6th Gear (feat. Kstylis) Songtext - Diplo

6th Gear (feat. Kstylis) - Diplo

Scarface


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.


NARRATOR

In May 1900, Fidel Castro -- in an

effort to normalize relations with

the Carter Administration -- opened

the harbor at Mariel, Cuba with the

apparent intention of letting some

of his people join their relatives

in the United States. Within seventy-

two hours, 3,000 U.S. boats were headed

for Cuba. In the next few weeks, it

became evident that Castro was forcing

the boat owners to carry back with

them not only their relatives but the

dregs of his jail population. 3y the

time the port was closed 125,000

'Marielitos' had landed in Florida.

An estimated 25,000 had criminal

records. This is the story of that

minority -- those they call 'Los

Bandidos.'


The prologue is shredded diagonally by the blade of a

stilleto and in the empty black void we:


CUT TO


Opening Montage - Documentary Footage:

2 THE DISEMBARKATION 2

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

waving masses, demonstrations....


;

I

THE CROSSING 3

I

. 3


i7 Sun and storm.

,

1

4 THE LANDING - KEY WEST 4


The flag of the United States. Choppers swooping over the

ragged coastline of the Keys. Emerald waters dotted with

fishing trawlers and pleasure craft, an "America the

Beautiful" -type Immigration theme surging over 'this.


#02154 2

Rev. 11/22/82

5 THE PROCESSING 5

Long lines. Immigration and Nationalization Officials,

customs, Public Health, FBI, Church and Relief Organizations.

Babies bawling, arguments over paperwork, refugees being

interviewed by TV news, people crying, people eating,

families huddled on floors...chaos.


The music theme continuing in stately calm

as we:

CUT TO

6 INT. OFFICE - PROCESSING HALL - AFTERNOON - A FULL 6

and CLOSEUP OF TONY MONTANA ant

7 7

the scar-faced one, in the young angry prime of his life.

We dwell first on the scar which he likes to scratch now and

then. We move to the eyes, pure in their fury. Finally we

encompass the face -- the face of a man about to explode --

muscle, tissue, brain -- a man willing to live or die and

on the increment of a moment, inflict or receive either one.

He is clothed in rags crossed with holes, his shoes broken

cardboard, his hair unkempt, his complexion sallow from

prison.


Over this:

VOICE #1 (0.8.)

Okay so what do you call yourself?


VOICE #2 (0.6.)

Corn0 se llama?

MONTANA

(X)

Tony Montana...you?

VOICE #1

Where'd you learn to speak the English,

Tony?

MONTANA

(Xl

Sailor.

My old man -- he was American.

I always know, y'know, one day I

Bum.

I see all the

gonna come to America.

movies....

VOICE #l

So where's your old man now?


MONTANA

He's dead. He died. Somewhere....


VOICE #1

Mother?

TONY

She's dead too.

CONTINUED .


#02154 3

Rev. 11/22/82

6 CONTINUED 6

and

ant

7 7

VOICE #2

What kind of work you do in Cuba,

Tony?

TONY

This. That. The Army. Some con-

struction work....


VOICE #2

Unhunh. Got any family in the States,

Tony? Cousins, brother-in-law?


TONY

(a beat)

Nobody. Everybody's dead.

NO.


MAN #I

Y'ever been in jail, Tony?


TONY

Me jail? No way.

We now reveal three men in civilian clothing in the dark

afternoon light of the little room. Actually it's a

plywood office somewhere in the processing hall and we hear

the din from the hall over the question and answer. Two of

the men sit around a desk, the Third Man stands in a corner,

staring at Tony, the most authoritative-looking of the

three.

MAN #l

(checking

off a list)

You been in a mental hospital, Tony?


TONY

(grinning)

Yeah, in the boat coming over.


MAN #1

How 'bout homosexuality, Tony? You.

like men, y'like to dress up like a

woman?

TONY

(to Man #2)

Never tried it. What the (X)

fuck's wrong

with this guy, what's he think I am?


MAN #2

Just answer the questions, Tony.

The voices of the men remain cool and collected throughout.


CONTINUED


#02154 4

(Xl Rev. 11/22/82

6 CONTINUED - 2 6

and

ant

7

7

TONY

(to Man #l)

Fuck no.


MAN #1

Arrested? Vagrancy? Marijuana?


TONY

. Never. Nothing.

NO ..NO.

i

His eye movements are rapid (over shoulders, sides, doors)

and he does a lot of touching -- objects -- lightly with the

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

shadows.


MAN #3

So where'd you get the beauty scar?


TONY ?'

This?..

(scratching the

scar, shrugs)

I was a kid. You should see the

other kid.

(a grim chuckle)


MAN #3

And this?

He holds up Tony's hand and indicates the tattoo between the

thumb and second finger -- a heart with the word "Madre"

scaled through it.


TONY

Oh that was for my sweetheart.


MAN #3

Sweetheart?

(to the

other men)

We been seeing more and more of these.

It's some kinda code these guys used

in the can. Pitchfork means an assassin

or something. This one's new...You

want to tell us, Montana or you want to

take a little trip to the detention

center?


TONY

Hey, so I was in the can once for

buying dollars. Big deal.


CONTnmED


#02154 5

Rev. 11/22/82

6 CONTINUED - 3

-- 6

and am

7 7

MAN.#3

That's pretty funny, Tony.


TONY

Some Canadian tourist....


MAN #3

What'd you mug him first? Get him

outta here!

(starts to

walk out)


TONY

so I fuck Castro, what's it to

Hey,

you? You a Communist or something?

How would you like it they tell you

all the time what to think, what to

do, you wanna be like a sheep, like

everybody else. Baa baa? Puta! You

want a stoolie on every block? You

wanna work eight hours a day and you

never own nothing? I ate octopus three

times a day, fucking octopus is coming

out my ears, fuckin' Russian shoes are

eating through my feet. Whaddaya want?

You want me to stay there? Hey, I'm

no little whore, I'm no stinking thief!

I'm Tony Montana and I'm a political

prisoner here from Cuba and I want my

fucking 'Human Rights' just like

President Jimmy Carter says, okay?...

Silence. 7-

There's a certain eloquence to the man`s plea but

it falls on disbelieving ears. One of them chuckles.


MAN #l

Carter should see this human right.

He's good. He's very good. What do ix:

you say Harry?


MAN #3

(walking out)

I.. 'Freedomtown.' Let them take a

look at him. A long look.

CONTINUED


#02154 6

Rev. 12/16/82

6 -4

CONTINUED 6

P-

and ant

7 7

TONY

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

hard feelings.

Man #3 at the door stops, looks back.

TONY

Send me here, send me there. This.

That. Nothing you can do to me

Harry, Castro didn't do -- nothing....

That taunting smile on Tony's lips as, to the music of the

immigration theme, we:

DISSOLVE TO

7-A WT. FEDERAL BUS - HOUR LATER 7-P

The bus is packed with the harder-looking refugee-types.

The noise

The windows are caged and we see INS guards.

level is high, like a sack of monkeys.

Manny (Manolo) Ribera's got his feet up on an empty seat. (X)

He's big, strong, handsome, with dashing darkly feminine

eyes -- younger than Tony, and dapper in his cheap clothing.

He's eating a Baby Ruth candy bar.


Seat's taken.

TONY

So I'll sit in your lap.

Tony pushes his feet off, sits. He takes the Baby Ruth out

of Manny's hand, peels out the bar of chocolate, then

returns the empty wrapper to Manny,

TONY

So what'd you tell them?


I told them what you told me to tell

them. I told them I was in sani-

tation in Cuba.

.TONY

I told

I didn't tell you sanitation.

you to tell them you was in a sani-

tarium, not sanitation.

The bus pulling out now.

CONTINUED


#02154 6-A

Rev. 12/g/82

(Xl

7-A CONTINUED 7-A


Is that what you told me?..You didn't

tell me that.


TONY

You know if you hadn't opened your

mouth, they woulda thought you were

a horse. I told you to tell them you

was cured.

had TB and


Fuck you Tony....


TONY

You did nothing right. I shoulda left

you in Cuba.


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

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

DISSOLVE TO

8 INT. TONY'S TENT - FREEDOMTOWN - NIGHT (SIX MONTHS LATER) 8

A movie projector...


We're watching

. . . the face of Bogart -- unshaven, paranoid.

a badly damaged 16 mm print of The Treasure of the Sierra -

Madre. It's near the end of the film and he's alone, talking

to himself just before the bandits get him....


The rag-tag audience is noisily yammering back at the screen,

the camera moving past Manny Ray, chewing gum, hair slicked,

eyes in cat-like repose...to Tony, enrapt, eyes like an

eleven year old, mouth hanging open.


BOGART

What a thing.

Conscience. Conscience.

Xf you believe you've got a conscience,

'it`ll pester you to death. But if you

don't believe you've got one, what can

it do to you? Makes me sick so much

talking and fussing about nonsense.

Time to go to sleep.

(closes his eyes

but not for long)


CUT TO


6-B

#02154

Rev. 12/9/82

9 INT. TENT - LATER THATNIGHT 9

Tony is moving down 23rd Street, the walk proud and jungle

in the rock of the hips and the cast of the shoulders --

now accompanied by his handsome compadre, Manny


TONY

That Bogart, Chico, hunh?

CONTINUED


#00766 7


9

__ CONTINUED 9

Fucking crazy, hunh!


TONY

That gold dust blowing in the wind.

Y'see Manny, he's always looking

over his shoulder. Hunh? Like me....

He hunches, darting exaggerated looks over his shoulder,

imitating Bogart. Manny laughs. In his black shirt with

zig-zag dots and colors and the baggy pants and sunglasses,

Tony's starting to look American. He's even got himself a

pop button pinned to his shirt that says "Fuck Off and Die."

And hi6 English rolls faster off his tongue, his confidence

more pronounced.

TONY

I . . don't trust nobody.


Yeah all that gold, hunh -- I guess

you get 60 crazy you never trust no-

body no more.

TONY

Never happen to me, Chico. That's one

thing I never gonna be. I never gonna

be crazy like that.


Yeah, how do you know....

TONY

I know.


I don't know. Sometime6 you crazy,

too, Tony.


TONY

Assholes, I go crazy. You Manny, I

never go crazy with you. You're

like my brother, I love you!


Yeah, sure.

TONY

c'mon.

Hey,

playfully punches Manny and they walk on into the

Tony

humid night, intersecting a young punk, Chi-Chi.

CONTINUED


#00766 8

s


9 CONTINUED - 2 9

CHI-CHI

(to Manny;

Spanish)

Hey Manny.


Oye Chi-Chi, what's going down.


CHI-CHf

Usual shit. Want some peanuts?

Pago's carrying tonight.


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

it....

CHI-CHI

Want some new snatch? A pussycat

name of Yolanda just rolled onto the

Boulevard ---


Oh yeah, what she look like?


CHI-CHI

She look like you 'cept she got a

snatch.


A real snatch?


CHI-CHI

You're not kidding. It talks.

As they chatter, Tony moves on with a movement of the head

for Manny. "Later."


He's in the middle of the "Boulevard" where a bustling black

market in toiletries, clothing, cigarettes, and transves-

tites is conducted nightly in the harsh glare of barrack

neon.


He ambles past a bunch of young guys throwing a Frisbee,

past a "Viva Carter!" proclamation in graffiti....


TRANSVESTITE

(passing)

What about you sugar -- you wanna

party?


TONY

(passing her)

Yeah with whose cock, honey?


CUT TO


#02154 9

2nd Rev. 11/22/82

(X)

10 EXT. FREEDOMTOWN GROUNDS - NIGHT

,-- 10

Tony, five minutes later, in a phone booth, in the middle of

._ a bank of them, dozens of Marielietos pressing to get in,

trying still to contact somebody -- anybody -- on the outside.


Tony is dialing, his eyes shifting down to the telephone

number written in pencil on the back of a snapshot- As he

finishes the number, he flips the snapshot over and we see

a young girl, about thirteen years old, dark, tiny, fiery,

standing together with a dog and Tony, early twenties, in

shadow, the fringes of the photo heavily tattered with

handling. Tony stares at it, his mind drifting as the phone

rings in a distant place. A brief moment of repose we have

not yet seen in Tony.

Someone picks up the phone. An older woman's Voice. His

expression alters to uncertainty.

VOICE

Yes? ..Hello?..Who is this?

Tony changes his mind, hangs up. Pause. The faces of those

in line peer in, the next party raps on the door, but Tony

ignores it, slips the snapshot back into the wallet in his

pants, then at his own pace, exits the phone booth.

He walks a few beats, his eyes pensive. Then recognizes

somebody in another phone booth and goes over.


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

the phone, then hangs up, a desolate look on his face, a

worn phone book in his hand.

TONY

Angel, how ya doin'?

ANGEL

You know how many goddamn Fernandezes

are living in fucking Union City? And

I gotta call every fucking one of 'em

to find my brother!

TONY

passing)

(in

Don't waste your dime, Chico. You

know your brother hates you.


ANGEL

Go fuck yourself, Tony.


Manny catches up to Tony.


CONTINUED


#02154 10

2nd Rev. 11/22/82

(Xl

10 c0NT1NUED 10

TONY

Whatcha hanging around with that

hustler for?


Hey Chi-Chi's okay, he hears things,


TONY

What's he hear I don't hear.


comes

Angel over, listens.


He hears we got problems. Im-

migration is having these hearings,

y ' know? And they're saying nine

out of ten of us is gonna get

back!

shipped


TONY

Oh yeah?


Yeah. And a lotta shit just went

down at Indiantown Gap. In

Pennsylvania. Riots, fires, broken

heads.. -things are gonna pop here.

TONY

Shit, I coulda told you that.


Yeah, so what do you think the

immigration's gonna do when we

riot? You think they're gonna let

us out? They're gonna throw away

the key, that's what.

ANGEL

Oh shit!

What's I say. This is

gonna end bad, muchachos....

TONY

Hey, I tell youguys this isn't Cuba

here, this is the United States.

They got nothing but lawyers here.

We're on the television. We're in

the newspapers. Whatta they gonna

do -- ship us back to Cuba? Castro

-- he don't want us. Nobody no

place wants us so whatta they gonna

do -- put us in a gas chamber so all

the people can see? They're stuck

with us, Chico -- they gotta let us

go!

CONTINUED


#02154 11 and 11-A

2nd Rev. 11/22/82

10 c0NT1NuED -2 10

(Xl

Yeah, well, what if we gotta sit here

another six months, hunh?


TONY

You worry too much, mi hermano. Like

the man says, 'when you got 'em by

the balls, their hearts and minds gonna

follow' --hunh?

Tony winks and walks off.


The radio is playing hard rock, something like Blondie or

Benatar from the stoop of a nearby barrack. Tony loves the

sound and swings into it, snapping his fingers and rolling

his hips like Presley. He back-peddles, smiling at Manny

and Angel.


TONY

(in awful

imitation)

'Oh yeah America! Love-to love you

baby, oh yeah!'


CUTTO


#00766 12


EXT. PLAYING FIELD - DAY - TWO WEEKS LATER

11


Camera on Tony shuffling and feinting a soccer ball in al

impromtu game; he's covered with sweat, tires a fancy mo\

around a younger kid who not only steals the ball away fl

him but manages to lay him flat on his face.


TONY

(lying there)

Aw fuck....

The game, leaving him behind, shifts downfield.


Qye ! Tony! C'mon!

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

Tony, getting up, brushing himself off, walks off the fie

towards him.

ANGEL

(at a distance)

Hey Tony where ya going?

TONY

I got better-things to do.

ANGEL

Chicken liver, hunh?

TONY

(to Manny)

Yeah?


(looking zd)

Let's walk.

They walk.


You ready for the good news, cone?

TONY

Yeah.

MANNY

We can be outta here in thirty days.

Not only that. We got a green card

and a job in Miami! Hunh? We're

made, Chico, we're made?

TONY

Yeah, whadda we gotta do, go to

Cuba and hit the Beard or what?

c0NT1NuED


#00766 14


CONTINUED

12

12

Angel is walking towards them. Tony signals him.


(shakes his

head)

Forget it. Oh yeah -- there's a

hundred greenbacks in it, For both

of us.

TONY

(enthusiastic)

Hey you're kidding, that's great!

But Manny, you tell your guys Angel

gets out with us.

As Rebenga, in long-lensed closeup, nervously smokes a

cigarette, eyes roving as the guard examines his papers.

CUT TO

MONTAGE - THE RIOT - FREEDOMTOWN - DAY 13

13


The visuals are swift, dispassionate and documentary-like.

The refugees storm the barbed wire at the main gate,

carrying bricks and wooden slats.

ALL

(in unison)

Libertad! Libertad!


NATIONAL GUARDSMEN AND STATE POLICE 14

14


form ranks outside.


15

REFUGEES

15


flee through a hole in the fence.


GUARDS

16


move on them, wielding clubs.


17

SEVERAL REFUGEES

17


are scooting down a highway.


18

POLICE DOGS

on chains are glimpsed.


#00766 15


,.-- 19 REFUGEES 15

throw stones and debris from the rooftop of a barrack.


20 REBENGA 2C

nervously hurries

a cigarette in his mouth, into a barrack.


21 ANGEL 21

tracks him, signals....


INSIDE - REFUGEES

22 22

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

Others set fire to their mattresses.


23 THE POLICE AND GUARDS 23

are moving through the gates, restoring order. Loudspeakers

blast. Injured refugees lie bleeding on the grounds.


24 AN ENTIREBARRACK 24

now goes up in flames.


25 INSIDE THE BARRACK 25

A bewildered Emilio Rebenga grabs his papers and valuables.


Manny runs up on him.

Rebenga sees him, senses danger, flees down the aisle with

his satchel, intersecting other panicked refugees.


Manny follows.

Rebenga stumbles into a bed frame, shatters his glasses,

then runs on. Into the smoke and flame. Out of which

Scarface now appears -- in his killing wrath.


TONY

Rebenga!


of the voice.

Rebenga snaps to the sound

TONY

(Spanish)

From the friends you fucked!

CONTINUED


#02154 16

Rev. l/18/83

(Xl

25 CONTINUED

_,.- 25

The work is fast. The stiletto punches nine quick holes in

, -~-

his lungs and his heart.. .And the figure of death is gone.

. . .And Emilio Rebenga staggers wildly in the smoke, uncompre-

hending eyes encased in broken glasses Sinking out of frame.


26 EXT. FREEDOMTOWN - DAY 26

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

the aftermath.


DISSOLVE TO

2.7 INT. PROCESSXNG ROOM - DAY - A MONTH LATER 27


An Immigration Officer passes a sheaf of documents across a

desk into a pair of hands. The camera gliding along a

Green Card pinned to the top of the stack.

It says "ANTHONY MONTANA" and it has picture and stamps.

It's official, as the camera moves with triumphant

immigration theme music.to the face of Mr. Montana

examining quite contentedly the rewards of his efforts.

End of montage. Music continues.

DISSOLVE To

27-A EXT. DOWNTOWN MIAMI - SUNNY DAY 27-A

The new Miami is rising UbiqUitOUSly above Biscayne Bay,

the camera moving past blossoming skyscrapers, workmen,

huge cranes, glass, mirrors booming upwards into a

beautiful blue Florida sky, fleeced with perfectly white

clouds.. .past a giant billboard:

HOW ABOUT A MILLION DOLLAR LOAN?

COME TALK TO US...

AT THE BANCO DE MIAMI...

TODAY!

Past banks of glass (Caribank, Banco de Venezuela,

Amerifirst)....

Insert a car sticker going by with the image of the

American flag and the reminder: "WilI. the last American

leaving Miami please bring flag?"

Tony and MaMy bop al.oig the street in their hand-me-down

clothes, oogling the chicas and the bodegas (in a plush

modern area of Miami). Boats. Buildings. Cars.

CONTINIJEID


#02154 16-A

Rev. l/18/83

(Xl

27-A

?' CONTINUED

27-A

TONY

(looking

around)

J3oy -- can you believe this place

.'

Chico?


(Spanish)

Man, they weren't kidding around.


TONY

(pointing to

a little old

man walking

towards them)

See that old guy over there?


Yeah.


TONY

Millionaire.


How do you know?


TONY

Go over there. Ask him gimme some

money. He'll give you the silver

right outta his pants -- that's

America man, that's what they do

here.


(almost

believing)

Yeah? Hey Tony catch this tomato.

(adjusting

his pants)

Ooooh baby doll...(*SEE NOTE)


A hot Cuban girl in heels comes down the sidewalk towards

them with a female friend. NOTE)

(*SEE


TONY

Hey baby what you say? (*SEE NOTE)


She looks at him like he was the last thing in the world

she'd say anything to.


CONTINUED


#02154 16-B

Rev. l/18/83

(Xl

27-A c0NT1NmD - 2 27-A

Tony waves her off, then changes his mind and runs up

behind her and throws up her skirt and peeks at her ass.

Before she can react, he hops away laughing as the two

Cuban girls ad-lib Spanish expletives at him.


Bey that's not cool, man. You wanna

score one of these chicks, watch

me. Mira!

He wiggles his tongue up and down, fast like a small

whirring motor part, then slips it back into his mouth in

the flick of an eye.


TONY

...the fuck was #at?


You didn't see it? You weren't

looking. Hey you gotta watch for it.

Does it again, quickly; it looks like a baby robin's head

peeking out of a nest iin his teeth, then it's gone.

TONY

What the hell's that for -- eating

bugs? That's disgustin'.


You think so hunh? Well you don't

When

know shit 'bout chicks Chico.

they see this, they know. They go

crazy. They don't resist me.

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

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

shop window.


(doing

it again)

Takes practice, mi sangre, but they

just love it when you flop that

pussy with it....

TONY

Oooh...cono! How 'bout that one?

Pointing to a tall, cool blonde across the avenue.


No problem.


#02154 16-C

(Xl Rev. l/18/83

27-B EXT. MIAMI SHOPPING STREET - DAY 27-B

Tony walks right out into the avenue, sticking .out his arm

and stopping traffic. Cars honk angrily but he couldn't

give a shit.

TONY

Come on?

Manny follows as Tony now moves across the opposite lane, a

car screeching to a halt in front of him.


TONY

(points)

Okay Rober Retfor, strut your stuff.

The blonde has paused to look in a shop window.


Manny stops alongside, pretends to look. When he catches

her eyes, he flicks his tongue.


She looks at him, confused, then back into the window.

Manny look back at Tony, winks, sidles closer to her.


Tony, waiting off to the side, catches the gaze of a somber

child, four, toddling along with it's'mom. Be makes his

own version of a funny face at the kid who looks back at

him puzzled. Tony produces another face. The kid now

smiles. The mother looks over. Tony shrugs. She smiles

and moves along.


Meanwhile, Manny has moved close to the blonde and suggests

something, his eyebrows raising, the smile crooked. It

takes a moment, then the blonde smacks him across the face

and walks away.

Tony walks over to him, mocking.


TONY

Pobre hijo de puta -- you got it all

mixed up. This country first you

gotta get the money, then you get

the power and when you got the

power, then you get the women -- and

then, Chico, you got the world by

the balls. Por 10s conjones.


There you go talking bit again man.

You don't know shit about the world.

Who was it got us the green card,

who got us the friends with the

connections, hunh -- who's getting

CONTINUED


#02154 16-D

.

Rev. l/18/83

: 27-B c0NT1NuED 27-B

MANNY (Cont'd)

us a job? You or me? Not you man.

You lucky you have any friends. You

lucky to have me as a friend....


they walk off, back

As to camera. (Xl

TONY (X)

Yeah, so where's this job?


(Xl

Don't push men, my friends gonna

take care of everything.


CUT TO (Xl

28 LITTLE HAVANA RESTAURANT - LITTLEHAVANA - NIGHT 28

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

The parking lot is crammed with Moby Dick-size cars and

casual Cubans in sports clothes bunched in conversations

around their wheels or at the ice cream stand.


The inside is a brightly lit glitterdome with fancy mirrors

and chandelier effects, Spanish in influence, and every

It combines the social functions of a

table is taken.

family restaurant, cafe, tourist haunt and late-night

watering hole for various beasts of prey.

The waitresses move like well-oiled troops along the paths

to the kitchen, turning the tables at a speedy rate. The

camera following past the pots and the pans and the steam

and the yelling cooks -- to the deepest, darkest recess of

this dungeon....


. . . To reveal Tony Montana stubbing grease off the pots and

Manny Ray washing a stack of dishes. They're filthy and

exhausted. A dish slips through Manny's fingers and crashes

to the floor. A look between them suffices to tell us all.

CONTINUED


#02154 17

Rev. 11/12/82

28 CONTINUED

.-- 28

TONY

Your big shot friend better come up

with something soon. I didn't come

to America to break my fucking back,

querido.


(equally xated)

Hey he's coming okay! What do you

want?


CUT TO

29 INT./EXT. LITTLE HAVANA RESTAURANT - NIGHT - HOURS LATER

we are looking through a cubbyhole at the diners. Young

Cuban guys with chiquitas drift in with their fancy clothes,

diamonds and -- the mark of status -- large bodyguards.

They're out front with the flash, shaking hands with

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

Staring through the smeared window enrapt are Tony and

M--q, wiping the sweat off their faces with towels.


Look at that chick man, wow! Look

at them knockers.

TONY

Yeah, look at the punk with her.

What's he got that I don't got?


He's good-looking that's what, look

at his clothes, flash Chico, pizzaz!..

a litte coke money don't hurt nobody.... (Xl

TONY

Junkie! -- They got no fuckin'

character.

(looks at

his hands)

Look at these...fucking

Cono!

onions! They outta be picking gold

(Xl

off the streets.

His hands are shriveled white from dishwater.

COOK

(Spanish)

Hey you two, outside! You got

company. .

CONTINWED


#Oil54 10

Rev. 11/12/82

29 CONTINUED 29

That's him -- El Mono's here!

TONY

(contemptuous

of the name)

El Mono? Shit....

CUT TO

30 EXT. PARKING LOT OUTSIDE LITTLE HAVANA RESTAURANT - NIGHT 30'

Omar Suarez (El Mono -- "The Monkey") is so named cause he

looks like one. Nervous, crooked, darting eyes, feverish

intelligence, constantly smoking a cigarette and coughing

between words, his face pock-marked and pitted like the moon

from an old acne scars, he cuts a skinny figure at the

wheel of a big beige Coupe De Ville, idling the motor...with

him is Waldo Rojas eating a large foot and a half banana.

In contrast he's amiable, heavyset with a receding hairline,

flashing a lot of gold when he smiles.


(leaning in

the window)

Hey Omar, Waldo, coma esta...my

friend I told you about. Tony

Montana.. .Omar Suarez, Waldo Rojas....

Waldo mumbles something indistinct, Omar just stares briefly

as Tony hangs back, nodding arrogantly. Omar's eyes move

back to Manny.

OMAR

I got something for you.


That's great...What do we

Oh yeah!

gotta do?


(X)

We gotta unload a boat -- grass, twenty-

five tons -- that's what we gotta do.

You get five hundred each.


Okay!

(to Tony)

what'd I tell you.

See,

TONY

You gotta be kidding! Whaddayou

think we are -- baggage handlers?

CONTINUED


#cl2154 19

Rev. 11/2/82

30 CONTINUED

-- 30

Omar looks at him somehwat incredulously as Tony wipes his

hands on his greasy apron as he talks.


TONY

...five hundred dollars -- shit!

What'd I do for you guys in the

slammer, hunh? What was the Rebenga

hit -- game of dominoes or somethin'?

You're talkin' to important guys

here.


(shocked)

Hey Tony, c'mon, it's okay Omar, we....


TONY

Shaddup!


Omar sniggers, his eyes shifting to Waldo who shakes his

head and laughs.


(to Manny'Zy)

So what's it with.this dishwasher,

Chico? Don't he think we coulda

gotten some other space cadet to do

Rebenga -- cheaper maybe. Fifty

bucks?

TONY

(shrugs)

So why didn't you? And who the fuck

you calling a dishwasher, I'll wipe

your monekyshit ass all up and down

this Boulevard.

Steps forward. Manny grabs him.


Bey! -- Tony, Tony....

In the car, Omar looks over at Waldo.


OMAR

Guy's a lunatic, let's go.


WALDO

What about them Indians --- (Xl

He buys it, somewhat amused.

The idea crosses Omar's mind,

OMAR

Yeah.. . . (Xl

CONTINUED


#02154 20

Rev. U/12/82

30 coNTINuEa -2 30

(back to i?y)

All right, smart ass, you wanna make

some big bucks? You know anything

about cocaine?


TONY

You kidding.

OMAR

...There's a bunch of Columbians. (Xl

Flying in Friday. New guys. They

say they got two keys for us for

openers. Pure coke. In a motel

over in Miami Beach. I want you

to go over there, and if it's

what they say it is, pay 'em and

bring it back. You do that, you'll

make five grand.


(to Tony-)

Hey, that sounds great, Tony....

Tony says nothing.

OMAR

You know how to handle a machine gun?


Sure we was in the Amy together.

OMAR

You're gonna need a couple other

guys....


No problem.

OMAR

Meet me at Hector's bodega Friday at

noon. You get the money then. Some- (Xl

thing happens to the money, pobrecito,

and my boss' gonna stick your head

up your asses faster'n a rabbit gets

fucked.


Throws the remains of his cigarette at their.feet and pulls

the Coupe De Ville out of the lot.

CONTINUED


#02154 20-A

Rev. 11/Z/82

30 CONTINUED - 3 30

TONY

I'm scared.


(relieved)

Tony you're pushin' your luck.


c0NT1NuED


#00766 21


30 CONTINUED - 3

30

TONY

(walking away)

You worry too much Manny -- you' re

gonna get yourself a heart attack

one of these days.


(catching7

Yeah, so who are these Columbians?


TONY

So what does it matter?


So whatcha have that look on for

when Omar bring it up?

Tony strips off his greasy apron.


TONY

So nothin'. I just don't like

fuckin' Columbians that's what.

They're animals!


COOK

(intersecting,

Spanish)

Where you greasers going, hunh, I got

plenty of plates here.

TONY

Wash yourself. I just retired.

`em


Throws the Cook his apron.


COOK

(Spanish)

What the fuck you gonna do!


TONY

Look after my investments.


CUT TO

EXT. MIAMI 3EACH - DAY - MOVING SHOT

31 31

The somewhat run-down, art-deco cheaper hotels of South

Miami Beach. The porches are filled with senior citizens

playing cards, reading papers, staring, slowly walking the

street.

The ramshackle sedan, jammed with Tony and his gang,

rattles past. It's a beaten-up black and blue Monte Carlo,

jacked up on its springs with dune buggy threads and

needing paint. You'd arrest these guys on sight.


#02154 22

Rev- 11/22/82

-- . INT./EXT. TONY'S CADILLAC - MI-1

32 BEACH - DAY 32

seen from the inside of the sedan. Tony turns down the

salsa beat on the radio, smoking a cigarette tensely.

Driving is Manny. In the delapidated backseat are Angel,

the baby-faced punk, and Chi-Chi, both from Freedomtown.


reflecting the tension, whistles a vapid series of

Manw,

notes under his breath as he waits for a light to change.


Hey look at that chick, hunh? Lookit

those tits man, she's begging for it!

At the curb, an old crone hunchbacks her way in front of

the teenage chick, who is coming off the beach in a bikini,

blocking her off.


CHI-C?XI

(looking over)

Whatta you crazy? She's 103 year6

old.


Not her stupido! Her....

Camera revealing the teenager.


TONY

(the light

changing)

Drive, willya.


(mocking)

Sure, sure. Not to worry, Tony --

You get a heart attack.

(looking in

the rearview

mirror)

&gel, whatcha wearing the face for?


ANGEL

(tense, making

light of it)

Ah, it's okay. I just y'know forgot

to make an offering. I was supposed

to go by the madrina today.


You still going to that cuncha? `(Xl

CONTINUED


#02154 23

Rev. 11/22/82

32 CONTINUED 32

ANGEL

She knows her shit. She talks to

Yemaya and Chango like nobody y'ever

heard.

As he talks Angel fingers a Negrita charm hanging around (Xl

I


his neck -- Chango, Cod of Fire and Thunder, his black face

tilted at a carnal angle. Sharp teeth glinting, his eyes

rolling in orgasmic imagery, his head crowned with gold.

Many of the Marielitos in the film will be wearing this,

also pendants with an eye to ward off the evil spirits, red

and white beads, red kerchiefs, black hand charms silver-

bangled bracelets, etc., all relating to their Afko-Catholic

spiritualism.


(making fun)

Yeah, Chango looking out for us,

.

Angel?

ANCEL

Chango looking out for all the

'bandidos' everywhere. But you gotta

pay him his dues, y'know. You gotta

let him know you respect him. You

don't, Chango -- he gets pissed an'....

TONY

(angry)

shaddup -- all of ya! I told (Xl

Hey,

you before I don't go for that

mystical voodoo shit. That's for

the old cunchas waving their rooster

cocks in some dark alley, There's no

gods, there's no Chango -- nowhere!

You make your own luck. So shaddup

and act like you're in the United

States here.

Silence. Through the windshield, the sign of a motel -- TBE

SUN RAY -- is coming closer. (X)

TONY

Okay, this is it. Pull over across

the street.

The motel is coming closer in silence.

TONY

(to Manny)

Money stays in the trunk till I come

out and get it. Me. Nobody else. If

I'm not out in fifteen minutes, some-

I'm in Room 9. You

thing's wrong.

ready, Angelito?

CONTINUED


23-A

#02154

Rev. 11/22/82


32 coNTmuED -2 3:

,_.-- ANGEL

Sure thing.

.

As Manny pulls the car up, they pull out Ingram Model-10

machine pistol with folding butt and suppressor, ten inches

of kill power capable of firing 1100 rounds a minute -- it

into a man's purse, it's in vogue. Tony

can be slipped

gettting out, to Angel:


TONY

Let's go....

CUT TO


#02154 24

Rev. 11/2/82

EXT. SUN-RAY MOTEL - DAY

33 33

Tony and Angel come slowly, gingerly down an exterior

corridor to a room marked "9". Nodding to Angel who (Xl

remains in the stairwell with the Ingram machine pistol,

Tony knocks. Pause.


34 EXT. TOAD'S MOTEL ROOM - DAY 34

The door's opened casually by an ugly, squat five-foot-four-

inch Columbian, "The Toad". He's in his forties, sports

shirt hanging over his polyester pants, old acne scars on

his face, like Omar; he's good-natured, a nice guy, he

smiles.


TOAD

Hey, oye amigo....

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


35 INT. TOAD'S MOTEL ROOM - DAY 35

Tony, stepping into the conventionally tasteless orange and

blue motel room (with heavy blue drapes blocking the

windows), spreads his hands in a similar posture inducating

he too is not carrying; but this is only symbolic, it's not

meant to be a body search.

TONY

(as

he steps in)

How you doing amigo...?

The other person in the room is a tough-looking little dark

Columbian chick with expressionless eyes, red fingernails,

and short boy-cut hair, "The Lizard"; she's tinier than the

Toad, about five-two.

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

TONY

(checking out

the room)

Mind leaving the door open so my

brothers know everything's okay...

okay?

Toad shrugs and readjusts, leaving it open a few inches,

the conversation clipped and nervous throughout the scene.

`TO@

problem... This is Marta.

Sure, no

CONTINUED


#00766 25


3s CONTINUED 35

TONY

Hello, Marta.

She nods woodenly, stays across the room. Behind her, the

television set is on to the Cable Newswatch. The protagonists

intermittently flick their eyes to it, soothing the tension.

TOAD

I'm Hector....

Pause.

TONY

Yeah. I'm Tony. So Omar says

you're okay.

TOAD

Yeah, Omar's okay.

TONY

You know Omar.

TOAD

Omar, yeah, I talk to him on the phone.

TONY

Okay....

TOAD

Okay... so you got the money?

TONY

Yeah, you got the stuff?

TOAD

Sure I got the stuff, but I don't

got it right here with me. I got it

close by.

TONY

Yeah well I don't got it either, I

got it close by, too.

TOAD

Where, in the parking lot?

TONY

How far's your stuff?

No.

Tony paces back towards, the door casually, $0 check Angel

out.. .The Lizard staring at him. ..

CONTINUED


#00766 26


35 CONTINUED - 2 35

TOAD

Not far.

Pause. Everthing seems okay.

TONY

So what do we do, walk in and start

over?

TOAD

(change6 subject}

Where you from?

Tony's eyes check out the bathroom.


TONY

What fuckin' difference does it make

where I'm from?

TOAD

I like to get to know who I do

business with.

It's like he's stalling for time. The Lizard has made a

move somewhere off-center andis now sitting on the bed,

coiled and always watching.


TONY

You get to know me when you start

doing business and not fucking around,

Hector.

TOAD

Hey I'm just a friendly guy, maybe

you don't....

TONY

Okay, what's the stall here? Your

guy late or something?


36 INT. TOAD'S MOTEL ROOM - DAY 36

There's suddenly a door slamming somewhere outside, then

commotion.

ANGEL

Tony!

Tony goes for his cheap handgun when he hears a frightening

female shriek, like a bird.

CONTINUED


#02154 27

Rev. 11/2/82

3 6 CONTINUED 36

LIZARD

(slang Spanish)

Don't! Get up! Now shithead!

She's standing there with a .32 pointed steady at him, the

eyes like angry steel. There's no mistaking her ability to

Shoot.


The Toad pulls a 9mm out of the small of his back,

approaches Tony.

Angel is shoved into the room, followed by two more

Columbians, "The Kids". They slam the door, both carrying

Uzis with silencers, neither of them higher than five-four (Xl

or older than twenty, with their straight black Indian hair

cut across their blank eyes, they look like hungry little

pirranha careless about killing, muttering with the Lizard

in fast Columbese slang.

As Toad strips the handgun from Tony:


TONY

Frog face, you just fucked up. You

steal from me, you're dead.

Toad shrugs, he couldn't care less.


TOAD

Yeah, okay, you gonna give me the

cash or am I gonna kill your brother

first? 'Fore I kill you?

TONY

Try sticking your head up your ass.

See if it fits.

Toad, completing the body search, rips out the stiletto

taped to the small of Tony's back. As he mutters something

in hard Columbian slang to the two kids who shove Angel

into the bathroom, producing strands of thick rope.

Even more worrisome is the chainsaw that the Lizard now

pull6 out of the suitcase under the bed. Toad begin6

assembling it as Lizard, still covering Tonywith her gun,

completes the deadpan process by turning up the volume on

the television set. The news, not 50 ironically in Miami,

is about a drug-related triple-homicide.


CUT TO:

EXT. SUN-RRY MOTEL - DAY

37 37

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

the street.

Manny paces outside the car, glances.


#00766 28


38 EXT. SUN-RAY MOTEL - DAY 38

A small woman -- the Lizard -- steps out in shadow in the

parking lot of the Sun-Ray across the street, looks around,

sees nothing, casually goes back in.


39 EXT. SUN-RAY MOTEL - DAY 39

Manny looks at his watch.


CUT TO

40 INT. TOAD'S MOTEL ROOM - DAY 40

Angel hangs suspended on the ropes from the top of the

shower curtain bar, his legs straddling the edge of the

bathtub. Toad slaps a tape over his mouth.


Tony, coverd by the two kids, watches from the lip of the

bathroom. He bucks angrily but the two kids ram their

pistols up against his temple and pin him to the door.

Angel looks at Tony; the eyes between them steady. They're

dead and they know it.


Toad, well-prepared, connects a voltage adapter and

extension cord.


TOAD

(to Tony)

You watch what happens to your friend

okay? If you don't want this to

happen to you, you get the money.


Lizard reenters the room, shakes her head at the Toad who

nods and turns on the whirring machine.

The Toad smiles amiably and angles the chainsaw slowly

towards Angel.

The two kids press tight against Tony, guns pointed at his

brains...o.c. we know what's happening as we hear the

chainsaw and we watch Tony's shock and rage.

no expression

Lizard has on her face. The machine cuts off.


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

shirt, examjning his first cut like a butcher. He glances

at Tony.


TOAD

Now the leg, hunh?

CONTINUED


#00766 29


40 CONTINUED 40

A brief glimpse of Angel slumped by one arm like a cow on a

strap, streaming blood, eyes conscious and horrified; a

terrifying sight. The chainsaw whirrs once more.

CUT TO

41 EXT. SUN-RAY MOTEL - DAY 41

Manny, definitely suspecting something now, moves with

Chi-Chi across the parking lot of the Sun-Ray Motel. They

signal and separate.

CUT TO

42 INT. TOAD'S MOTEL ROOM - DAY 42

The Toad turns off the chainsaw and steps back, now drenched

with Angel's blood, totally unaffected. He looks at Tony.

Tony glances back at him with fury, tears involuntarily

dotting his eyes.

TOAD

Okay, my 'caracortada', you can die

too. Makes no difference to me.

He nods. The kids shove Tony forward and we glimpse Angel

lying hunkered at his feet in the bathtub, in the steam of

his blood, piss dead.

CUT TO

43 EXT. SUN-RAY MOTEL - DAY 43

Manny moves crouched down the exterior corridor, Ingram

pistol in hand, past an older couple who pretend not to

notice.

At the door of Room 9, Manny waits, listens....

CUT TO

44 INT. TOAD'S MOTEL ROOM - 'DAY 44

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

shower.

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

TOAD

Last chance, carajo?

CONTINUED


#00766 30


44 CONTINUED


Tony, devastated, spits in his face.


TONY

Go fuck yourself.

Toad's eyes narrow meanly.


Kid one slaps the tape across Tony's mouth.


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

wrist.


The Toad turns on his chainsaw when suddenly there's a

gunshot from the hall.


45 INT./EXT. TOAD'S MOTEL ROOM - DAY


and the door smashes open and Manny barrels through and

shoots a surprised Lizard as she raises her pistol. She

crashes backwards into the room, wounded. Everything

happens very fast now.

Manny is at the lip of the bathroom, he fires and hits kid

one, who is turning, in the neck.


Tony, not tied up yet, spins on kid two and smashes the

unloosened strap across his face, sending him reeling

across the bathroom.

The Toad, chainsaw in hand, slashes at Manny.


Manny fires a burst into him and the Toad crashes backwards.

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


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

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

Chi-Chi appears firing a burst with his Ingram.

In sharp f-g., the Lizard crumples forward on her knees,

foaming blood.


Tony, with the tape still stuck across his mouth, smashes

kid two, pinned against the blood-stained sink, with the

stock of his own Ingram.


In the midst of this, the Toad jumps up, wounded but with

strength, he tears out the motel room door

hysterical

gripping the whirring chainsaw in a reflex action.

c0NT1NuED


#00766 31


45 CONTINUED 45

Chi-Chi climbing through the window fires at him.


Meanwhile, kid two, with a rattlesnake life in him, produces

a knife out of nowhere, just missing Tony's gut by a half-

second as Tony dances back, getting a grip on the machine

pistol.


He blows kid two away point-blank, putting another ten

craters in the mirror of the now-wrecked motel room.


Tony, yelling, whirls after the Toad.


TONY

I got him!


Manny, holding his side, empties his pistol on kid one who

is still twitching.

Chi-Chi sees Angel, gags.

CUT TO

46 EXT. SUN-RAY MOTEL - DAY 46

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

in astonishment.

As the Toad staggers out into the parking lot, blood flying,

chainsaw in hand, moving like a jerky chicken.


Their eyes follow.


As Tony comes out, walking after him deliberately, eyes set

in cold fury, machine gun swinging loosely at his side.

There's no rush, no fear of the police, getting even is all

that counts. He stands behind the Toad.


TONY

(Spanish)

Your'turn, cabron!...

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

Tony empties the clip into the Toad, blowing hiin apart.

The bystanders just stare, stunned by the ferocity. Then

an old lady faints.

The Toad's body lying awkwardly arched in the gutter, Tony

turns and with a passing disinterested glimpse at his

audience, calmly walks back into the motel; the distance

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

fication.

CUT TO '


#02154 32

Rev. U/16/82

47 SUN-RAY MOTEL - DAY

EXT. 47

Tony intersects holding side,

Manny, his with Chi-Chi.


TONY

Manny, you okay?

Manny nods.

TONY

Chi-Chi, get the car. Fast!

CHI-CHI

Si! (Xl

48 INT. TOAD'S MOTEL ROOM 48

Tony strides into the shambles of Room 9, past the bodies

and busted furniture to the suitcase on the bed from which

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

the corner.

stacks of.cocaine.

Inside are several kilo-sized


He shuts the suitcase, exits, stops, looks in the bathroom

at the corpse of Angel O.C. He goes, stoops, brings

Angel's Change charm into our view, fingers it, tosses it

back in the tub. He goes.

CUT TO

49 EXT. SUN-RAY MOTEL - DAY 49


Chi-Chi has the sedan waiting in the parking lot. Tony

hurries out, jumps in, the car speeding off. (Pisalo hasta (XI

la tabla -- Step on it.)

Past the senior citizens who are retreating inside their

rooms.

The camera swinging to hold on the blue and black Monte Carlo

disappearing into the traffic of the Strip as twb cop cars

come screaming past them from the opposite direction.

CUT TO

50 EXT. LITTLE HAVANA RESTAUWWT - PHONE BOOTH - DUSK 50

The booth is in the busy parking lot, Tony on the phone,

Chi-Chi and Manny wait in the sedan.

TONY

Yeah, bunch of cowboys!..somebody

fucked up Omar.

CONTINUED


#02154 33

Rev. 11/22/82

(Xl -


50 CONTINUED 50

OMAR' s VOICE

(shaken)

Look, let me check it out right away!


TONY

YOU do that, Omar, you do that.

OMAR'S VOICE

You got the money?


TONY

i

Yeah -- - I got the yeyo.

and


OMAR'S VOICE

You got the yeyo? Bring it here.


TONY

E'uck you. I'm taking it to the boss

myself. Not you. Me.

-

OMAR s VOICE

Okay, okay. All right. Frank's

gonna wanna see you anyway. Look,

meet me tonight at Hector's at

eight.

TONY

Hey Omar....


OMAR'S VOICE

Yeah?

TONY

That was some pick up you sent us on.

Pause.


OMAR'S VOICE

What's that mean?


Tony hangs up, walks back to the sedan.

CUT TO

51

51 EXT. LOPEZ CONDO - SOUTH MIAMI - NIGHT

on Bricknell Avenue in a swank high-rise district adjacent

Coconut Grove and Coral Gables, the hub of South Miami....


The doorman shows Omar, Manny, his. side bandaged, and Tony,

carrying the suitcase, through giant glass portals, past

seriously armed security cops in the lobby.


#02154 34

Rev. l/18/83

INT. LOPEZ CONDO - NIGHT

52 52


A deluxe apartment with the latest in electronic security

and surveillance, and a profusion of mirrors and luxury

items... and a hefty, Indian-looking bodyguard (Ernie), eyes

quietly trained like a Doberman pinscher.


The boss, Frank Lopez, comes down a carpeted corridor,

dressed for dinner in an expensive suit and shoes, somewhat

preoccupied as he greets Tony, then Max-my with a phony

effusion of warmth. He's of Cuban-Jewish extraction, now

Americanized in a rough and handsome sort of way, on the

heavy side, the face going slightly soft, but the eyes and

bulk carrying an odor of danger about him.


LOPEZ

How ya doing, Tony? Glad to meet

you. How 'bout a drink?


TONY

Mr. Lopez... real pleasure.


LOPEZ

Call me Frank, Tony. Everybody

calls me Frank. My Little League

team, even the prosecutors 'round

town, they all call me Frank.


TONY

Okay Frank.

Frank shakes hands with Manny.


LOPEZ

Howya doing?


(awed)

..Fine yeah.


TONY

Ray, he was with us on the

Manny

job.


LOPEZ

(to Manny) (Xl

I hear you caught one?

Manny shrugs, works his arm, showing us the wound doesn't (Xl

bother him too much.

CONTINUED


#02154 34-A

Rev. l/38/83

52 c0NT1NuED 52

(Xl

Just the flesh. Went right through.

LOPEZ (Xl

(heading for

the bar)

Yeah, Omar here tells me good thing

about you boys.


CONTINUED


#02154 35

2nd Rev. 11/22/82

52 CONTINUED 52

.- TONY

(glances

at Omar)

Yeah. Omar's terrific.


LOPEZ

Not to mention of course the nice

job you guys did for me on that

Commie sonufabitch Emilio Rebenga.


TONY

You don't have to mention it. That

was fun.

LOPEZ

(smiles, likes

the kid's balls)

Scotch? Gin? Rum?


TONY

Gin's fine.

LOPEZ

(pouring)

Yeah, .I need a guy with steel in his

balls. I need him close to,me, a

guy like you Tony -- and your

compadre here.


TONY

Yeah.. .well.


Still a little overwhelmed by the opulence of the place,

his clothes feeling narrow and cheap on him, Tony steps

forward and puts the suitcase up on the bar with the gin,

which Lopez passes to him, eyeing the suitcase.


TONY

two keys.

.that's i t . That' s the

Angel died `cause of this shit. And

here's the money.

(produces

the money)

It's my gift to you -- from me. (Xl


Pause. Lopez shakes his head, sighs.


LOPEZ

It's too bad about your friend, Tony,

if people'd do business the right way,

there'd be no fuckups like this....

He glances hard at Omar who squirms.

CONTINUED


#02154 36

Rev. l/18/83

52 CONTINUED - 2

52

Without opening it, Lopez signals the bodyguard who takes

the suitcase and the money from under Tony's nose.


LOPEZ

Don't think I don't appreciate this

gesture, Tony. You find in this

business, you stay loyal you move up

and you move up fast. Salud!

They drink the toast. With their eyes.


LOPEZ

Then you find out your biggest head-

ache's not bringing in the stuff but

figuring out what to do with all the

goddamn cash.

(drinks)

TONY

Yeah, I hope I have that,problem some

day.


Lopez looks, distracted., down the corridor from which he

came, to Ernie, the bodyguard.


LOPEZ

Where the hell's Elirira? Go get her,

will you, Ernie?

The big bodyguard exits smoothly.


LOPEZ

(to the others)

The broad spends half her life

dressing, the other half undressing.


TONY

I guess you gotta catch her in the

middle, hunh?

/

Lopez laughs.

LOPEZ

Yeah. When she's not looking.- What

do you say guys, to a little food?

(finishes his

drink at his

impatient pace)


TONY

Yeah sure, I could eat a horse.

ERNIE

Here she comes, Mr. Lopez.


#02154 37

1x1 Rev. I/10/83

53 TONY

53

looks up, his eyes tumbling on the most beautiful blonde

he's ever seen. The lady, is coming down the glassed-in

elevator, adjusting her $10,000 Yves St. Laurent burgundy

dinner dress.


ALTERNATIVE

LOPEZ LOPEZ

Oooh sweetheart, you look Where you been baby, it's

like a mil