By: Oliver Stone
"Enjoy yourself -- every day above ground
is a good day. - ANONYMOUS, MIAMI 1981
1 A PROLOGUE 1
crawls up the screen -- with Narrator.
In May 1900, Fidel Castro -- in an
effort to normalize relations with
the Carter Administration -- opened
the harbor at Mariel, Cuba with the
apparent intention of letting some
of his people join their relatives
in the United States. Within seventy-
two hours, 3,000 U.S. boats were headed
for Cuba. In the next few weeks, it
became evident that Castro was forcing
the boat owners to carry back with
them not only their relatives but the
dregs of his jail population. 3y the
time the port was closed 125,000
'Marielitos' had landed in Florida.
An estimated 25,000 had criminal
records. This is the story of that
minority -- those they call 'Los
The prologue is shredded diagonally by the blade of a
stilleto and in the empty black void we:
Opening Montage - Documentary Footage:
2 THE DISEMBARKATION 2
from the harbor in Mariel, Cuba. Vessels of every nature,
waving masses, demonstrations....
THE CROSSING 3
i7 Sun and storm.
4 THE LANDING - KEY WEST 4
The flag of the United States. Choppers swooping over the
ragged coastline of the Keys. Emerald waters dotted with
fishing trawlers and pleasure craft, an "America the
Beautiful" -type Immigration theme surging over 'this.
5 THE PROCESSING 5
Long lines. Immigration and Nationalization Officials,
customs, Public Health, FBI, Church and Relief Organizations.
Babies bawling, arguments over paperwork, refugees being
interviewed by TV news, people crying, people eating,
families huddled on floors...chaos.
The music theme continuing in stately calm
6 INT. OFFICE - PROCESSING HALL - AFTERNOON - A FULL 6
and CLOSEUP OF TONY MONTANA ant
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
VOICE #1 (0.8.)
Okay so what do you call yourself?
VOICE #2 (0.6.)
Corn0 se llama?
Where'd you learn to speak the English,
My old man -- he was American.
I always know, y'know, one day I
I see all the
gonna come to America.
So where's your old man now?
He's dead. He died. Somewhere....
She's dead too.
6 CONTINUED 6
What kind of work you do in Cuba,
This. That. The Army. Some con-
Unhunh. Got any family in the States,
Tony? Cousins, brother-in-law?
Nobody. Everybody's dead.
Y'ever been in jail, 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
off a list)
You been in a mental hospital, Tony?
Yeah, in the boat coming over.
How 'bout homosexuality, Tony? You.
like men, y'like to dress up like a
(to Man #2)
Never tried it. What the (X)
with this guy, what's he think I am?
Just answer the questions, Tony.
The voices of the men remain cool and collected throughout.
(Xl Rev. 11/22/82
6 CONTINUED - 2 6
(to Man #l)
Arrested? Vagrancy? Marijuana?
. Never. Nothing.
His eye movements are rapid (over shoulders, sides, doors)
and he does a lot of touching -- objects -- lightly with the
tips of the fingers. Man #3 is stepping forward out of the
So where'd you get the beauty scar?
I was a kid. You should see the
(a grim chuckle)
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.
Oh that was for my sweetheart.
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
Hey, so I was in the can once for
buying dollars. Big deal.
6 CONTINUED - 3
That's pretty funny, Tony.
Some Canadian tourist....
What'd you mug him first? Get him
so I fuck Castro, what's it to
you? You a Communist or something?
How would you like it they tell you
all the time what to think, what to
do, you wanna be like a sheep, like
everybody else. Baa baa? Puta! You
want a stoolie on every block? You
wanna work eight hours a day and you
never own nothing? I ate octopus three
times a day, fucking octopus is coming
out my ears, fuckin' Russian shoes are
eating through my feet. Whaddaya want?
You want me to stay there? Hey, I'm
no little whore, I'm no stinking thief!
I'm Tony Montana and I'm a political
prisoner here from Cuba and I want my
fucking 'Human Rights' just like
President Jimmy Carter says, okay?...
There's a certain eloquence to the man`s plea but
it falls on disbelieving ears. One of them chuckles.
Carter should see this human right.
He's good. He's very good. What do ix:
you say Harry?
I.. 'Freedomtown.' Let them take a
look at him. A long look.
Hey, that's okay, too, Harry. No
Man #3 at the door stops, looks back.
Send me here, send me there. This.
That. Nothing you can do to me
Harry, Castro didn't do -- nothing....
That taunting smile on Tony's lips as, to the music of the
immigration theme, we:
7-A WT. FEDERAL BUS - HOUR LATER 7-P
The bus is packed with the harder-looking refugee-types.
The windows are caged and we see INS guards.
level is high, like a sack of monkeys.
Manny (Manolo) Ribera's got his feet up on an empty seat. (X)
He's big, strong, handsome, with dashing darkly feminine
eyes -- younger than Tony, and dapper in his cheap clothing.
He's eating a Baby Ruth candy bar.
So I'll sit in your lap.
Tony pushes his feet off, sits. He takes the Baby Ruth out
of Manny's hand, peels out the bar of chocolate, then
returns the empty wrapper to Manny,
So what'd you tell them?
I told them what you told me to tell
them. I told them I was in sani-
tation in Cuba.
I didn't tell you sanitation.
you to tell them you was in a sani-
tarium, not sanitation.
The bus pulling out now.
7-A CONTINUED 7-A
Is that what you told me?..You didn't
tell me that.
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
Fuck you Tony....
You did nothing right. I shoulda left
you in Cuba.
7-B EXT. MIAMI FROM BUS - ESTABLISHING SHOT 7-B
of Miami as, to the music of the Immigration theme, we:
8 INT. TONY'S TENT - FREEDOMTOWN - NIGHT (SIX MONTHS LATER) 8
A movie projector...
. . . the face of Bogart -- unshaven, paranoid.
a badly damaged 16 mm print of The Treasure of the Sierra -
Madre. It's near the end of the film and he's alone, talking
to himself just before the bandits get him....
The rag-tag audience is noisily yammering back at the screen,
the camera moving past Manny Ray, chewing gum, hair slicked,
eyes in cat-like repose...to Tony, enrapt, eyes like an
eleven year old, mouth hanging open.
What a thing.
Xf you believe you've got a conscience,
'it`ll pester you to death. But if you
don't believe you've got one, what can
it do to you? Makes me sick so much
talking and fussing about nonsense.
Time to go to sleep.
(closes his eyes
but not for long)
9 INT. TENT - LATER THATNIGHT 9
Tony is moving down 23rd Street, the walk proud and jungle
in the rock of the hips and the cast of the shoulders --
now accompanied by his handsome compadre, Manny
That Bogart, Chico, hunh?
__ CONTINUED 9
Fucking crazy, hunh!
That gold dust blowing in the wind.
Y'see Manny, he's always looking
over his shoulder. Hunh? Like me....
He hunches, darting exaggerated looks over his shoulder,
imitating Bogart. Manny laughs. In his black shirt with
zig-zag dots and colors and the baggy pants and sunglasses,
Tony's starting to look American. He's even got himself a
pop button pinned to his shirt that says "Fuck Off and Die."
And hi6 English rolls faster off his tongue, his confidence
I . . don't trust nobody.
Yeah all that gold, hunh -- I guess
you get 60 crazy you never trust no-
body no more.
Never happen to me, Chico. That's one
thing I never gonna be. I never gonna
be crazy like that.
Yeah, how do you know....
I don't know. Sometime6 you crazy,
Assholes, I go crazy. You Manny, I
never go crazy with you. You're
like my brother, I love you!
playfully punches Manny and they walk on into the
humid night, intersecting a young punk, Chi-Chi.
9 CONTINUED - 2 9
Oye Chi-Chi, what's going down.
Usual shit. Want some peanuts?
Pago's carrying tonight.
I don't know, I get all fucked up on
Want some new snatch? A pussycat
name of Yolanda just rolled onto the
Oh yeah, what she look like?
She look like you 'cept she got a
A real snatch?
You're not kidding. It talks.
As they chatter, Tony moves on with a movement of the head
for Manny. "Later."
He's in the middle of the "Boulevard" where a bustling black
market in toiletries, clothing, cigarettes, and transves-
tites is conducted nightly in the harsh glare of barrack
He ambles past a bunch of young guys throwing a Frisbee,
past a "Viva Carter!" proclamation in graffiti....
What about you sugar -- you wanna
Yeah with whose cock, honey?
2nd Rev. 11/22/82
10 EXT. FREEDOMTOWN GROUNDS - NIGHT
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.
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.
Angel, how ya doin'?
You know how many goddamn Fernandezes
are living in fucking Union City? And
I gotta call every fucking one of 'em
to find my brother!
Don't waste your dime, Chico. You
know your brother hates you.
Go fuck yourself, Tony.
Manny catches up to Tony.
2nd Rev. 11/22/82
10 c0NT1NUED 10
Whatcha hanging around with that
Hey Chi-Chi's okay, he hears things,
What's he hear I don't hear.
Angel over, listens.
He hears we got problems. Im-
migration is having these hearings,
y ' know? And they're saying nine
out of ten of us is gonna get
Yeah. And a lotta shit just went
down at Indiantown Gap. In
Pennsylvania. Riots, fires, broken
heads.. -things are gonna pop here.
Shit, I coulda told you that.
Yeah, so what do you think the
immigration's gonna do when we
riot? You think they're gonna let
us out? They're gonna throw away
the key, that's what.
What's I say. This is
gonna end bad, muchachos....
Hey, I tell youguys this isn't Cuba
here, this is the United States.
They got nothing but lawyers here.
We're on the television. We're in
the newspapers. Whatta they gonna
do -- ship us back to Cuba? Castro
-- he don't want us. Nobody no
place wants us so whatta they gonna
do -- put us in a gas chamber so all
the people can see? They're stuck
with us, Chico -- they gotta let us
#02154 11 and 11-A
2nd Rev. 11/22/82
10 c0NT1NuED -2 10
Yeah, well, what if we gotta sit here
another six months, hunh?
You worry too much, mi hermano. Like
the man says, 'when you got 'em by
the balls, their hearts and minds gonna
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
'Oh yeah America! Love-to love you
baby, oh yeah!'
EXT. PLAYING FIELD - DAY - TWO WEEKS LATER
Camera on Tony shuffling and feinting a soccer ball in al
impromtu game; he's covered with sweat, tires a fancy mo\
around a younger kid who not only steals the ball away fl
him but manages to lay him flat on his face.
The game, leaving him behind, shifts downfield.
Qye ! Tony! C'mon!
Mamy, just arrived at the edge of the field, waves him o
Tony, getting up, brushing himself off, walks off the fie
(at a distance)
Hey Tony where ya going?
I got better-things to do.
Chicken liver, hunh?
You ready for the good news, cone?
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?
Yeah, whadda we gotta do, go to
Cuba and hit the Beard or what?
Angel is walking towards them. Tony signals him.
Forget it. Oh yeah -- there's a
hundred greenbacks in it, For both
Hey you're kidding, that's great!
But Manny, you tell your guys Angel
gets out with us.
As Rebenga, in long-lensed closeup, nervously smokes a
cigarette, eyes roving as the guard examines his papers.
MONTAGE - THE RIOT - FREEDOMTOWN - DAY 13
The visuals are swift, dispassionate and documentary-like.
The refugees storm the barbed wire at the main gate,
carrying bricks and wooden slats.
NATIONAL GUARDSMEN AND STATE POLICE 14
form ranks outside.
flee through a hole in the fence.
move on them, wielding clubs.
are scooting down a highway.
on chains are glimpsed.
,.-- 19 REFUGEES 15
throw stones and debris from the rooftop of a barrack.
20 REBENGA 2C
a cigarette in his mouth, into a barrack.
21 ANGEL 21
tracks him, signals....
INSIDE - REFUGEES
are pulling apart their beds, going for the wooden slats.
Others set fire to their mattresses.
23 THE POLICE AND GUARDS 23
are moving through the gates, restoring order. Loudspeakers
blast. Injured refugees lie bleeding on the grounds.
24 AN ENTIREBARRACK 24
now goes up in flames.
25 INSIDE THE BARRACK 25
A bewildered Emilio Rebenga grabs his papers and valuables.
Manny runs up on him.
Rebenga sees him, senses danger, flees down the aisle with
his satchel, intersecting other panicked refugees.
Rebenga stumbles into a bed frame, shatters his glasses,
then runs on. Into the smoke and flame. Out of which
Scarface now appears -- in his killing wrath.
of the voice.
Rebenga snaps to the sound
From the friends you fucked!
The work is fast. The stiletto punches nine quick holes in
his lungs and his heart.. .And the figure of death is gone.
. . .And Emilio Rebenga staggers wildly in the smoke, uncompre-
hending eyes encased in broken glasses Sinking out of frame.
26 EXT. FREEDOMTOWN - DAY 26
The riot is over. The grounds are still, smoke and debris
2.7 INT. PROCESSXNG ROOM - DAY - A MONTH LATER 27
An Immigration Officer passes a sheaf of documents across a
desk into a pair of hands. The camera gliding along a
Green Card pinned to the top of the stack.
It says "ANTHONY MONTANA" and it has picture and stamps.
It's official, as the camera moves with triumphant
immigration theme music.to the face of Mr. Montana
examining quite contentedly the rewards of his efforts.
End of montage. Music continues.
27-A EXT. DOWNTOWN MIAMI - SUNNY DAY 27-A
The new Miami is rising UbiqUitOUSly above Biscayne Bay,
the camera moving past blossoming skyscrapers, workmen,
huge cranes, glass, mirrors booming upwards into a
beautiful blue Florida sky, fleeced with perfectly white
clouds.. .past a giant billboard:
HOW ABOUT A MILLION DOLLAR LOAN?
COME TALK TO US...
AT THE BANCO DE MIAMI...
Past banks of glass (Caribank, Banco de Venezuela,
Insert a car sticker going by with the image of the
American flag and the reminder: "WilI. the last American
leaving Miami please bring flag?"
Tony and MaMy bop al.oig the street in their hand-me-down
clothes, oogling the chicas and the bodegas (in a plush
modern area of Miami). Boats. Buildings. Cars.
J3oy -- can you believe this place
Man, they weren't kidding around.
a little old
See that old guy over there?
How do you know?
Go over there. Ask him gimme some
money. He'll give you the silver
right outta his pants -- that's
America man, that's what they do
Yeah? Hey Tony catch this tomato.
Ooooh baby doll...(*SEE NOTE)
A hot Cuban girl in heels comes down the sidewalk towards
them with a female friend. NOTE)
Hey baby what you say? (*SEE NOTE)
She looks at him like he was the last thing in the world
she'd say anything to.
27-A c0NT1NmD - 2 27-A
Tony waves her off, then changes his mind and runs up
behind her and throws up her skirt and peeks at her ass.
Before she can react, he hops away laughing as the two
Cuban girls ad-lib Spanish expletives at him.
Bey that's not cool, man. You wanna
score one of these chicks, watch
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.
...the fuck was #at?
You didn't see it? You weren't
looking. Hey you gotta watch for it.
Does it again, quickly; it looks like a baby robin's head
peeking out of a nest iin his teeth, then it's gone.
What the hell's that for -- eating
bugs? That's disgustin'.
You think so hunh? Well you don't
know shit 'bout chicks Chico.
they see this, they know. They go
crazy. They don't resist me.
Does it again. Tony tries but lacks the speed and agility,
provoking Manny's laughter. Many double checks himself in a
Takes practice, mi sangre, but they
just love it when you flop that
pussy with it....
Oooh...cono! How 'bout that one?
Pointing to a tall, cool blonde across the avenue.
(Xl Rev. l/18/83
27-B EXT. MIAMI SHOPPING STREET - DAY 27-B
Tony walks right out into the avenue, sticking .out his arm
and stopping traffic. Cars honk angrily but he couldn't
give a shit.
Manny follows as Tony now moves across the opposite lane, a
car screeching to a halt in front of him.
Okay Rober Retfor, strut your stuff.
The blonde has paused to look in a shop window.
Manny stops alongside, pretends to look. When he catches
her eyes, he flicks his tongue.
She looks at him, confused, then back into the window.
Manny look back at Tony, winks, sidles closer to her.
Tony, waiting off to the side, catches the gaze of a somber
child, four, toddling along with it's'mom. Be makes his
own version of a funny face at the kid who looks back at
him puzzled. Tony produces another face. The kid now
smiles. The mother looks over. Tony shrugs. She smiles
and moves along.
Meanwhile, Manny has moved close to the blonde and suggests
something, his eyebrows raising, the smile crooked. It
takes a moment, then the blonde smacks him across the face
and walks away.
Tony walks over to him, mocking.
Pobre hijo de puta -- you got it all
mixed up. This country first you
gotta get the money, then you get
the power and when you got the
power, then you get the women -- and
then, Chico, you got the world by
the balls. Por 10s conjones.
There you go talking bit again man.
You don't know shit about the world.
Who was it got us the green card,
who got us the friends with the
connections, hunh -- who's getting
: 27-B c0NT1NuED 27-B
us a job? You or me? Not you man.
You lucky you have any friends. You
lucky to have me as a friend....
they walk off, back
As to camera. (Xl
Yeah, so where's this job?
Don't push men, my friends gonna
take care of everything.
CUT TO (Xl
28 LITTLE HAVANA RESTAURANT - LITTLEHAVANA - NIGHT 28
on Southwest 8th Street. nCalle Ocho"....
The parking lot is crammed with Moby Dick-size cars and
casual Cubans in sports clothes bunched in conversations
around their wheels or at the ice cream stand.
The inside is a brightly lit glitterdome with fancy mirrors
and chandelier effects, Spanish in influence, and every
It combines the social functions of a
table is taken.
family restaurant, cafe, tourist haunt and late-night
watering hole for various beasts of prey.
The waitresses move like well-oiled troops along the paths
to the kitchen, turning the tables at a speedy rate. The
camera following past the pots and the pans and the steam
and the yelling cooks -- to the deepest, darkest recess of
. . . To reveal Tony Montana stubbing grease off the pots and
Manny Ray washing a stack of dishes. They're filthy and
exhausted. A dish slips through Manny's fingers and crashes
to the floor. A look between them suffices to tell us all.
Your big shot friend better come up
with something soon. I didn't come
to America to break my fucking back,
Hey he's coming okay! What do you
29 INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER
we are looking through a cubbyhole at the diners. Young
Cuban guys with chiquitas drift in with their fancy clothes,
diamonds and -- the mark of status -- large bodyguards.
They're out front with the flash, shaking hands with
friends, kissing, talking loud, familiar with the waitresses.
Staring through the smeared window enrapt are Tony and
M--q, wiping the sweat off their faces with towels.
Look at that chick man, wow! Look
at them knockers.
Yeah, look at the punk with her.
What's he got that I don't got?
He's good-looking that's what, look
at his clothes, flash Chico, pizzaz!..
a litte coke money don't hurt nobody.... (Xl
Junkie! -- They got no fuckin'
Look at these...fucking
onions! They outta be picking gold
off the streets.
His hands are shriveled white from dishwater.
Hey you two, outside! You got
29 CONTINUED 29
That's him -- El Mono's here!
of the name)
El Mono? Shit....
30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT 30'
Omar Suarez (El Mono -- "The Monkey") is so named cause he
looks like one. Nervous, crooked, darting eyes, feverish
intelligence, constantly smoking a cigarette and coughing
between words, his face pock-marked and pitted like the moon
from an old acne scars, he cuts a skinny figure at the
wheel of a big beige Coupe De Ville, idling the motor...with
him is Waldo Rojas eating a large foot and a half banana.
In contrast he's amiable, heavyset with a receding hairline,
flashing a lot of gold when he smiles.
Hey Omar, Waldo, coma esta...my
friend I told you about. Tony
Montana.. .Omar Suarez, Waldo Rojas....
Waldo mumbles something indistinct, Omar just stares briefly
as Tony hangs back, nodding arrogantly. Omar's eyes move
back to Manny.
I got something for you.
That's great...What do we
We gotta unload a boat -- grass, twenty-
five tons -- that's what we gotta do.
You get five hundred each.
what'd I tell you.
You gotta be kidding! Whaddayou
think we are -- baggage handlers?
Omar looks at him somehwat incredulously as Tony wipes his
hands on his greasy apron as he talks.
...five hundred dollars -- shit!
What'd I do for you guys in the
slammer, hunh? What was the Rebenga
hit -- game of dominoes or somethin'?
You're talkin' to important guys
Hey Tony, c'mon, it's okay Omar, we....
Omar sniggers, his eyes shifting to Waldo who shakes his
head and laughs.
So what's it with.this dishwasher,
Chico? Don't he think we coulda
gotten some other space cadet to do
Rebenga -- cheaper maybe. Fifty
So why didn't you? And who the fuck
you calling a dishwasher, I'll wipe
your monekyshit ass all up and down
Steps forward. Manny grabs him.
Bey! -- Tony, Tony....
In the car, Omar looks over at Waldo.
Guy's a lunatic, let's go.
What about them Indians --- (Xl
He buys it, somewhat amused.
The idea crosses Omar's mind,
Yeah.. . . (Xl
30 coNTINuEa -2 30
(back to i?y)
All right, smart ass, you wanna make
some big bucks? You know anything
...There's a bunch of Columbians. (Xl
Flying in Friday. New guys. They
say they got two keys for us for
openers. Pure coke. In a motel
over in Miami Beach. I want you
to go over there, and if it's
what they say it is, pay 'em and
bring it back. You do that, you'll
make five grand.
Hey, that sounds great, Tony....
Tony says nothing.
You know how to handle a machine gun?
Sure we was in the Amy together.
You're gonna need a couple other
Meet me at Hector's bodega Friday at
noon. You get the money then. Some- (Xl
thing happens to the money, pobrecito,
and my boss' gonna stick your head
up your asses faster'n a rabbit gets
Throws the remains of his cigarette at their.feet and pulls
the Coupe De Ville out of the lot.
30 CONTINUED - 3 30
Tony you're pushin' your luck.
30 CONTINUED - 3
You worry too much Manny -- you' re
gonna get yourself a heart attack
one of these days.
Yeah, so who are these Columbians?
So what does it matter?
So whatcha have that look on for
when Omar bring it up?
Tony strips off his greasy apron.
So nothin'. I just don't like
fuckin' Columbians that's what.
Where you greasers going, hunh, I got
plenty of plates here.
Wash yourself. I just retired.
Throws the Cook his apron.
What the fuck you gonna do!
Look after my investments.
EXT. MIAMI 3EACH - DAY - MOVING SHOT
The somewhat run-down, art-deco cheaper hotels of South
Miami Beach. The porches are filled with senior citizens
playing cards, reading papers, staring, slowly walking the
The ramshackle sedan, jammed with Tony and his gang,
rattles past. It's a beaten-up black and blue Monte Carlo,
jacked up on its springs with dune buggy threads and
needing paint. You'd arrest these guys on sight.
-- . INT./EXT. TONY'S CADILLAC - MI-1
32 BEACH - DAY 32
seen from the inside of the sedan. Tony turns down the
salsa beat on the radio, smoking a cigarette tensely.
Driving is Manny. In the delapidated backseat are Angel,
the baby-faced punk, and Chi-Chi, both from Freedomtown.
reflecting the tension, whistles a vapid series of
notes under his breath as he waits for a light to change.
Hey look at that chick, hunh? Lookit
those tits man, she's begging for it!
At the curb, an old crone hunchbacks her way in front of
the teenage chick, who is coming off the beach in a bikini,
blocking her off.
Whatta you crazy? She's 103 year6
Not her stupido! Her....
Camera revealing the teenager.
Sure, sure. Not to worry, Tony --
You get a heart attack.
&gel, whatcha wearing the face for?
light of it)
Ah, it's okay. I just y'know forgot
to make an offering. I was supposed
to go by the madrina today.
You still going to that cuncha? `(Xl
32 CONTINUED 32
She knows her shit. She talks to
Yemaya and Chango like nobody y'ever
As he talks Angel fingers a Negrita charm hanging around (Xl
his neck -- Chango, Cod of Fire and Thunder, his black face
tilted at a carnal angle. Sharp teeth glinting, his eyes
rolling in orgasmic imagery, his head crowned with gold.
Many of the Marielitos in the film will be wearing this,
also pendants with an eye to ward off the evil spirits, red
and white beads, red kerchiefs, black hand charms silver-
bangled bracelets, etc., all relating to their Afko-Catholic
Yeah, Chango looking out for us,
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'....
shaddup -- all of ya! I told (Xl
you before I don't go for that
mystical voodoo shit. That's for
the old cunchas waving their rooster
cocks in some dark alley, There's no
gods, there's no Chango -- nowhere!
You make your own luck. So shaddup
and act like you're in the United
Silence. Through the windshield, the sign of a motel -- TBE
SUN RAY -- is coming closer. (X)
Okay, this is it. Pull over across
The motel is coming closer in silence.
Money stays in the trunk till I come
out and get it. Me. Nobody else. If
I'm not out in fifteen minutes, some-
I'm in Room 9. You
32 coNTmuED -2 3:
As Manny pulls the car up, they pull out Ingram Model-10
machine pistol with folding butt and suppressor, ten inches
of kill power capable of firing 1100 rounds a minute -- it
into a man's purse, it's in vogue. Tony
can be slipped
gettting out, to Angel:
EXT. SUN-RAY MOTEL - DAY
Tony and Angel come slowly, gingerly down an exterior
corridor to a room marked "9". Nodding to Angel who (Xl
remains in the stairwell with the Ingram machine pistol,
Tony knocks. Pause.
34 EXT. TOAD'S MOTEL ROOM - DAY 34
The door's opened casually by an ugly, squat five-foot-four-
inch Columbian, "The Toad". He's in his forties, sports
shirt hanging over his polyester pants, old acne scars on
his face, like Omar; he's good-natured, a nice guy, he
Hey, oye amigo....
Spreading his arms in such a fashion to indicate he's clean.
35 INT. TOAD'S MOTEL ROOM - DAY 35
Tony, stepping into the conventionally tasteless orange and
blue motel room (with heavy blue drapes blocking the
windows), spreads his hands in a similar posture inducating
he too is not carrying; but this is only symbolic, it's not
meant to be a body search.
he steps in)
How you doing amigo...?
The other person in the room is a tough-looking little dark
Columbian chick with expressionless eyes, red fingernails,
and short boy-cut hair, "The Lizard"; she's tinier than the
Toad, about five-two.
The Toad looks around the corridor, eases the door closed.
Mind leaving the door open so my
brothers know everything's okay...
Toad shrugs and readjusts, leaving it open a few inches,
the conversation clipped and nervous throughout the scene.
problem... This is Marta.
3s CONTINUED 35
She nods woodenly, stays across the room. Behind her, the
television set is on to the Cable Newswatch. The protagonists
intermittently flick their eyes to it, soothing the tension.
Yeah. I'm Tony. So Omar says
Yeah, Omar's okay.
You know Omar.
Omar, yeah, I talk to him on the phone.
Okay... so you got the money?
Yeah, you got the stuff?
Sure I got the stuff, but I don't
got it right here with me. I got it
Yeah well I don't got it either, I
got it close by, too.
Where, in the parking lot?
How far's your stuff?
Tony paces back towards, the door casually, $0 check Angel
out.. .The Lizard staring at him. ..
35 CONTINUED - 2 35
Pause. Everthing seems okay.
So what do we do, walk in and start
Where you from?
Tony's eyes check out the bathroom.
What fuckin' difference does it make
where I'm from?
I like to get to know who I do
It's like he's stalling for time. The Lizard has made a
move somewhere off-center andis now sitting on the bed,
coiled and always watching.
You get to know me when you start
doing business and not fucking around,
Hey I'm just a friendly guy, maybe
Okay, what's the stall here? Your
guy late or something?
36 INT. TOAD'S MOTEL ROOM - DAY 36
There's suddenly a door slamming somewhere outside, then
Tony goes for his cheap handgun when he hears a frightening
female shriek, like a bird.
3 6 CONTINUED 36
Don't! Get up! Now shithead!
She's standing there with a .32 pointed steady at him, the
eyes like angry steel. There's no mistaking her ability to
The Toad pulls a 9mm out of the small of his back,
Angel is shoved into the room, followed by two more
Columbians, "The Kids". They slam the door, both carrying
Uzis with silencers, neither of them higher than five-four (Xl
or older than twenty, with their straight black Indian hair
cut across their blank eyes, they look like hungry little
pirranha careless about killing, muttering with the Lizard
in fast Columbese slang.
As Toad strips the handgun from Tony:
Frog face, you just fucked up. You
steal from me, you're dead.
Toad shrugs, he couldn't care less.
Yeah, okay, you gonna give me the
cash or am I gonna kill your brother
first? 'Fore I kill you?
Try sticking your head up your ass.
See if it fits.
Toad, completing the body search, rips out the stiletto
taped to the small of Tony's back. As he mutters something
in hard Columbian slang to the two kids who shove Angel
into the bathroom, producing strands of thick rope.
Even more worrisome is the chainsaw that the Lizard now
pull6 out of the suitcase under the bed. Toad begin6
assembling it as Lizard, still covering Tonywith her gun,
completes the deadpan process by turning up the volume on
the television set. The news, not 50 ironically in Miami,
is about a drug-related triple-homicide.
EXT. SUN-RRY MOTEL - DAY
Chi-Chi sitting at the wheel of the sedan, parked across
Manny paces outside the car, glances.
38 EXT. SUN-RAY MOTEL - DAY 38
A small woman -- the Lizard -- steps out in shadow in the
parking lot of the Sun-Ray across the street, looks around,
sees nothing, casually goes back in.
39 EXT. SUN-RAY MOTEL - DAY 39
Manny looks at his watch.
40 INT. TOAD'S MOTEL ROOM - DAY 40
Angel hangs suspended on the ropes from the top of the
shower curtain bar, his legs straddling the edge of the
bathtub. Toad slaps a tape over his mouth.
Tony, coverd by the two kids, watches from the lip of the
bathroom. He bucks angrily but the two kids ram their
pistols up against his temple and pin him to the door.
Angel looks at Tony; the eyes between them steady. They're
dead and they know it.
Toad, well-prepared, connects a voltage adapter and
You watch what happens to your friend
okay? If you don't want this to
happen to you, you get the money.
Lizard reenters the room, shakes her head at the Toad who
nods and turns on the whirring machine.
The Toad smiles amiably and angles the chainsaw slowly
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 on her face. The machine cuts off.
The Toad steps back from the tub, blood splattered on his
shirt, examjning his first cut like a butcher. He glances
Now the leg, hunh?
40 CONTINUED 40
A brief glimpse of Angel slumped by one arm like a cow on a
strap, streaming blood, eyes conscious and horrified; a
terrifying sight. The chainsaw whirrs once more.
41 EXT. SUN-RAY MOTEL - DAY 41
Manny, definitely suspecting something now, moves with
Chi-Chi across the parking lot of the Sun-Ray Motel. They
signal and separate.
42 INT. TOAD'S MOTEL ROOM - DAY 42
The Toad turns off the chainsaw and steps back, now drenched
with Angel's blood, totally unaffected. He looks at Tony.
Tony glances back at him with fury, tears involuntarily
dotting his eyes.
Okay, my 'caracortada', you can die
too. Makes no difference to me.
He nods. The kids shove Tony forward and we glimpse Angel
lying hunkered at his feet in the bathtub, in the steam of
his blood, piss dead.
43 EXT. SUN-RAY MOTEL - DAY 43
Manny moves crouched down the exterior corridor, Ingram
pistol in hand, past an older couple who pretend not to
At the door of Room 9, Manny waits, listens....
44 INT. TOAD'S MOTEL ROOM - 'DAY 44
The kids are starting to strap Tony up to the top of the
The Lizard watches from the lip of the bathroom, impassively.
Last chance, carajo?
Tony, devastated, spits in his face.
Go fuck yourself.
Toad's eyes narrow meanly.
Kid one slaps the tape across Tony's mouth.
Kid two reaches up to tighten the overhead strap to Tony's
The Toad turns on his chainsaw when suddenly there's a
gunshot from the hall.
45 INT./EXT. TOAD'S MOTEL ROOM - DAY
and the door smashes open and Manny barrels through and
shoots a surprised Lizard as she raises her pistol. She
crashes backwards into the room, wounded. Everything
happens very fast now.
Manny is at the lip of the bathroom, he fires and hits kid
one, who is turning, in the neck.
Tony, not tied up yet, spins on kid two and smashes the
unloosened strap across his face, sending him reeling
across the bathroom.
The Toad, chainsaw in hand, slashes at Manny.
Manny fires a burst into him and the Toad crashes backwards.
Manny now spins into a wall, hit in the side.
The Lizard, wounded on her knees, is firing her .32 at
him. In b-g., the window simultaneously blows out as
Chi-Chi appears firing a burst with his Ingram.
In sharp f-g., the Lizard crumples forward on her knees,
Tony, with the tape still stuck across his mouth, smashes
kid two, pinned against the blood-stained sink, with the
stock of his own Ingram.
In the midst of this, the Toad jumps up, wounded but with
strength, he tears out the motel room door
gripping the whirring chainsaw in a reflex action.
45 CONTINUED 45
Chi-Chi climbing through the window fires at him.
Meanwhile, kid two, with a rattlesnake life in him, produces
a knife out of nowhere, just missing Tony's gut by a half-
second as Tony dances back, getting a grip on the machine
He blows kid two away point-blank, putting another ten
craters in the mirror of the now-wrecked motel room.
Tony, yelling, whirls after the Toad.
I got him!
Manny, holding his side, empties his pistol on kid one who
is still twitching.
Chi-Chi sees Angel, gags.
46 EXT. SUN-RAY MOTEL - DAY 46
The senior citizens, playing Mah-Jorigg on the porch, mutter
As the Toad staggers out into the parking lot, blood flying,
chainsaw in hand, moving like a jerky chicken.
Their eyes follow.
As Tony comes out, walking after him deliberately, eyes set
in cold fury, machine gun swinging loosely at his side.
There's no rush, no fear of the police, getting even is all
that counts. He stands behind the Toad.
The Toad whips around to the voice, eyes stark with terror.
Tony empties the clip into the Toad, blowing hiin apart.
The bystanders just stare, stunned by the ferocity. Then
an old lady faints.
The Toad's body lying awkwardly arched in the gutter, Tony
turns and with a passing disinterested glimpse at his
audience, calmly walks back into the motel; the distance
and the light sufficient to conceal Tony's possible identi-
CUT TO '
47 SUN-RAY MOTEL - DAY
Tony intersects holding side,
Manny, his with Chi-Chi.
Manny, you okay?
Chi-Chi, get the car. Fast!
48 INT. TOAD'S MOTEL ROOM 48
Tony strides into the shambles of Room 9, past the bodies
and busted furniture to the suitcase on the bed from which
the Lizard pulled the chainsaw. The TV news still plays in
Inside are several kilo-sized
He shuts the suitcase, exits, stops, looks in the bathroom
at the corpse of Angel O.C. He goes, stoops, brings
Angel's Change charm into our view, fingers it, tosses it
back in the tub. He goes.
49 EXT. SUN-RAY MOTEL - DAY 49
Chi-Chi has the sedan waiting in the parking lot. Tony
hurries out, jumps in, the car speeding off. (Pisalo hasta (XI
la tabla -- Step on it.)
Past the senior citizens who are retreating inside their
The camera swinging to hold on the blue and black Monte Carlo
disappearing into the traffic of the Strip as twb cop cars
come screaming past them from the opposite direction.
50 EXT. LITTLE HAVANA RESTAUWWT - PHONE BOOTH - DUSK 50
The booth is in the busy parking lot, Tony on the phone,
Chi-Chi and Manny wait in the sedan.
Yeah, bunch of cowboys!..somebody
fucked up Omar.
50 CONTINUED 50
OMAR' s VOICE
Look, let me check it out right away!
YOU do that, Omar, you do that.
You got the money?
Yeah -- - I got the yeyo.
You got the yeyo? Bring it here.
E'uck you. I'm taking it to the boss
myself. Not you. Me.
OMAR s VOICE
Okay, okay. All right. Frank's
gonna wanna see you anyway. Look,
meet me tonight at Hector's at
That was some pick up you sent us on.
What's that mean?
Tony hangs up, walks back to the sedan.
51 EXT. LOPEZ CONDO - SOUTH MIAMI - NIGHT
on Bricknell Avenue in a swank high-rise district adjacent
Coconut Grove and Coral Gables, the hub of South Miami....
The doorman shows Omar, Manny, his. side bandaged, and Tony,
carrying the suitcase, through giant glass portals, past
seriously armed security cops in the lobby.
INT. LOPEZ CONDO - NIGHT
A deluxe apartment with the latest in electronic security
and surveillance, and a profusion of mirrors and luxury
items... and a hefty, Indian-looking bodyguard (Ernie), eyes
quietly trained like a Doberman pinscher.
The boss, Frank Lopez, comes down a carpeted corridor,
dressed for dinner in an expensive suit and shoes, somewhat
preoccupied as he greets Tony, then Max-my with a phony
effusion of warmth. He's of Cuban-Jewish extraction, now
Americanized in a rough and handsome sort of way, on the
heavy side, the face going slightly soft, but the eyes and
bulk carrying an odor of danger about him.
How ya doing, Tony? Glad to meet
you. How 'bout a drink?
Mr. Lopez... real pleasure.
Call me Frank, Tony. Everybody
calls me Frank. My Little League
team, even the prosecutors 'round
town, they all call me Frank.
Frank shakes hands with Manny.
Ray, he was with us on the
(to Manny) (Xl
I hear you caught one?
Manny shrugs, works his arm, showing us the wound doesn't (Xl
bother him too much.
52 c0NT1NuED 52
Just the flesh. Went right through.
Yeah, Omar here tells me good thing
about you boys.
2nd Rev. 11/22/82
52 CONTINUED 52
Yeah. Omar's terrific.
Not to mention of course the nice
job you guys did for me on that
Commie sonufabitch Emilio Rebenga.
You don't have to mention it. That
the kid's balls)
Scotch? Gin? Rum?
Yeah, .I need a guy with steel in his
balls. I need him close to,me, a
guy like you Tony -- and your
Still a little overwhelmed by the opulence of the place,
his clothes feeling narrow and cheap on him, Tony steps
forward and puts the suitcase up on the bar with the gin,
which Lopez passes to him, eyeing the suitcase.
.that's i t . That' s the
Angel died `cause of this shit. And
here's the money.
It's my gift to you -- from me. (Xl
Pause. Lopez shakes his head, sighs.
It's too bad about your friend, Tony,
if people'd do business the right way,
there'd be no fuckups like this....
He glances hard at Omar who squirms.
52 CONTINUED - 2
Without opening it, Lopez signals the bodyguard who takes
the suitcase and the money from under Tony's nose.
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.
Then you find out your biggest head-
ache's not bringing in the stuff but
figuring out what to do with all the
Yeah, I hope I have that,problem some
Lopez looks, distracted., down the corridor from which he
came, to Ernie, the bodyguard.
Where the hell's Elirira? Go get her,
will you, Ernie?
The big bodyguard exits smoothly.
(to the others)
The broad spends half her life
dressing, the other half undressing.
I guess you gotta catch her in the
Yeah. When she's not looking.- What
do you say guys, to a little food?
drink at his
Yeah sure, I could eat a horse.
Here she comes, Mr. Lopez.
1x1 Rev. I/10/83
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
Oooh sweetheart, you look Where you been baby, it's
like a mil