around Elvira, nuzzling her, shows his entourage his new hobby. Across a moat of water, a striped nine-foot Bengal tiger stretches majestically under a solitary banyan tree, extend- ing MMiant claw and licking himself. Tony and Chi-Chi kidding around with the tiger. Intercut to:

Behind some nearby bushes, Gina and Mannyare 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 cake.

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 shrewdly back and forth, the type of guy who follows the Hong Kong money markets on weekends, a guy who never stops thinking money.

BANKER

Hey, Tony, c'mon, that's crazy, can't do....

151-B CONTINUED

Tony looks

(X)

BANKE

Rev.

R (Cont'd)

Tony, we got stockholders, we gotta

go ten percent on th

e first twelve

million; that's in denominations of twenty. We'll go eight percent on and six points

your ten dollar bills on your fives.

1/18/83

better deal. TONY

Then fuck you, I'll fly the cash to the

Bahamas myself.

BANKER

You gonna fly it yourself,

regular basis? Once

a Bahamian bank with of your hard-earned

Tony -- on a

maybe. And then what? You gonna trust some monkey

twenty million dollars? C'mon

don't be a schmuck -- who else can trust? That's why you pay us_ what

do -- you trust us.

broodingly. Jerry

he has another engagement,

glances at _ his

with us.. .gentlemen, married life? Say h

I gotta run.

in

Tony, you you

watch,

How's

ello to the princess

151-B

suggesting

for me -- okay. She's beautiful. See you. Take care. Going. Tony watches, raging inside. He pulls a drawer open and reaches for a _ private cocaine supply. It's the first indication we have of this. As he snorts: TONY

That prick, that WASP whore. ‘What' he think I am, some maricon come over

on ae boat....

So why don't we talk

to this Jew

Seidelbaum? He's got his own’ exchange, he charges four percent tops -- and

he's connected.

CONT

INUED

(X) Rev. 1/18/83 DXDOKIXXIXXDKEEX EX isis TONY I don't know. Mob guys -- guineas -- I don't trust ‘em. On the video monitor, Tony watches Jerry, the Banker, leaving. Now beginning to see things through the glass darkly, Tony hits the other nostril quickly, casually -- passing the vial to KXWho does his hit. TONY (eyes wandering across to another video monitor) You get the house sweeped this month? The cars? MANNY Yeah, sure, I told you that. Five thousand it set us_ back. TONY See that cable truck there?

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.

thru

Manny looks

{X) Rev. 1/18/83

15;

MANNY ; The truck could be anything. we're not the only dopers living on the block y'know.

TONY | Hey you got some attitude y'know Manny -- for a guy in charge of my security.

over at a jogger running by the gate __ of the

porcine quality, civilian-looking, fifties.

OMITTED

; MANNY ; So the guy jogs around the _ neighbor- hood. He's some fat accountant.

TONY

Maybe not...

(walks [KXKXxK

stops, looks

back) BRiktelling you we're getting sloppy -- our thinking -- our attitude. We're not fucking hungry anymore!

CUT TO

thru

A-158 EXT.

TONY'S MANSION «#

NIGHT

Rev. 1/18/83 - ESTABLISHING SHOT

TELEVISION COMMERCIAL

A te

Security Trust or Dade options). A respectable

levision spot for

Florida Security Trust (or Security Trust depending on business-type walks along

sidewalk with a renascent downtown KxkKas a backdrop. Skyscrapers, glinting

A logo for the firm over

Camera leaf like

».-Here = at

better America.

seventy-five tomorrow.

pulling back to bathtub, a _ cigar

a character in a TV hooked to one

glass,

CcraneS....

years

with the

We've been around for 7 We'll be

here

reminder “Since

reveal Tony watching in his

clenched between Futzie Nutzie loafing

side of the tub, a long

other, and a radio and portable bar all

Manny news

commerical.

up in

gigantic with a _ chandelier

rugs,

Yeah that's

"cause

for seventy

his teeth.

A- Miami legal the 1907." huge gold-

He looks

cartoon, with his

phone line to _ the within reach.

-five

years you been fucking all of us over,

that's why. (to

Manny )

Somebody oughta do

these whores

on my money and they're

something about . Charging me ten

points

getting _away

with it! There's no laws anymore, anything goes.

Listen, these

thousand years.

MANNY

been here for a

guys

angles figured.

straddles a chair

They got

all the

next to the tub watching the TV that was interrupted by

the Florida

front of a giant mirror. It's some

Italian marble,

plants,

hanging in the

skylights,

Security

Behind him Elvira's in a robe,’ fixing

bathroom middle of etc....

Trust herself

it,

(X)

(X)

Rev. 1/18/83

158 CONTINUED 15€ TONY You know what capitalism is -- Getting fucked, ELVIRA A true capitalist if ever I met one. She's doing a toot of coke off a flat mirror. TONY How would you’ know, bubblehead? you ever do nothing ‘sides get your hair fixed and powder your nose? You do too much of that shit anyway. ELVIRA Nothing exceeds like excess. you should know that Tony. TONY Know what? Why do you always got to talk like that? MANNY (changing the subject) So I had a _ pow-wow with this guy Seidelbaum today. He checks. out. I .got another KXMMet up. TONY When? MANNY Thursday ten o'clock. I thought I'd take Chi-Chi with me. Do a million (X) and some change. Get my- feet wet with this guy. TONY That's a lot of wet. I'm not (X) Rockefeller. Not yet. Tony points to a figure on the TV. TONY Hey, listen to this, guy's always (X) good for a _ laugh. Visual of silver-haired television Anchorman -- Vic Phillips -- with a bit of show business image in him -- to be seen again. Underneath his face, it says "Editorial."

a CONTINUED

Rev. 1/18/83

CONTINUED = 2

15€ NEWS ANCHORMAN

...the question is how with a _= small law enforcement budget do you put a dent. in an estimated $100 billion a year business? It seems at times all you can do is put your finger in the dike and pray but now we are hearing voices that say the only way we can solve the drug problem is the same way Prohibition was’ solved. Not by outlawing the substances but by legalizing and taxing them. These voices say that will drive out the organized crime element...

(pause

for effect) I am not one of those voices.

What do you know -- you never been= right in your life, Vic baby...

(to Manny) Guy never fuckin' tells the truth. It's the guys like him, the _ bankers and the politicians who want to keep the coke illegal so's they can make more money and get the votes to fight the bad guys. They're the bad _ guys. They'll fuck anything for a_ buck....

an arriviste, an immigrant gpic

millionaire who can't stop talking.

CONTINUED = 3

114 thru 117 Rev. 1/18/83

just dig a hole in the “garden honey and bury it and forget it.

I worked

CONTINUED # 3

She

He

It's too bad. Somebody given it to you. a nicer person. TONY Hey you know what your pussycat.... ELVIRA (at the lip. of the bathroom) What is my problem, Tony? TONY

2nd Rev.. 11/22/82

should've You would've been

problem is

..you got nothing to do with your

life that's what.

MANNY

Tony, C'mon....

TONY

Why don't you get a job y'know? Be

blind store, I

a nurse, work with open a_ stationary

a shit. waiting for me to fuck you

kids,

lepers, don't give

Anything beats lying around

all the time.

15)

(X)

2nd Rev. 11/22/82

158 CONTINUED = 4 158 MANNY (watching) I guess married life's not all that it's cracked up to be, hunh, chico?

A friendly smile but Tony just stares glumly after Elvira. MANNY

(rises) I gotta hot date....

CONTINUED «= 4

Pause.

TONY r2

(glaring into his bathwater) This Seidelbaum thing?

MANNY

Yeah?

: You stay out of it.

TONY | You stink as a _ negotiator, that's’ why.

You like the ladies more'n you do _ the money -- that's your problem Manny.

; MANNY Hey wait a second, I'm your partner

Tony, you can't trust me, who the fuck can you trust?.

Tony mumbles something, barely heard.

(catching?7 Junior partner my _ ass!

go to Atlanta, you handle the Gomez delivery there.

(a beat) You oughta lissen to your wife, muchacho. You are an_ asshole.

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

DISSOLVE TO

Ls Tony and Nick The Pig get out of a van, frowning in the glary sunlight. From the continual sound of jet aircraft taking off and landing we might sense we're near an airport. As Nick hauls a duffel bag on his back, Tony, carrying a suitcase of his own, reads the sign on top of the warehouse: "CONSOLIDATED CARRIES INC.

The office is bare and ugly, the furniture naugahyde black. There's noise from an outer office, and people on phones,

moving, talking.

Tony and Nick sit on a couch stacking twenty dollar bills from the duffel bag and suitcase onto a coffee table.

Two men in casual sports clothing sit opposite them in chairs, one of them -- Seidelbaum -- squaring the bills and passing them efficiently through a money-counting machine which clicks at rhythmic intervals throughout the scene. Seidelbaum's a small, fat 7th Avenue-type with a lot of rings on his fingers and sharp, porky eyes.

The other guy -- Luis -- a dark Cuban, is long, lean and smooth with aquiline nose and dancing eyes. He drinks coffee, smiles a lot and bullshits -- two sordid guys who

look the part.

It's a tedious process counting a million five in twenties, it takes four/five hours; and throughout the desultory dialogue Tony, absorbed by the money, and Nick never stop the monotonous work of counting and stacking and noting the amounts. At all times all four men, thoroughly aware of the large stacks onthe table, move and talk gingerly

although they appear casual and bored. They drink a lot of coffee.

; LUIS ; Yeah, in Caragena, they shot it there

..Gillo Pontecorvo, he was the director. Italian guy.

Seidelbaum

16¢ LUIS (Cont'd)

(pause) Yeah, JY also know Paul Newman. I worked with him in Tucson.

NICK THE PIG

That so? Say, you know’ Benny Alvarez there?

for $283,107.65?

Okay, you keep the change okay, I don't give a shit.

SEIDELBAUM

Okay... This check now, this one _ goes

to the...

2nd Rev. 11/22/82

160 CONTINUED » 2 160 NICK (to Luis) How come you don't’ know Benny Alvarez?

DISSOLVE TO XXX) INT. SEIDELBAUM'S WAREHOUSE OFFICE » DAY 161

They're drinking another round of coffee, exhausted, smoke filling the room. The table now resembles a Mount’ Everest

of green and they're still counting. The money, like discarded food, is spread all over the place -- in boxes, brown paper bags, on the couch. They stretch, rub their eyes. SEIDELBAUM XIXBRXhp to what? LUIS (consulting his notes) Seven checks. A million three hundred twenty-five and six hundred twenty-three (X) ...plus eighteen cents. TONY (grins) Hey we're almost finished. Another

200 thousand and we can take a_ leak.

Fulls a pistol from his ankle and rises. SEIDELBAUM You're under federal arrest, Montana, for a continuing criminal conspiracy. The Rico Statute. Get ‘em up.

Tony astonished.

man's eyes are suddenly agile and mean.. .Tony reads them, lifts his arms.

(X)

Get it.

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

CONTINUED 161

Luis moves around Tony to disarm him.

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

Insert: Photograph and Drug Enforcement Agency ID.

Call your Con OTS Seidelbaum. I wanna call DDD DIRK

S

Say hi, honey....

VIDEOTAPE

Blurry image of the men in the room. fTony is not’ that

clear an [MlXxxds he glances briefly, uninterested, into the camera.

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

(to camera) Okay, Danny, turn it off.

The angle goes_ black.

BACK TO SCENE 163

you say can be taken against you. You have’ the....

I know all that shit, Seidelbaum, save your. breath. It ain't gonna stick. You know it, I know it. I'm here changing dollar bills is all. So you wanna waste everybody's time here, I call my _ lawyer. Best lawyer in Miami. He's so good tomorrow morning you're gonna be working in Alaska, Seidelbaum....

As they handcuff him....

DISSOLVE TO

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

Tony, tense, checks himself in the mirror, adjusts uis hair. A vial of coke appears. He snorts a large amount, goes out. It's the first time we sense he might be using

the stuff on a _ steady and increasingly heavy basis.

CUT TO

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

Tony is pacing nervously. Manny looks on. Red-headed

Sheffield rasps through a cloud of cigarette smoke behind his desk.

charge. But they're gonna come _ back at us on a tax evasion -- and they'll get it.

TONY

What am I looking at?

maybe less if JI can make a deal.

MANNY

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

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

800,000 dollars, okay? With that you can fix the Supreme Court, hunh?

at raising that doubt but when you got a million three undeclared dollars staring into a videotape camera, honeybaby, it's hard to

convince a jury you found it in a taxi cab.

Tony paces back and forth like a tiger, corking his fury.

Abruptly coming to a decision, he whirls and leans across Sheffield's desk.

you about my law, George. It's real simple. There's no ‘reasonable doubt. ' If you're rain-making the

judge or you fyck me for the four hundred grand and I come in guilty on the big rap -- you, the judge, the prosecutor, nothing's gonna stop me, y hear? I'm gonna come and tear your fuckin' eyeballs out.

Pause.

The point is made. Now where's the money?

Tony nods to Manny who hauls a briefcase up on _ Sheffield's desk. Tony abruptly walks out, a vial appearing in his hands as he steps out of the office. He sniffs.

CUT TO

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.

And you, when are you going to have another Tony to take your place.

Tony, come, I want you to meet some friends of mine.

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

PEDRO QUINN

A pleasure, Mr. Montana.

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

of the First Army Corps...Tony Montana.

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 Brook6é Brothers suit who stands.

Nicky, have Alberto meet us in the living room.

The black aide goes.

Tony, come, please sit _ here.

Tony is shown a chair in the middle of the veranda, surrounded on all sides. There is a strained beat to the proceedings. Ernie and Chi-Chi hang around the_ edges.

He suddenly catches a glimpse of the sloe-eyed Gabriella moving with another woman past a window of the house. Then she's gone.

Sosa pulls up a chair right opposite Tony, almost’ touching knees.

Rev. 12/16/82 CONTINUED - 2

A "Phil Donahue-type" setting. A segment now in progress with the "Donahue-type" interviewing Dr. Orlando Gutierrez. (Xx) Gutierrez is a young charismatic man, very well dressed and

polished in a South American manner who exudes a sense of enormous passion.

GUTIERREZ

.More than 10,000’ of our people are being tortured and held without trial. In the past two years, another 6,000 have simply disappeared. And your government -- what does it do? It sells my government tanks, planes, guns, but not a word -- not-a whisper -- about human rights!

Gutierrez screen,

Laughter.

TONY

watching,

the

coke

(X) Rev. 1/18/85

INTERVIEWER

I've heard whispers, Doctor Gutierrez, about the financial support your govern-

ment receives from the drug industry in Bolivia.

national product -- which of course is cocaine.

holds up a= photograph -- insert the face on the TV

dour, ruthless.

touching his nose a lot, blowing it, hyped from usage.

Rev. 1/18/83 170 GUTIERREZ 170

(X) holds up another photograph -- insert the face on the

TV screen.

; GUTIERREZ (X) (passionate) The United States Government has to stop supporting these facist gang- sters that are running my _ country, that is what your country has_ to do. You have to set a strong example by calling for the observation of fundamental human rights.

171 TONY 171 staring intently at him, reluctantly impressed.

GUTIERREZ {X) You Americans have no idea _ how important your country is as a symbol and a bastion of those rights. You have no....

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

Sosa looks up.

131-A

The Shadow (seen before at the disposal of Omar) comes_ into

the room, thin and quiet, his venomous eyes’ flicking over Tony. The Skull leads him in.

partner from Florida.

So you see Alberto here is going to

help fix our problem. Alberto, you

know, is an expert in the disposal

business -- but he doesn't know his

way around the States too well, he

doesn't speak English, and he needs

a little help...

(then)

Is that a problem, Tony?

Tony looks around the faces, then: TONY

That's no problem, Alex.... Alex nods, pleased. Hold on Tony. He blows his nose again.

CUT TO

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 editorializing on television -- cranes his leonine white head of hair around with a

patrician annoyance reserved for bores in restaurants.

VIC Oh, is that so?

vic Aren't you.. .Tony Montana?

The half-dozen rich people in the dinner party are intrigued.

220 kilos went down. That means twenty is missing, right? Ask your friends, the cops, about that -- and

keep up the good work, Vie, but

don't believe everything you hear, y'know what I mean? Okay, have a good dinner, nice to meet you. people.

Waves farewell to them, pats Vic once more on the_ shoulder, and leaves them murmuring.

country. Nobody fucking tells the truth!

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

CUT TO TONY 17:

sits with Manny and Elvira, who is dipping into a vial of

coke in the purse in her lap. Another huge meal is being consumed, the best roast beef, bottles of red and white wine, cigars....

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

; MANNY The one thing we always stayed out of

was politics, Tony.

Manny remembers.

with you, the guy who don't blink?

You stay out of it. Run things down here. 1'1l1 be up in New York next week.

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.

173 CONTINUED =» 2

17: ELVIRA I'm not hungry.

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

She does the other nostril.

Tony looking at her. one beat. Two beats. He passes a_ silent burp. MANNY (trying to

shift the mood) So what about the trial? I heard Sheffield thinks he can get a new postponement....

Tony, bleary-eyed now and drunk, continues to _ look

at Elvira, then away, encompassing the restaurant.

Is this it? Is that what it's all about, Manny? Eating, drinking, snorting, fucking? Then what? You're fifty and you got a bag for a belly and tits with hair on ‘em and your liver's got spots and you're looking like these rich fuckin' mummies’ in here? Is that what it's all about?

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

these hands? Is that what I _ killed for? For this?

(turns his gaze

stonily on Elvira) A junkie??? I gotta fucking junkie for a wife? Who never eats nothing, who wakes up with a quaalude, who sleeps all day with black shades on, who won't fuck me ‘cause she's in a_ coma!

..-is this how it ends? And I

thought I was a winner? Fuck it

man, I can't even have a fucking kid with her, her womb's so polluted, I can't even have a fucking little

baby!

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

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

How dare you talk to me like that! You call yourself a man! What makes you so much better than me, what do you do? Deal drugs? Kill people? Oh that's just wonderful Tony -- a real contribution to human history. You want a kid. What kind of father do you think you'd make, Tony? What kind of stories are you going to tell the kid before he goes to _ sleep at night? You going to drive him to school in the mornings, Tony? You really think you're still going to be alive by the time he goes to school, Tony? You're dreaming, Tony, you're dreaming!

The audience is_ hushed, involved, the camera moving over the faces of Yic¢ and his rich friends.

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

home without having six of your goons around all the time? I have Nick the Pig as a friend? What kind of life

is that Tony? What kind of life is that?

(in a softer

tone) Oh Tony don't you see? Don't you see what we've become? We're losers, honey, we're not winners, we're losers....

Silence. Tony's fury has passed. So has Elvira's. There's this awkwardness all of a sudden like two actors who forgot their lines.

stoned. You're so stoned you don't even know it.

Im leaving you. I don't need this shit anymore.

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

Manny rises to _ follow.

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

£35

(X} Rev. 1/18/83 CONTINUED - 5 173 The whole room is watching him sitting there covered with food, the silence cathedral. He stands, wiping at the food and throwing several hundred dollar bills oon the table, then looks up angrily at the staring millionaires. TONY You're all assholes. You’ know’ why? ‘Cause none of you got the guts to be what you want to be. He wobbles against the table. Manny tries to help. Tony shakes him _ loose. TONY You need people like me so you can point your fingers and say ‘hey there's the bad guy!' So what does that make you? Good guys? Don't kid yourselves. You're no better'n me. You just know how to hide -- and how to lie. Me I don't have that problem. I always tell the truth -- even when I lie. He starts out, staggers. TONY So say good night to the bad guy... You're never gonna see a bad guy like me again. He walks out, proud, Manny bringing up the rear. The room is empty for a beat -- an extended beat, the stage without its star -- and then the audience begins to buzz with horror and delight. CUT ‘TO

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: ERNIE 175

down the street at the intersection of the avenue, surveying traffic, signals okay.

138-A

snort, paces next to the vehicle the Shadow disappeared

under.

Ground level -- the Shadow, using a pen flashlight, removes

the bomb from the bag. With subtly inexorable music, the

camera frames and moves on the bomb -- wired, soldered,

taped -- a malignant centipede in the long agile fingers of

the Shadow, who delicately presses a_ tester. A glass

button on the bomb now flashes red at soothing intervals as

the Shadow winds a roll of black tape from the bomb to an

axle of the car.

ERNIE 177

si-gnals.

Rev. 12/16/82

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.

that's not the place where they chop these dogs up is it?

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

TONY

Hey smiley, come on outta there, you're under arrest!

Rev. 1/18/83

CONTINUED 175

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

Ernie, Chi-Chi, and the Shadow huddle cold and _ uncomfortable

in the sedan, waiting -- eating pizzas and drinking beers. The morning has come down ice cold.

At the phone booth up the corner, Tony -- unshaven, bleary- eyed -- is rapping on the phone. TONY ...Yeah, yeab. , neh. nah...you tell (X Sheffield *keep his nose out ‘of it,

there's not gonna be no trial, I got everything under control, yeah...Have you heard from Elvira?

He waits, hangs up, snorts some more, impatient.

J SMe He picks (Xx up the phone again, starts dialing.

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

; SHADOW (Spanish) What the fuck's he doing now! That sonufabitch....

In the booth, Tony, snorting another nostril, moves back

and forth as the phone rings at the other end. Finally she picks up,

a

Rev. 1/18/83

you know and....

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

The door of the brownstone. No movement. Though now

there's increasing traffic on the street and _ passing pedestrians.

Rev. 1/18/83

anyway? What's he a Communist?

It's like when you die, your life meant something to somebody, y'know? It wasn't like you just lived it for yourself, but you did something for the rest of the human race _ too....

Tony snorts another line -- seen through the mirror. CHI-CHI (nods his head somberly) Yeah? TONY Me, I wanna die fast. With my name written in lights all over the sky. Tony Montana. He died doin' it. CHI-CHI Whatcha talking ‘bout Tony, you ain't gonna die. TONY (doesn't hear him) ---SoO I'll end up in a coffin. So what? The cockroach fires the bullet's gonna end up in a coffin just like me. But I lived better when I was _ here. And that's what counts. Pause.

rearview

18€

(X)

(X)

CONTINUED # 2 ERNIE Ten to.

He starts out the _ door. The Shadow barks’ out preemptory Spanish.

Tony, he's coming!

Tony looks around,’ sees: Matos coming out the door, briefcase in hand.

Tony gets back in the car.

THROUGH TONY'S WINDSHIELD » DAY

Matos gets into his sedan a quarter block downfrom his

front door.

Tony staring.

The Shadow, most excited of all, like a panther

spotted his prey, eyes alive for the first time.

THROUGH TONY'S WINDSHIELD = DAY

something in

1E

that just 1°

Matos sits there warming up his car, looking back at _ the

brownstone.

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.

just tell me okay -- when you like.

The chatter comes out jagged,

irritating the Shadow doesn't understand Tony's English anyway.

saying! You tell him stay inside thirty metres of the ca,r okay

-- no more you just stay inside thirty metres.

Hey okay I heard you the the first time. One time okay.

Just tell me one time. (snorts) SHADOW (Spanish) I tell you thirty metres okay! You understand, madre de dios, why this hop-head is driving! CHI-CHI Okay, okay. TONY

(English) Okay, okay, cool it willya all right. THROUGH TONY'S WINDSHIELD - DAY

Matos pulls his

car out of the parking space.

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

who

19}

Matos stops his car, backs up -- in the direction of his front door. TONY What the --- Matos comes to a halt, double-parked, honks.

T O N Y (to Chi-Chi) What's he doing? Where's he going? 194 MATOS' BROWNSTONE # SIDEWALK #» DAY 19 The wife opens the door, steps out -- followed, moments later, by two schoolchildren, books in hand. matos waves to them to come along.

Tony looks astonished, back at Chi-Chi. TONY What the fuck! You said the wife took ‘em in the other car. ; CHI-CHI She did boss. She did it every fucking day, I swear! 196 THROUGH TONY'S WINDSHIELD w» DAY 19 The two children are now climbing in the back of Matos’ sedan, the wife getting into the pasenger seat. They drive off.

Tony, upset now, goes to his vial, snorts,

turns sharply to the Shadow.

no kids! We hit this fuckin' guy we hit him alone. okay.

Rev. 1/18/83

CONTINUED 19° SHADOW (Spanish) No! Mr. Sosa says we do it now. We do it. Ca. He has the strength of a born psychopath, brooking no _ other reality but his own. He stares a hole through Tony who gives way to his intensity, going into a slow angry burn at himself, putting the sedan in gear and going after Matos, muttering to himself. TONY ..-aw fuck this, this fuckin’ asshole! Chi-Chi, in the back, looks on _ worried. (X NEW YORK STREETS = DAY - FOLLOWING MATOS' SEDAN 19:

through Manahattan, towards the UN.

The Shadow making the final adjustments Wis decoder. He now sticks a key in it. A red light pulses at intervals.

Tony, driving, glances, the tension building in him, he does another giant snort.

Matos' sedan, swerving out into traffic to pass a car, has a near collision with an insane bus driver and has to. brake

suddenly, angling into a deep pothole, shaking the car and honking angrily after the _ bus.

The Shadow goes nuts, peering over the dashboard to see if the bomb XxMoose.

Perspiration starting to break out on his’ forehead.

Tony also feels the sweat coming on.

He honks furiously at a cab that tries to cut him off.

Tony, intense at the wheel, sneezing, his nose running. SHADOW (equally tense, in Spanish) You're losing them! There! That street, they go that street! TONY I see ‘im! I see ‘im! SHADOW (Spanish) Thirty metres! Thirty metres! Go! Go! TONY Shut the fuck up! Honking like a madman and accelerating past a_ truck.... TONY -.ewhat am I doing? What the fuck am I doing here?... THROUGH TONY'S WINDSHIELD »= DAY 201 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.

SHADOW (Spanish) Okay, now...now. Right here. Easy. Easy! The decoder. Tony snorts. TONY (muttering) 4 fuck you, you fuckin' vulture.... The Shadow in stark profile. His finger depresses the first key of the decoder. UNDER MATOS' CAR » DAY 20: d

The bomb -- pulsing red _ light.

20.3

Rev. 1/18/83

THROUGH TONY'S WINDSHIELD «» DAY

The Gutierrez sedan pulls off the sidestreet into the thick

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.

Two kids in the car, Jesus Christ! UNDER GUTIERREZ' CAR = DAY The bomb -- jarred by -a bump, pulsing red light. THROUGH TONY'S WINDSHIELD « DAY

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

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

don't have the guts to look ‘im in the eye when you kill him, you gotta hide, you fuckin' vulture.

Honk, honk.

CONTINUED .

(X;

20:

(X

Rev. 11/2/82

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.

What the....

Tony swerving the sedan back across the Avenue, the traffic around them honking and moving along at its normal pace as the Shadow's body slumps down out of sight, another Monday morning traffic accident with blood and brains splattered up against a passenger window and nobody really sees... except a six-year-old girl in an adjacent vehicle; she wonders momentarily, then dismisses it.

to mutter) ---SO what'd you think I was, hunh? A fucking worm like you! I told you don't fuck with me! I told you no kids! You shoulda listened to me you stupid fuck!

CUT TO OMITTED 2c

(X%) Rev. 1/18/83

Planes roaring.

21c Chi-Chi waiting in a busy lounge covering Tony on _ the_ phone;

Tony's still wearing the same clothes with patches of blood on _ them.

ERNIE'S VOICE

I had a delivery. Tony, everything go okay, whatsa ---

’

(X) Rev. 2/18/83

, TONY 210 Gina's gone? Where! ohfuck!..Tell her I'll be there tonight. okay?

ERNIE'S VOICE

Right. TONY (about to hang up, pauses) uh -- how ‘bout Elvie -- did she call? ERNIE'S VOICE (a beat) No.

Tony hangs up. A moment of despair. Then he snorts another spoon and _ snaps_ back. CUT TO

Plane taking off. CUT TO

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.

She gotta see you. And Sosa's' been ringing every half-hour on the eleven

line. Tony, he sounds’ pissed, he....

(X) Rev. 1/18/83 CONTINUED 213 TONY _ . Yeah, yeah, yeah...Chi-Chi, get him on the line. In the office. Chi-Chi goes. TONY What about Elvie -- anything? Ernie shakes his head. TONY You keep trying Manny. I need that cocksucker, you hear, I need him _ here! Okay? ERNIE Right, Tony. Tony stalks off, towards his office.

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

open a new vial, pours the entire vial of coke out across the desk into a thick quarter-moon pattern. He snorts. Chi-Chi signals he's got Sosa on the other line.

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

Pause

(X) Rev. 1/18/83

said so I cancelled his fuckin' contract.

at the other end.

and letting

Tony know) No! We can't do that. They found what was under the car, Tony. And our friend's got security now up the ass. And the heat's coming down hard on meband my partners. There's not gonna be a next time. You blew it, you fuckin' dumb cocksucker!

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

Rev. 1/18/83

talkin’ to, hunh! Whatta you think

Io am? Your fuckin' slave! You don't tell KMWhat to do, Sosa. You ' re shit! You want a war, you got it?

Slams the phone down.

In the cavernous silence of the room, he listlessly turns to another line of coke.

CUT TO

Tony in the backseat in his white Corniche staring straight ahead. Ernie driving, Chi-Chi with him.

The bulletproof white Corniche pulls up, Ernie and = Chi-Chi

getting out first, checking the street, Tony following quickly.

minutes.

He hurries towards the house.

(x)

(X)

2nd Rev. 11/22/82

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

-».-She got a place of her own, she don't tell me where. One day I follow her in a taxi. She goes into this fancy house in Coconut Grove.

Yes, you did! One time one. thousand. (X) dollars you gave her!...

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. 11/22/82

21:

; MAMA Don't you see what you do to _ her?

Don't you see? Why do you have to hurt everything you touch, why do

VOU. ax « TONY (shakes himself loose, turns on_ her) No! You know why she left, Mama? Not ‘cause of me. ‘Cause of you MAMA Me? TONY

Yeah, it's you drove her nuts with your nagging and bitchin’.

I only demand a little respect and dignity in this house, is that why I am nagging and

bitchin'?

..-and you did the same thing to me. I wasn't this, y wasn't that -- never good enough for you. I never felt nothing from you, Mama -- nothing!

..-because I was putting food on the table, because I suffered for both

of you.... ; TONY First time I ever needed you, where were you?. MAMA Where was I? TONY

-.-when I was in that Army jail in Cuba, rotting my ass off, not _ once.

I hadda come out into the ~fuckin”_ streets to find out my mother and my sister are gone from my house, ' they left the country not one word, one letter, that's right.Where were you?

Rev. 12/16/82 CONTINUED = 2

you were five, you gave me _ heartbreak and humiliation and shame....

you would convert myhouse into your gangster headquarters....

-- like the way you made Papi feel. I made something outta my life. I'm somebody and I'm proud ofit.

Tony storms out ofthe door as Mama pursues.

KbKTony MBKRKthe door, we hold a beat on her face -- as if she had finally answered her own questions.

Tony stomps into his white Corniche, Ernie discreetly closing the door and getting in with Chi-Chi as Mama rips open her door in b.g. and stands there staring from _ the doorway -- weeping and staring across the dark. Tony takes a strong hit of coke. The car whistles off.

CUT TO

(xX)

(X)

(X)

(x)

2nd Rev. 11/22/82

21!

Tony in the backseat of the Corniche with Chi-Chi_ studies the house from across the curb. It's quiet, rich, suburban, not calling attention to _ itself.

CONTINUED 21

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. XMiiithe pause. The door opens casually. Standing there is Manny -- with a towel around his waist. _ MANNY (surprised) Tony?

Tony stares, stunned.

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

moving downward in alarm)

Tony with his Baretta pointed at Manny, his expression filled with loathing.

Manny smiles easily and shrugs, the gesture drawing Tony over the edge.

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.

CONTINUED « 2

She goes down to her _ knees,

7 stunned out of her mind, shakes im.

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 fTony, worried somebody's seen the shooting. Ernie follows.

CHI-CHI

Tony, come on. We gotta get out of here.

(to Gina) Come on baby...Gina!

Suddenly she goes_ berserk.

And shoving Chi-Chi aside, launches herself oon _ Tony, screaming incoherently like a madwoman, trying to kill

him. She beats him around the head, the chest, scratches furrows of flesh from his face. He stands there, oblivious, numbed.

Chi-Chi and Ernie have a demon on their hands. They manage

at last to yank her off Tony, kicking and continuing to scream.

Lights coming on in the houses’ around the _ neighborhood. Chi-Chi and Ernie, desperate now, drag her forcefully along the pavement into the Corniche. She continues to scream. ERNIE (to Chi-Chi) Get the _ body! Tony, back at the door, looks down again. The eyes of Manolo- staring’ sightlessly. Chi-Chi runs'- back, grabs_ Tony. CHI-MI Tony! Pulls him. Tony snaps out of it. TONY Yeah! He goes. Chi-Chi lifting Nanny's' body, hauling it. Tony getting into the Corniche, Ernie pinning Gina against the front seat. Chi-Chi propping 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. GINA' Manny!..Manny! No! cur To * MIAMI STREETS «# NIGHT 22: The white Corniche whistles by like a hearse heading for hell.

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. The cars

stop. Eight men emerge silently, blending into the _ shadows. of the trees.

Rev. 1/18/83

Tony, scratches across his_ face, door into the marble foyer. for them at the door.

strides through the front Another Marielito is waiting

Ernie and Chi-Chi are almost carrying Gina, who is numb with shock.

She looks up at him through her stupor and spits in his face. Chi-Chi and Ernie pull her away -- as Tony. stares,

upset but passive. They trundle her up the stairs. Tony turns and walks away.

-Tony slumps on -his couch. A haze of coke rises off the

velvet like a snow scene painting on a Christmas. card. Oblivious to the dust, he cuts open a fresh plastic kilo

‘bag of coke and spreads the entire pound out across’ the black marble coffee table.

Ernie and Chi-Chi come in.

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

fucker down.

(X

(X)

(X) (X)

(X)

Rev. 1/18/83

Ernie and Chi-Chi sharing a _ look. CHI-CHI (eyeing the coke)

Hey Tony, why don't you go easy on that stuff, hunh?

Tony leoks up at him, focuses. The eyes are uncompromising.

Ernie, a little scared of him now, turns away. Chi-Chi 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 lamingoes flutter.

,,, Then there's a burst of loud music from the stereo speakers on the balcony -- a Billy Joel song, something

smooth and easy about the high times and how fast’ they GO...

».,and we see Tony, in long shot, throw open the terrace

doors and stagger out onto the balcony, overlooking his estate.

-.On a closer angle, we track him to the edge of the balustrade. He's done so much coke now he's practically catatonic; staggering and muttering to himself.

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.

(X)

(X)}

(Xx)

Rev. 1/18/83

--.0Qooo£n fuck Manny, how the fuck did I do that? How the fuck!..oh Manny, Manny.. .you were there for XIMEKKXMvere 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 (xX 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 starts back through the terrace doors into his study, the camera glides around to a view of a hook flying up and catching the balustrade. A shadow starts climbing up as:

TONY

...we still are Manny, we still are -- see, I'm gonna wipe out all them fuckers out there, I'm gonna run the market, I'm gonna be King Cocaine you hear me, you buy you buy from me -- Tony Montana. Covers of all the magazines. Fan mail. Television stars, movie stars, shooting stars -- he's a star....

(X) Rev. 12/21/82

As he crosses into his office, the camera moves to reveal Gina standing there half-dressed in the doorway, her’ eyes blazing with hatred. Tony sees. her. She steps forward, offering her body almost naked to her brother. GINA Is this what you want Tony?... Tony shocked. GINA You can't stand another man_ touching me. So you want me Tony, is that it? Well here I am «jun She fires the Baretta we now see in her hand. The bullet grazes Tony in the leg, snapping him from his catatonia as he goes reeling across the floor behind his desk. She fires again. Again. GINA DRIXb11 yours Tony, I'm all yours now. Bullets ripping into the desk. She advances, offering her sex, methodically shooting out the clip at rhythmic intervals. GINA Come and get me Tony. Before it's too late. He spins across the run away fromthe desk, trying to put distance between them. She sees him _ scurrying,. turns, an expression like a demented angel. GINA Come on Tony, fuck me! Fuck me! Fuck me Advancing on him, firing. The furniture tearing up, the chair

spilling, television sets and computer toys shattering, Tony squirming away,hit again in the thigh, shocked, scrambling SiDdo the terrace windows. Her next shot shatters the

window and as Tony ducks again to the side, we see outside onto the terrace behind him:

Rev. 1/18/83

CONTINUED 22

A young Columbian punk XMiore than twenty -- one of the hitters -- is crouched there, reacting to the broken’ window. He doesn't hesitate, turning his machine gun on _ Gina.

Gina is torn to pieces by the firepower -- blown across the room, spine severed and dead before she hits the floor.

Tony sees it, yells something, in the same instant Swivels to knock the barrel of the machine gun aside. The punk is taken by surprise, not having seen Tony, and Tony now runs him backwards across the balcony and hurls him over the balustrade.

The punk lands in one of the shallow pools on the grounds at the base of the _ balcony.

Tony, from above, grabs up the punk's machine gun and empties the whole clip into the figure thrashing in the pool below.

Ernie runs into view on the far side of the pool, spots (xX Tony, yells up ---

ERNIE e:4

Tony, they're everywhere! Get outta here!

Ernie suddenly wheels, hit in the face, by a burst of (xX Silencer bullets.

We catch a brief glimpse of Sosa's black aide, the Skull, moving quickly along the wall of the house -- directly underneath the balcony on which Tony stands.

Tony, tossing the empty machine gun aside, wildly runs back into his office to get more guns, crosses to Gina _ corpse. It takes him by surprise. He comes to a dead stop, kneels, looking questioningly in her face.

Running his hands along her face, trying to rouse her,

gently lifting her eyelids. Blood's running out of her mouth in rivers.

Rev. CONTT -2 ev. 12/21/82

There's been a steady pounding and calling now on the door (X!

of the office. Tony finally hears it, looks up, then over at the monitors.

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

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 Uzj 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

TONY

Whores! Cowards! You think you {X) can kill me with lousy pyllets hunh?

He fires now. Left. Right.

A hitter tumbles down the left-hand stair.

(X) Rev 11/26/82

CONTINUED + 3 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.

ha ha ha ha!!

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 floats quietly face down in the lit blue waters.

As the titles begin their crawl up, the music theme is expressive salsa with a dash of gaiety.

The camera moving off Tony to catch the reflection of the lit sculpture on the surface of the still waters. It says:

"THE WORLD IS YOURS"

And so, for the brief moment, it was.

a,

Rev. 11/26/82

CONTINUED » 4 226 Our camera now distancing itself from the body in the pool, panning past the dream villa, past the shambles and the

wealth, past the hitters pillaging and looting and drawing

that obscene word "Chivato" in blood on the outside walls,

past the stacks of cash blowing across the floor like

leaves in autumn, with the looters running after it across

the busted door with the tropic wind blowing down Coconut

Grove -- to the Miami skyline across Biscayne Bay