In May 1980, FideI Castro opened the harbour at MarieI, Cuba,
with the apparent intention of Ietting some of his peopIe
join their reIatives in the United States.
Within seventy-two hours, 3,000 U.S. boats were headed for Cuba.
It soon became evident that Castro was forcing the boat owners
to carry back with them not onIy their reIatives
but the dregs of his jaiIs.
Of the 1 25,000 refugees that Ianded in FIorida,
an estimated 25,000 had criminaI records.
[In Spanish]
...they are unwiIIing to adapt to the spirit of our revoIution.
We don't want them! We don't need them!
[Loud cheering of crowd]
[Adventurous instrumentaI music]
MARIEL HARBOUR, CUBA
[YeIIing and cheering of crowd]
[Adventurous instrumentaI music continues]
AGENT 1 : What do you caII yourseIf?
[Repeats question in Spanish]
Antonio Montana. And you, what you caII yourseIf?
AGENT 2: Where'd you Iearn EngIish, Tony? TONY: In schooI.
And my father, he was from the United States.
Just Iike you, you know?
He was a Yankee.
He used to take me a Iot to the movies.
I Iearned.
I watch the guys Iike Humphrey Bogart, James Cagney.
They teach me to taIk. I Iike those guys.
I aIways know one day I'm coming here, United States.
AGENT 2: So where's your oId man now? TONY: He dead. He die.
Sometime. Somewhere.
AGENT 2: Mother? TONY: She dead, too.
AGENT 2: What work you do in Cuba? TONY: You know, things.
I was this, that.
Construction business.
I work a Iot with my hands. I was in the Army.
AGENT 2: Any famiIy in the States? Cousins, brother-in-Iaw?
Nobody. Everybody's dead.
AGENT 2: You ever been to jaiI, Tony?
Me? JaiI? No way, no.
AGENT 2: Been in a mentaI hospitaI? TONY: Yeah. On the boat coming over.
AGENT 2: What about homosexuaIity, Tony? You Iike men?
You like to dress up like a woman?
What is wrong with this guy? He kidding me or what?
AGENT 2: Just answer the questions, Tony.
TONY: Okay. No.
Fuck, no.
AGENT 2: Arrested for vagrancy? Marijuana?
TONY: Never, man. AGENT 2: Heroin?
AGENT 2: Cocaine? TONY: No.
HARRY: Where'd you get the beauty scar, tough guy? Eating pussy?
How am I gonna get a scar Iike that eating pussy?
This was when I was a kid, you know?
You shouId see the other kid. You can't recognise him.
HARRY: And this?
What? That's nothing. That's from my sweetheart.
HARRY: Sweetheart, my ass! We've been seeing more and more of these.
Some kind of code these guys used in the can.
Pitchfork means an assassin or something.
You want to tell us about it...
or you want to take a trip to the detention centre?
Okay, you got me.
I was in the can one time. For buying doIIars. Big deaI.
HARRY: That's pretty funny, Tony. TONY: That's true.
It was a Canadian tourist.
HARRY: Did you mug him first? Get him out of here!
AGENT 2: Come on! TONY: So I fuck up!
Let me taIk to this guy. PIease! Let me taIk to him a minute.
You a Communist?
How'd you Iike it?
They teII you aIways what to do, what to think, what to feeI.
Do you want to be Iike a sheep? Like aII those other peopIe?
I don't have to Iisten to this!
You wanna work 8, 10 fucking hours? You own nothing, you got nothing!
Do you want a chivato on every corner...
watching everything you do?
Everything you say, man?
You know I eat octopus three times a day?
I got fucking octopus coming out of my ears.
I got fucking Russian shoes, my feet's coming through.
How'd you Iike that?
You want me to stay there and do nothing?
I'm no fucking criminaI, man. I'm no puta or thief.
I'm Tony Montana, a poIiticaI prisoner from Cuba.
I want my fucking human rights, now!
Like President Jimmy Carter says. Okay?
Carter shouId see this human right. He's reaIIy good.
-What do you say? -I don't beIieve any of this shit!
They aII sound aIike to me. That Castro is shitting aII over us.
Send the bastard to Freedom Town. Let them see him.
HARRY: Get him out of here. TONY: Know something?
You can send me anywhere.
Here, there, this, that. It don't matter.
There's nothing you can do to me that Castro hasn't done--
HARRY: Get him out of here!
TONY: So? MANNY: So?
What'd you teII them?
What you toId me to teII them. That we.... I was in sanitation.
They didn't go for it.
-Sanitation? -Yeah.
I toId you to teII them you was in a sanatarium, not sanitation.
-Sanatarium. Yeah. -You didn't teII me that.
No, I toId you to say you had TB and you was in a sanatarium.
You was cured.
-When did you teII me that? -You shouId've kept your mouth shut.
They'd think you was a horse and Iet you out.
[Cuban music pIaying]
ONE MONTH LATER
Tony! Montana!
Tony Montana! Come here.
Come here, man. I gotta taIk to you.
Come on, man. It's important.
TONY: So cIose, man. MANNY: Come on.
-I gotta taIk to you. -Where are you going?
-Leave him aIone. -I got better things to do.
You're chicken, man. You aImost made it.
Are you ready for some good news?
Sure. What you got, man?
We can be outta this pIace in 30 days.
Not onIy that, but we got a green card and a job in Miami.
Now are we made or are we made, man?
What do we gotta do? Go to Cuba and hit the Beard?
-No, man, somebody eIse. -You're kidding?
-No. -You're not kidding?
Guy named Rebenga, man. EmiIio Rebenga.
Rebenga?
-I know that name. -Yeah?
-He's poIiticaI. -Yeah.
MANNY: WeII, he's coming in here today. Castro just sprung him.
This guy was one of the top dogs for Fidel in the early days.
Castro feIt he couIdn't trust him and threw him in jaiI.
But while he was on top, he tortured a few guys to death.
One of the guy's brothers is a rich guy in Miami now.
He wants the favour repaid.
That's where we come in.
It's ugIy, man.
Yeah.
TONY: You teII your guys in Miami, your friend...
it'd be a pIeasure.
I'd kiII a Communist for fun...
but for a green card, I gonna carve him up reaI nice.
MIAMI, FLORIDA, AUGUST 1 1, 1980. HUNDREDS OF CUBAN REFUGEES
BEGAN RIOTING THIS MORNING AT A DETENTION CENTRE SITUATED
UNDER INTERSTATE 95 IN NORTH MIAMI, BURNING TENTS AND ATTACKING
IMMIGRATION AND NATURALISATION GUARDS WITH PIPES, STICKS AND ROCKS.
[Rioters yeIIing]
[PoIice sirens in background]
[Indistinct yeIIing]
[Chanting] Libertad! Libertad!
Rebenga!
[Continued chanting]
From a friend you fucked!
[Dramatic instrumentaI music]
That face. That's nice.
-That doesn't Iook Iike me. -That Iooks pretty, man.
TONY: Fuck!
Your big shot friend better come up with something soon.
I didn't come to the U.S. to break my fucking back.
He's coming! What do you want from me?
TONY: Fucking thing!
I toId you.
What's wrong?
Look at that one.
That one in the pink. She's beautifuI.
Look at those titties.
TONY: Look at that punk with her.
What's he got that I don't have?
WeII, he's very handsome, for one thing, you know?
I mean, Iook at the way he dresses.
Come on. That's styIe, fIash, pizzazz.
And a IittIe coke money doesn't hurt nobody.
Look at this.
Fucking onions.
They ought to be picking goId from the street.
There's two guys Iooking for you out there.
That's him, man. That's El mono. I toId you.
OWNER: Don't stay too fucking Iong.
We've got a Iot of work to do.
WaIdo! Good to see you, man.
This is my friend, Tony Montana, I've been teIIing you about.
Tony, that's Omar Suarez, and that's Waldo Rojas over there.
I got something for you.
Yeah? What do we gotta do?
Gotta unIoad a boat. Marijuana. 45 tons. You get $500 each.
-$500? That's great. -You gotta be kidding.
$500?
Who do you think we are, baggage handIers?
The going rate on a boat is $1,000 a night.
You know that.
First you gotta work your way up to $500.
What I did for you in Freedom Town, what was that?
That Rebenga hit was a game of dominoes?
-That was something eIse. -Shut up! Take it easy.
What's with this dishwasher, chico?
Don't he know we couId've got any space cadet to hit Rebenga cheaper?
-$50! -Then why didn't you?
Don't caII me no fucking dishwasher, or I'II kick your monkey ass.
Who the fuck are you?
You can't do that, man!
The CoIombians!
Okay, aII right, big man!
You want to make some big bucks? Let's see how tough you are.
You know something about cocaine?
You kidding me or what?
There's a bunch of CoIombians coming in Friday.
New guys. They say they got two keys for us, for openers.
Pure coke. HoteI in Miami Beach. I want you to go over there.
If it's what they say, pay 'em and bring it back.
Do that, you get $5,000.
Go, pay them, bring it back, yeah?
You know how to handIe a machine gun?
Yeah, man. We were in the Army.
-You gonna need a coupIe other guys. -That's no probIem.
Be at Hector's Bodega at noon Friday.
You get the buy money then.
If anything happens to that buy money...
my boss wiII stick your heads up your asses...
faster than a rabbit gets fucked!
I'm scared.
-You're pushing your Iuck. -Don't worry.
-That was dumb. -You worry too much.
You'II have a heart attack.
You act Iike that guy's doing you a favour or something.
-What's this with the CoIombians? -What does it matter?
He says ''CoIombians,'' and you make these eyes....
I don't Iike fucking CoIombians, okay?
What you guys doing?
There's a Iot of dishes to be washed.
Wash 'em yourseIf.
I retire!
What the fuck you gonna do now?
-Don't come back here! -I gotta Iook after my investment!
OWNER: Fuck you guys! MANNY: CIose the shop!
[Cuban music pIaying on car radio]
MANNY: Look at those tits. She's begging for it.
CHI CHI: Are you fucking crazy? She's 103 years oId.
Not that one, man! That one!
CHI CHI: Which one? MANNY: The young one.
Move the fucking car. We're at a stop sign.
We're just staying Ioose up here. You gotta stay Ioose.
You can't worry. You'II have a heart attack.
CHI CHI: Just pIay it cooI. Miami Beach. MANNY: Miami Beach, man!
TONY: The money stays in the trunk tiII I come out.
You got it? Me, nobody eIse. Okay.
I'm not out in 15 minutes, something's wrong. Okay?
TONY: Room 9. You ready? ANGEL: Sure thing.
[Greets them in Spanish]
TONY: Okay. You mind Ieaving the door open?
So my brother-in-Iaw sees everything's okay.
Sure. No probIem.
No probIem.
HeIIo. This is Marta.
Marta, heIIo.
I am Hector.
And I am Tony.
So, Omar says you're okay.
Yeah? Good. Omar's okay.
Okay.
[Siren waiIs on TV]
So, you got the money?
You got the stuff?
Sure I have the stuff, but not right here with me now.
I got it cIose by.
I don't have the money either, man.
I have it cIose by, too.
Where?
In the car?
TONY: No, not in the car, man. HECTOR: No?
How about you? Where you have your stuff?
Not far.
Okay. You want me to come in? We start over again?
Where you from, Tony?
What the fuck difference does it make where I'm from?
Take it easy, man.
I just want to get to know who I do business with.
You'II know me once you do business with me and stop fucking around.
Okay?
TONY: What's the story? ANGEL: Tony!
[TeIIing them not to move in Spanish]
You know, Frog Face, you just fucked yourseIf.
-You steaI from me, you're dead. -Yeah?
HECTOR: You want to give me the cash...
or do I kiII your brother first...
before I kiII you?
Why don't you try sticking your head up your ass?
See if it fits.
Yeah? Okay.
[Tense instrumentaI music]
MAN 1 : [On TV] It's very important. WOMAN: [On TV] I understand.
MAN 1 : Thank you. WOMAN: You're welcome.
MAN 2: [On TV] You forecasted an earthquake...
in the 3-to-4-point range this morning.
MAN 3: [On TV] We had an earthquake in the 3-to-4-point range.
MAN 2: I'm impressed. MAN 3: Thank you, sir.
MAN 2: However, isn't it rather slender evidence....
['80s pop music pIaying on radio]
You have such beautifuI skin.
I Iike the way you....
I don't know what I'm supposed to do today, but....
Antonio, mira!
Watch what happens to your friend.
If you don't want this to happen to you...
give me the money.
[AngeI screaming]
['80s pop music pIaying]
Come on, come on.
Now the Ieg.
Let's do it, man. Come on.
We're aII gonna be aII right.
[SuspensefuI instrumentaI music]
Okay, cara cicatriz.
You can die, too. It makes no difference to me.
Last chance, pendejo!
Fuck you!
-You okay? -Yeah, man. It went in and out.
TONY: Okay, take him out of here, quick!
Chi Chi! Get the yeyo.
[Screaming]
-Your turn. -I kiII you!
Die!
[Crowd screaming]
[PoIice siren waiIing]
TONY: Hurry up! Get in! Come on. Let's go!
Close the door!
TONY: Bunch of cowboys. Somebody fucked up.
OMAR: Yeah, well, I'll check it out right away.
TONY: You do that, Omar. You do that.
OMAR: You still got the money? TONY: Yeah.
And I got the yeyo.
OMAR: You got the yeyo? TONY: Yeah, right.
OMAR: Bring it here. TONY: Fuck you.
I'm taking it to Lopez myseIf.
Not you, me.
Nice fucking guy.
Frank Lopez. Tony Montana.
FRANK: Tony Montana. TONY: Mr. Lopez. It's a reaI pIeasure.
FRANK: You can caII me Frank.
Everybody calls me Frank. My Little League team.
Even the fucking prosecutors around town...
they aII caII me Frank.
-Okay, Frank. -How are you?
Manny Ribera.
-He caught one on the job. -Went right through.
We heard about that.
Omar, he teIIs me great things about you guys.
WeII, Omar's okay.
Not to mention, of course, the nice job you did for me.
-That Commie son of a bitch-- -You don't have to mention that.
-That was fun. -That was fun?
-Damn right. -That was fun.
Sometimes it's fun.
What do you want to drink? Scotch, gin, rum? What do you Iike?
TONY: Gin is fine. Want some? Two gins.
I need a guy with steeI in his baIIs, Tony.
A guy Iike you. And I need him around me aII the time.
You, Tony, and your compadre here.
Here's the stuff.
Two keys.
It cost my friend AngeI his Iife. Here's the money.
My gift to you.
I'm sorry about your friend, Tony.
If peopIe wouId do business the right way...
there'd be no fuck-ups Iike this.
Don't think I don't appreciate the gesture.
You're gonna find, you stay loyal in this business...
you're gonna move up. You're gonna move up fast.
And you'II find out your biggest probIem...
is not bringing in the stuff...
but what to do with aII the fucking cash!
I hope I have that probIem someday.
You'II have that probIem, don't worry.
Sit down over here.
Where the heII's EIvira? It's Iate. Go find her, wiII you?
Jesus! Fucking broad.
She spends haIf her Iife dressing, the other haIf undressing.
Gotta get her in between.
ERNIE: She's coming. FRANK: Yeah.
You gotta jump on her when she's not Iooking.
That's the best time.
What are you guys doing tonight?
You wanna go to a nice restaurant with me? You hungry?
I couId eat a horse.
-Okay, they'II cook you a horse. -I'II eat it.
[Romantic instrumentaI music]
TeII me, where'd they get you? Right there in the side?
It's nothing. It went right through me.
It hit the waII.
I ran out of buIIets Iike an asshoIe.
When I changed the clip, a guy who I thought I killed...
wasn't dead and shot me.
The guy was behind me. I kiIIed him.
-How many buIIets you catch? -BuIIets? One buIIet.
Nine miIIimetre.
[Indistinct taIking]
FRANK: EIvira, where the heII you been? It's 10:00. I'm starving.
ELVIRA: You're aIways hungry. You shouId try starving.
Where you going? Come on.
Come over here! I want you to meet a friend of mine.
Tony Montana. EIvira.
-HeIIo. -Manny Ribera. EIvira.
So, there are five of us. Where are we having dinner?
I thought we'd go to the BabyIon CIub.
-Again? -Again.
You know, Frank, if anyone wanted to assassinate you...
you wouIdn't be too hard to find.
Assassinate me? Who the heII wouId want to kiII me?
I got nothing but friends!
You never know. Maybe the catcher on your LittIe League team.
The catcher? That son of a bitch, he didn't get a base hit aII season.
I should kill him!
[CheerfuI '80s pop music pIaying]
You know who that is? Luis and MigueI Echevierra.
They got the biggest distribution set-up from here to Houston...
Tucson, aII down that way.
What do you think of that?
Look.
You see that fat bastard? That's Nacho Contreras.
El Gordo!
He's got more cash than anybody in this place.
He's a reaI chazer!
You know what a chazer is?
No, Frank, you teII me. What is a chazer?
It's the Yiddish word for ''pig.''
A guy who wants more than he needs. He don't fIy straight no more.
So, it comes down to one thing, Tony boy, and you never forget it.
Lesson Number 1 :
Don't underestimate...
the other guy's greed!
ELVIRA: Lesson Number 2:
Don't get high on your own suppIy.
That's right. Lesson Number 2: Don't get high on your own suppIy.
'Course, not everybody foIIows the ruIes.
Your champagne, Mr. Lopez.
FRANK: That is '64? WAITER: The best, Mr. Lopez.
Omar, you pour it, and you bring another bottIe right away, wiII you?
$550 for this bottIe, Tony. What do you think of that?
-That's pretty good. -For a bunch of fucking grapes.
So, here's to oId friends and to new friends.
How you Iike it, Tony?
-That's good, Frank. -That's good?
-Like you say, man. -That's good!
I'm gonna get you new cIothes, too.
I'm gonna get you $550 suits...
so you Iook reaI sharp.
'Cause I want you to work for me.
I want you and your boys to work with Omar here.
We are going to do...
something big next month.
We are running a string of muIes from CoIombia.
You do good on that, there'II be some other things.
That sounds Iike fun to me, Frank.
You want a cigar?
You wanna dance, Frank, or sit here and have a heart attack?
Who? Me, dance? I want a heart attack instead.
Don't foam into the Dommie P.
How about you?
What? You want me to dance?
Yeah, sure. Go on, Tony. You dance.
Go on. Have some fun.
What do you think of him?
I think he's a fucking peasant!
But you get a guy Iike that on your side...
he breaks his back for you.
['80s pop music continues]
-What's your name? -What?
What's your name? EIvira what?
-Hancock. -What?
-Hancock! -Hancock?
Sounds Iike a bird. Hancock.
FIying around.
Where you from?
-BaItimore. -What?
-BaItimore! -BaItimore?
-Where's that? -It doesn't reaIIy matter, okay?
I'm just trying to be friendIy.
I don't need another friend...
especiaIIy one who just got off a banana boat.
Banana boat?
HoId it. You got the wrong guy. I don't come off no banana boat.
You're thinking of someone else, maybe.
Aren't you part of the Cuban crime wave?
What you taIking crazy for? I'm a poIiticaI refugee here.
TONY: So take it easy. Don't taIk crazy. ELVIRA: Sorry.
I didn't know you were so sensitive about your dipIomatic status.
What is your probIem, baby?
You're good-looking.
You got a beautiful body, beautiful legs...
a beautifuI face, aII these guys in Iove with you.
OnIy you got a Iook in your eye...
Iike you haven't been fucked in a year!
Hey, José.
Who, why, when and how I fuck is none of your business, okay?
Now you're taIking to me, baby. That I Iike. Keep it coming.
Don't caII me ''baby''! I'm not your baby.
TONY: Not yet, but you gotta give me some time.
Even if I were bIind, desperate...
starved and begging for it on a desert isIand...
you'd be the Iast thing I'd ever fuck.
That chick he's with...
MANNY: Yeah? TONY: ...she Iikes me.
She Iikes you? How do you know?
I know.
The eyes, chico. They never Iie.
-Are you serious? -Serious? What do you think?
That's the boss's Iady, okay?
-You're gonna get us kiIIed. -Fuck you, man. The boss's Iady.
That guy's soft.
Look in his face.
The booze and the concha teII him what to do.
Don't fucking go crazy on me, okay?
Just remember Iast year at this time we were in a fucking cage, okay?
You remember.
I'd Iike to forget that.
-I say be happy with what you got. -You be happy.
-Me, I want what's coming to me. -What's coming to you?
The worId, chico...
and everything in it.
THREE MONTHS LATER
This is paradise.
This is paradise, I'm teIIing you.
This town's Iike a great big pussy just waiting to get fucked.
I shouId've come here 10 years ago.
I'd have been a miIIionaire by this time.
By this time, I'd have had my own boat...
my own car, my own goIf course.
You know what I want? I thought of this the other day.
A Iine of bIue jeans.
With my name written on the back of chicks' asses.
How's that?
That sounds compIeteIy crazy to me.
Look at that. Look.
You're missing the sights. That's what you're doing.
We're missing the action.
Want to have some ice cream with my friend and me?
Get Iost, greasebaII!
-Look at that. -Ice cream?
-That's right. -You said ''ice cream''?
-GirIs Iike ice cream. -Come on. That won't work.
You can't do it that way.
You know how you pick up chicks in this country?
-What was that? What you just did? -That's what you do.
-That's disgusting. -Watch.
Look at that fucking thing. You Iook Iike a Iizard.
Like a bug coming out of your mouth.
Figures you wouIdn't understand.
But the women in this country, when you do that, they know.
-They know what? -They understand. They go crazy.
It'II take practice, but you gotta Iearn.
'Cause women Iove when you suck the pussy.
Look at that.
She's Iooking at us.
-You think you can do it with her? -I think I can.
-You want to try it with her? -Why not?
-You gonna watch me? -I'm Iooking at you. Go ahead.
-You won't do it. -Watch this.
I'm with you, man.
I'm gonna get her.
Go ahead, Romeo! Do your thing.
-Just be quiet. Just hang back. -Romeo!
You're Iooking very pretty today. Yes, you. I've been watching you.
You want to see something funny?
Take a Iook over there. See that man?
Watch that guy. I gotta sit down here.
I gotta watch my friend.
He gonna stick his tongue out to that girI.
Look at that.
You're sick!
You see what happened to him?
-If I wasn't a nice guy-- -She's too big for you.
Causing troubIe Iike that, come on.
-Bitch! Lesbian! -What I try to teII you?
What I try to teII you?
This country, you gotta make the money first.
Then when you get the money, you get the power.
Then when you get the power, then you get the women.
That's why you gotta make your own moves.
MANNY: That's the one I rented.
No. That's her, man. There she is.
About time.
Frank got heId up at the goIf course.
He toId me to pick you up.
He said he'd meet us at the track later.
He said to bet on Ice Cream in the first, by the way.
In that thing? You must be kidding.
What you taIking about? That's a CadiIIac.
-I wouIdn't be caught dead in that. -Come on.
It's got a few years, but it's a cream puff.
It Iooks Iike somebody's nightmare.
So, you Iike this better?
It's Iike one of them tigers from India.
Crazy guy. Know what he's been doing?
Dragging me to the zoo to Iook at tigers.
He says he's gonna buy one.
You do that and you won't have any friends left.
MANNY: Not that you have any now. TONY: You'II Iike that tiger, man.
You gonna drive around with a tiger in your passenger seat?
Maybe. Some Iady tiger.
-How much? -$43,000, fuIIy equipped.
-That aII? -Machine-gun turrets are extra.
He's a funny guy. Come here, Manny.
BuIIet-proof this, okay?
And this here and here.
And the windows.
-Get me a phone with a scrambIer. -A scrambIer.
And a radio with scanners...
to pick up fIying saucers, stuff Iike that.
Don't forget the fog Iights.
In case I get caught in a swamp. That's a good idea.
[Horn honking]
Get out of the way, Iady! I'm trying to drive here!
I thought you were taking me to Frank.
We got an hour. You hungry?
No, but I'm bored.
WeII, that figures.
Check it out, Manny, okay? And pay the guy.
And you take a taxi. Meet me at the track, okay?
Good doing business with you.
I wouIdn't buy the car if you didn't Iike it.
PIanning on driving the girIs crazy, aren't you, Tony?
Yeah. You know who?
What wouId Frank say?
I Iike Frank, you know?
OnIy I Iike you better.
-You got some for me? -Sure.
Don't get confused, Tony. I don't fuck around with the heIp.
You wanna pIay that way with me, I pIay with you.
Shit.
WouId you kiss me if I wear the hat?
No!
PIaytime is over, okay?
[Soft instrumentaI music]
Mama?
TONY: Long time.
No postcards from jaiI?
Gina.
-Tony? -Look at you.
You're beautifuI.
-I didn't.... -Mama, Iook at those eyes.
Look at that. She Iooks Iike me.
You know the Iast time I saw you, you was Iike that.
You Iooked Iike a IittIe boy. Now Iook at you.
I got something for you.
It's no big deaI.
I never thought I'd see you again, you know?
You think they'd keep a guy Iike me down?
WeII, no.
-You Iook so good. -Look, open that up. Open it.
-For me? -I think so.
It's nothing much, you know, nothing.
See what's written on the back?
GINA: On the back?
-AIways. -''AIways.'' It's beautifuI, Tony!
Mama is stiII working in the factory...
and I work part-time in a beauty parIour.
I'm doing hair, Tony. Do you remember Hiram GonzaIez?
His father owned that barbershop. It's his pIace.
PIus I go to junior coIIege. Miami Dade.
In two more years, I get my cosmetoIogy Iicense.
-Then I'II be making enough money-- -Surprise!
AII that's over, starting today.
Why?
My kid sister don't have to work in no beauty parIour, and Mama...
she don't have to sew in no factory.
Your son made it, Mama.
He's a success.
That's why I didn't come around before.
I want you to see what a good boy I've been.
Here's $1,000.
For you, Mama.
Who did you kiII for this, Antonio?
I didn't kiII nobody, Mama.
MAMA: No? TONY: No.
What are you doing now?
Banks, or is it stiII bodegas, you and the others?
No! Things are different now.
I'm working with an anti-Castro group.
I'm an organiser now.
I get a Iot of poIiticaI contributions.
Sure you do.
A gun sticking in somebody's face is how.
You know, aII we hear about in the papers...
is animaIs Iike you and the kiIIings.
It's Cubans Iike you who are giving a bad name to our peopIe.
PeopIe who come here, work hard and make a good name for themseIves.
PeopIe who send their chiIdren to schooI.
What are you saying? That's your son--
Son? I wish I had one.
He's a bum.
He was a bum then and he's a bum now.
Who do you think you are?
We haven't heard a word from you in five years.
You suddenIy show up here, throw some money around...
and think you can get my respect.
You think you can buy me with jeweIIery?
You think you can come into my house with your hotshot cIothes...
and your jaiI manners and make fun of us?
-You don't know what you're saying. -That's not the way I am, Antonio!
That is not the way I raised Gina to be!
You are not going to destroy her.
I don't need your money.
I work for my Iiving.
I don't want you in this house anymore!
I don't want you around Gina.
So come on. Get out!
And take this Iousy money with you. It stinks.
GINA: Why do you have to spoiI it for everybody?
I'm sorry, Tony.
Okay, Mama.
No. Tony, wait a minute!
GINA: Don't go, pIease! MAMA: Gina, stay here!
GINA: No, Mama. MAMA: He's no good. Gina!
Tony, wait, pIease!
I'm sorry. I don't know. Mama, ever since Papa Ieft she's--
Forget Papa. We never had one.
I know you did some bad things back then.
In the Army, I know you got into some troubIe.
The Communists...
they're aIways trying to teII you what to do.
-Mama doesn't understand that. -I know.
I just.... I don't know.
I just want you to know that I don't care.
It doesn't matter to me how long you've been away, five or ten years.
You're my bIood, aIways.
I know.
-Come on. I want you to take this. -I gotta go back in.
-No, Tony. PIease. -You need this.
What wiII I teII her?
Take that. You don't teII her anything.
Don't teII her I gave it to you, but give her some from time to time.
And Iisten, you go out yourseIf.
Go ahead, go out, do some things. Have some fun.
You gotta get some fun out of Iife.
You gonna beat yourseIf to death at 19?
A pussycat Iike you? Come here.
-I'II taIk to you again. -Okay.
Put that money away. Don't Iet her see it.
I'II taIk to her.
I'II taIk to you.
Let's go.
She's beautifuI. How come you--
Stay away from her. You hear?
She's not for you.
COCHABAMBA, BOLIVIA
[InstrumentaI foIk music]
So, this and my other factory, I can guarantee production...
of 200 kiIos refined every month of the year.
The probIem is, I have no steady market.
BasicaIIy, what I'm Iooking for is somebody in the States...
who can share the risk with me, somebody who can guarantee...
to buy from me, say, 150 kiIos a month.
That's a big commitment, Mr. Sosa. Something Iike that....
Too bad Frank's not here. You shouId taIk to him.
-It wouId've been nice if he'd come. -He wouId Iike to come...
but with his triaI coming up, it's hard to Ieave the country.
-So he sent you instead? -Something Iike that.
We'II taIk at my house, shaII we?
You got good stuff here. CIass-A shit.
This Lopez guarantees to buy 150 kiIos from me...
every month of the year.
He picks it up here.
I can seII it to him for as IittIe as...
$7,000 a key. You can't do better than that.
But then we got to take the risk of moving it.
We'II be cutting out the CoIombians. Know what that means?
That means we have to go to war with them.
We cut out the CoIombians, we take risks on both sides.
TONY: Why don't we spIit the risk?
You guarantee your deIivery, say, as far as Panama...
we take it from there.
Panama is risky. It costs me more.
Panama I can seII for $13,500 a key.
$13,500? What, are you nuts?
$13,500? We stiII got to take that shit to FIorida.
Do you know what that's like these days?
You got the Navy everywhere.
You got frogmen. You got EC-2s with the sateIIite-tracking shit.
You got the fucking BeII 209 assauIt choppers up the ass.
We're Iosing one out of every nine Ioads.
That's no duckwaIk anymore, Iet me teII you.
Forget about $13,500.
What do you suggest that is reasonabIe?
[Phone ringing in background]
Excuse me. One moment.
What the fuck's the matter with you?
Are you negotiating for Frank Lopez?
Don't worry about it. Take it easy.
I'm not worried about it. You shouId worry about it.
If he wants to make a deaI, it's up to him, not you.
We're doing this one deaI. That's it.
Fuck you. How's that?
-Fuck you. -Fuck you.
OMAR: You need to open your eyes and keep your mouth shut.
OMAR: That's it. Let it go at that. TONY: Don't worry about it.
Your head's in the wrong pIace. You must watch out for yourseIf.
Why not talk to him?
You think he wants to give you the money?
Shut the fuck up.
I'm doing the taIking here, not you.
You're here to watch my back. Watch my back.
Better than your front, Iet me teII you.
That's easier to watch.
OMAR: CIose your mouth.
I can't wait to see what Frank's gonna react to this one.
Just shut up. I'm doing the taIking here.
SOSA: Now where were we? TONY: Panama.
You're Iooking for a partner, right?
Something Iike that.
Look, Mr. Sosa, we're getting ahead of ourseIves.
I am down on Frank's authority to buy 200 keys, that's it.
That's my Iimit. I got no right.
-Nobody got no right to negotiate-- -Let the man finish, okay?
Let him propose a proposition, then we can taIk more.
You got no authority here.
I started you in this business, so shut the fuck up.
-Frank is gonna Iove it. -That's up to Frank, not you!
I'm sorry about this, Mr. Sosa.
No, it is aII right.
You're right. Maybe you shouId taIk to Frank.
WeII, good.
I don't think it's something I want to do on an overseas phone.
But as soon as I get back to Miami, I wiII taIk to Frank personaIIy.
Good.
My associates can escort you to my chopper...
to take you to Santa Cruz.
I have a jet there. You'll be in Miami in five hours.
You'II be back here tomorrow in time for Iunch.
Good.
Good taIking to you.
Why not Ieave your friend here?
WhiIe you're gone, he can teII me how to run my business.
-I think Frank wants to see him. -No, that's okay.
You teII Frank I'm keeping this guy on ice for him.
I guess so.
Let's finish our Iunch.
I have to hand it to you, Mr. Sosa.
You got everything a man couId want.
I Iike you, Tony. There is no Iying in you.
UnfortunateIy, I don't feeI the same about the rest of your organisation.
What do you mean by that, Mr. Sosa?
I'm taIking about Omar Suarez.
This garbage was recognised by my associate at Iunch...
from several years ago in New York.
He was an informer for the poIice.
[Dramatic instrumentaI music]
[Omar screams]
SOSA: He put Vito DuvaI and NeIIo and Gino Ramos away for Iife.
So how do I know you're not a chivato, too, Tony?
Let's get this straight now.
I've never fucked anybody over who didn't have it coming.
You got that?
AII I have in this worId is my baIIs and my word.
I don't break them for no one, you understand?
That piece of shit up there, I never Iiked him...
I never trusted him.
For aII I know, he had me set up...
and had my friend AngeI Fernandez kiIIed.
But that's history. I'm here, he's not.
You want to go on with me, say it.
You don't, then you make a move.
I think you speak from the heart, Montana.
But I say to myself...
this Lopez, your boss...
he had chivatos Iike that working for him.
His judgment stinks.
So I think to myseIf...
how many other mistakes has this Lopez guy made?
How can I trust his organisation? You teII me, Tony.
Frank is smart, you know?
You can't bIame him for that animaI.
It's a crazy business we're in, you know?
That couId happen to anyone, even you.
Why don't I go back and taIk to Frank...
and work it out?
I'II fix things between us.
You got my word on that.
I think you and me, we can work this thing out...
we do business together for a Iong time.
Just remember...
I'II onIy teII you one time...
don't fuck me, Tony.
Don't you ever try to fuck me.
FRANK: You what?
You made a deaI for fucking $18 miIIion...
without even checking with me?
Are you crazy, Montana? Are you crazy?
-Coño. Take it easy. -Coño, my ass!
At $10,500 a key. It's puro.
You can't Iose money. No way.
We make $75 miIIion on this deaI.
$75 miIIion.
That is serious money.
What is Sosa going to do...
when I don't come up with the first $5 miIIion?
What is he going to do? WiII he send me a biII?
He'II send a hit squad up here! There'II be a war in the street.
ReIax! Take it easy. I'm in tight with Sosa.
You short a coupIe of miIIion, I go on the street for you.
I make a coupIe of moves...
a miIIion here, a miIIion there, you got it.
You've been making moves on your own?
I got ears, you know? I hear things.
What do you hear about Echevierra and the Diaz brothers?
What about Gomez?
What'll he do when you start moving 2,000 keys--
Fuck Gaspar Gomez and fuck the Diaz brothers!
Fuck 'em all!
I'II bury those cockroaches!
What they ever do for us?
Look, Frank, the time has come.
We gotta expand.
The whoIe operation. Distribution.
New York, Chicago, LA.
We gotta set our own mark and enforce it.
We gotta think big now.
Think big.
Like your friend Sosa.
Let me teII you something about that greasebaII cocksucker.
He is a snake, that's what he is.
You turn your back on him, he'll stick it in.
You don't trust a guy like that.
You want me to beIieve...
Omar was a stooIie because Sosa said so?
You bought that Iine?
Maybe I made a mistake sending you down there.
Maybe you and Sosa know something I don't know.
Like what?
You teII me, ''Like what.''
You caIIing me a Iiar, Frank?
That what you're caIIing me?
Let's just say I want things to stay the way they are for now.
You staII your deaI with Sosa.
StaII it?
Okay, boss.
Come on.
I am the boss.
TONY: Sure, you're the boss. FRANK: Hey, Tony.
Remember I toId you when you started...
the guys who Iast in this business...
are the guys who fIy straight...
low-key, quiet.
And the guys who want it all...
chicas, champagne, fIash...
they don't Iast.
You finished?
Can I go now?
TONY: Hi, there.
ELVIRA: You just missed Frank.
TONY: Too bad.
OnIy I didn't come to see Frank.
ELVIRA: This is not the time or the pIace, Tony.
ELVIRA: Make an appointment. TONY: That's okay.
I got something important I want to taIk to you about.
So why don't we have a couple of drinks...
act normal...
and just take it easy.
Come on. I like Scotch.
-Sure. Why not? -Okay. I won't bite you.
We're aII normaI here.
I heard you and Frank aren't working together anymore.
That's right.
I think it's easier, don't you?
Makes things easier.
Thank you.
Here's to ''the Iand of opportunity.''
ELVIRA: For you, maybe.
You Iike kids?
Kids?
Kids. You know, kids. LittIe kids.
Sure. Why not?
As Iong as there's a nurse.
Good, 'cause I Iike kids, too.
I Iike them. Boys, girIs. Don't matter to me.
Frank's gonna be back any minute.
Come here.
Sit here.
I want to talk to you. Sit down. I'm not gonna bite you.
Okay, here's the story.
I come from the gutter. I know that.
I got no education...
but that's okay.
I know the street...
and I'm making aII the right connections.
With the right woman, there's no stopping me.
I couId go right to the top.
Anyway...
what I got to teII you is this:
I Iike you.
I Iiked you the first time I Iaid eyes on you.
I said, ''She's a tiger.
''She'II beIong to me.''
Anyway...
I want you to marry me.
I want you to be the mother of my chiIdren.
Me? Marry you?
That's right.
What about Frank, Tony?
What will you do about Frank?
Frank is not gonna Iast, okay? He's finished.
Just think about it, okay?
I want you to reaIIy think about it.
I'II go now. Take care.
AII your enemies are gone.
-Mr. Montana. How are you? -HeIIo.
['80s dance music pIaying]
What the fuck she doing here?
MANNY: Come on, man. She's just dancing. Come on. Take it easy.
[Tense instrumentaI music]
-It's just a disco. -Who's that guy she's with?
MANNY: He's some guy who works for Luco. He's nobody.
-He's harmIess. -Works for Luco?
Yeah. Forget him.
HeIIo, Tony. You remember me?
Bernstein. MeI Bernstein, right?
Chief Detective, Narcotics.
That's right, yeah. I think we shouId taIk.
TaIk? What are we going to taIk about?
I ain't kiIIed nobody, not IateIy.
No, not IateIy.
What about ancient history, Iike EmiIio Rebenga?
Or a bunch of whacked-out Indians at the Sun Ray MoteI?
Whoever's giving you your information...
is taking you for a Iong ride.
Tony, baby, we gonna taIk...
or am I gonna bust your wiseass spic baIIs...
here and now?
Keep your eye on her.
MANNY: I'II do that. TONY: Okay.
-My office. -Good.
The word on the street is you're bringing in a Iot of yeyo.
That means you're not a smaII-time punk anymore...
you're pubIic property now.
Supreme Court says that your privacy can be invaded.
Okay. How much?
How much?
There's an answer to that, too.
Here's how much.
Can you see it?
-Big number. -Yeah!
That's on a monthIy basis, same thing every month.
You know how this works?
No. You teII me.
We teII you who's moving against you...
and we shake down who you want shaken down.
Let's say that you got a reaI probIem making a coIIection.
And then we step in for you.
Got eight kiIIers with badges working for me.
When they hit, it hurts. Same thing works the other way.
You feed me a bust now and then.
Some cowboy setting himself up in business.
SmaII fry, you know?
We Iike snacks.
How do I know you're the Iast cop I'm gonna have to grease?
What about Fort LauderdaIe? Metro? DEA?
How do I know what rock they're gonna crawI out from under?
WeII, that's not my business, Tony. We don't cross no Iines.
You think I want this conversation going any farther than this tabIe?
My guys got famiIies. They're Iegitimate cops.
I don't want to see them embarrassed.
If they're embarrassed, they'II suffer.
If they suffer, they'II make you suffer.
[MeI asks if Tony understands in Spanish]
You understand what I'm talking about?
Thanks for the drink.
By the way...
I got a vacation coming up.
I'm gonna take the wife to London, EngIand.
We've never been there.
So throw in a coupIe of round-trip tickets, first cIass.
You gotta smiIe more, Tony. You gotta enjoy yourseIf.
Every day above ground is a good day.
-HeIIo. -HeIIo.
MEL: Yeah. Now that's the idea.
Okay, MeI.
You think about what I said?
About the kids?
-You know, you are reaIIy nuts. -I'm nuts about you.
Why don't you find your own girI?
TONY: My own girI? FRANK: Yeah.
TONY: That's what I'm doing. FRANK: Do it somewhere eIse.
Maybe I don't hear so good sometimes.
You won't hear anything if you go on Iike this.
WiII you do something?
You're fucking right I'm going to do something!
I'm giving you orders. BIow!
Orders? You giving me orders?
The onIy thing in this worId...
that gives orders is baIIs. You got that?
Balls.
Let's go.
EIvira.
When you gonna Iearn?
Looking good, honey. Keep up the bad work.
TONY: That cocksucker. MANNY: What happened?
-He put that prick Bernstein on me. -Who? Lopez did?
How do you know?
TONY: Who eIse knew about Rebenga? Omar?
He's fertiliser.
He's Ietting me know he's got weight on me.
MANNY: I'II teII you what, man.
You know our little trip we've been planning to New York?
It might be a good time.
[Tense instrumentaI music]
Wait. Where you going?
WeIcome to my private room.
-Your private room. -This is my private room.
I got a beautiful, nice, white lounge chair for you.
Gina, you taste so muy bueno.
GINA: What are you doing? TONY: Shut up!
FERNANDO: We wasn't doing nothing! GINA: Fernando, wait!
Get out!
Damn you!
You think he's cute?
I saw him putting his hand aII over your ass.
My kid sister in a toiIet.
It's none of your business.
None of my business? The fuck it ain't!
GINA: Don't teII me what to do! TONY: I'II teII you!
Listen to me. Come here.
I catch you here again, I'm gonna wipe you aII over the fucking pIace.
Yeah? Go ahead! Do it now. I want to see it.
-I want to see it now, big shot. -Don't push me.
-I want to see it now! -Don't push me! Get outta here!
-Go outside. -You got some nerve, Tony!
You think you can teII me what to do?
You can't teII me what to do. I'm not a baby anymore.
I'II do what I want to do, see whoever I want to see.
And if I want to fuck them, then I'II fuck them!
Fucking, man! Come on, man.
What the fuck you want? You want something?
No. Don't touch me.
-No. -We've got to get out of here.
Not there. I don't want to go out there.
Another great night here at the Babylon?
Okay. All right!
Do another gram, you'll all be babbling on.
Is that coke in your bra, or are you just glad to see me?
MC: A little bit of hope, I'm sure, yes.
I'm in a good mood. I was depressed when I got up this morning.
I had a dry dream, but I'm better now.
[MeIanchoIy instrumentaI music]
I do LaureI and Hardy in Spanish, too.
That's the height of culture, I assure you.
But my favourite Cuban of all time has to be Ricky Ricardo.
MC: Mr. Babalu himself.
He had the same problem for 10 years.
''Lucy, don't come down to the club. ''
[SuspensefuI instrumentaI music]
He's your brother. He Ioves you. That's why he did it.
AII right? He cares about you.
To him, you're stiII his IittIe sister.
That's the probIem. He stiII treats me Iike I'm a baby.
I'm 20 years oId now.
-I'm not anybody's baby. -You're so grown-up.
Come on, Gina. Put yourseIf in his pIace, okay?
Right now, you happen to be the best thing in his Iife.
The onIy thing that's any good, that's pure.
Of course he doesn't want you mixing with those peopIe...
growing up to be Iike him.
He has this father thing for you. FeeIs Iike he has to protect you.
Protect me against what?
Against guys Iike that asshoIe you were dancing with tonight.
I Iike Fernando. He's a fun guy and he's nice.
And he knows how to treat a woman. AII right?
-He knows how to treat a woman? -Yes.
By taking her to the toiIet to make out?
MC: You've been a great audience. I got a special treat for you.
Here's a guy I found in the jungle.
From Caracas, Venezuela. He's unlike anything you've seen.
Give a warm Babylon welcome to the one and only Octavio!
[InstrumentaI baIIad pIaying]
Look around. Go out with someone who has something on the baII...
-who's going somewhere in Iife. -Like who?
For instance, someone who's got a reaI job, Iike a banker.
MANNY: Or, or a doctor, a Iawyer-- GINA: What about you?
-What are you taIking about? -Why don't you take me out?
Are you crazy?
I see the way you Iook at me, ManoIo.
GINA: Do you think I'm bIind? I see. MANNY: Come on.
GINA: What? MANNY: Look, Gina...
Tony and I are Iike brothers, aII right?
You're his kid sister.
-So what? -That's where it ends.
-That's where it stays. -Are you afraid of Tony?
-You afraid of Tony's kid sister? -I'm not afraid of anybody!
That's not the point here!
['80s dance music pIaying]
[SuspensefuI instrumentaI music]
[Screaming]
[Tense instrumentaI music]
[Phone ringing]
MANNY: It's not for me. Don't Iook at me.
MIRIAM: How do you know? MANNY: 'Cause I'm not here.
MIRIAM: ReaIIy? Then where are you?
Shit, you're weird.
-I'm weird? -HeIIo?
TONY: Hello, Miriam? MIRIAM: Tony!
TONY: Put Manny on, okay? MIRIAM: Okay. Just a second.
It's Tony.
MANNY: What are you doing, checking up on me?
TONY: Get your cIothes on and meet me...
in front of Lopez Motors in 45 minutes.
MANNY: What? What happened? TONY: Nothing we can't face.
AII right. I'II be there.
TONY: You're still on the phone. Let's go.
Take it easy, okay?
I'm Ieaving now. Fuck.
TONY: Nick? NICK: Yeah, Tony.
TONY: This is what I want you to do for me:
You call Lopez.
Call him at his office at 3.?00 sharp.
And you tell him.?
''We fucked up, he got away. ''
NICK: Okay. Yeah. TONY: Got it? What're you going to say?
''We fucked up. He got away.''
TONY: What time? NICK: 3:00 sharp.
FRANK: So when are we gonna make some money on this thing?
Six months to start don't mean shit, Larry.
I'm not a Rockefeller, you know. Not yet, anyway.
So you owe me.
Listen, go down to the ball game tonight.
I couldn't make it. I got things. I'll tell you about them.
You're kidding? What was the score? Three to two?
MeI, guess what?
My LittIe League team, the LittIe Lopezers...
they won the division tonight.
That's great. CongratuIations.
What'd you do, fix the umpire?
FRANK: Jesus Christ.
Tony, what happened to you?
They wanted to spoiI my $800 suit.
FRANK: Who the fuck did this?
Hitters. I don't know.
Somebody must've brought them in.
I've never seen them before.
HeIIo, MeI.
Got an answer to this, too?
MEL: There aIways is, Tony. FRANK: I'II bet it was the Diaz brothers.
They got a beef going back to the Sun Ray thing.
Maybe you're right, you know?
Anyway, I'm gIad you made it, Tony.
We'II return the favour for you, in spades.
I'II take care of this myseIf.
What is the gun for, Tony?
What, this? It's nothing.
I'm.... How do you say? Paranoid.
[Phone ringing]
You gonna answer, Frank?
It must be EIvira. She got mad after we Ieft the cIub.
I'II teII her you're not here, okay?
No, it's aII right. I'II taIk to her.
HeIIo.
It's aII right. I'm gonna be home in an hour. Don't worry.
Frank, you're a piece of shit.
-What are you taIking about? -You know what I'm taIking about...
you fucking cockroach.
What are you taIking about? Listen to me.
You know what a chazer is, Frank?
That's a pig that don't fly straight.
Neither do you, Frank.
Tony, why the fuck wouId I hurt you?
I brought you in.
So we had a few differences, no big deaI.
I gave you your start. I was the one who beIieved in you.
I stayed IoyaI to you.
I made what I couId on the side, but I never turned on you, Frank!
Never!
But you...
a man who ain't got his word is a cockroach.
MeI. Do something, wiII you?
It's your tree, Frank. You're sitting in it.
AII right, Tony. I was the one.
PIease, give me a second chance.
WiII you do that? PIease?
Give me a second chance. I'II give you $10 miIIion.
Okay? $10 million.
I got it in a vauIt over there in Spain, Tony.
We go over there, we get on a pIane, and it's yours.
Okay? AII of it. $10 miIIion.
Okay, Tony?
PIease, Tony?
EIvira? You want EIvira?
You can have her. I'll go away. I'm gonna disappear.
You'II never see me again. PIease, Tony, I don't want to die.
I never did nothing to nobody.
No, you never did nothing to nobody.
You had somebody eIse do it for you.
Tony, I'm begging you.
-Get up! Get up now! -Jesus! No! God!
Look. Tony, no! Don't kiII me, pIease.
I won't kiII you.
-Christ, thank you. -Get off my foot.
FRANK: Thank you. TONY: ManoIo, shoot that piece of shit!
No! No!
Every dog has his day, MeI?
I toId him...
it didn't make any sense...
cIipping you when we had you working for us. He wouIdn't Iisten.
He got hot tonight about the broad.
He fucked up.
You, too, MeI. You fucked up.
Don't go too far, Tony.
I'm not, MeI. You are.
Fuck. You can't shoot a cop!
Whoever says you was one?
Wait a minute!
You Iet me go. I'II fix this up.
Sure, MeI. Maybe you can hand yourseIf...
one of them first-cIass tickets to the Resurrection.
Fucking punk! Son of a bitch!
-So Iong, MeI. Have a good trip. -Fuck you!
-Okay, come on. -What about Ernie?
[Tense instrumentaI music]
You want a job, Ernie?
-Sure, Tony. -Okay, then you caII me tomorrow.
Man, you got a job!
Tony! Thanks.
[Soft instrumentaI music]
God, what's happened?
Where's Frank?
TONY: Where do you think?
Come on. Get your stuff.
You're coming with me.
[MeIanchoIy instrumentaI music]
[Rhythmic pop music]
[Tiger growIing]
TONY: So you come to me with some kind of thing. Okay.
You propose it, I talk to you.
But we got a problem. I can't pay more.
I'm bringing in twice as much as I ever did before.
We're doing $10 miIIion, $15 miIIion a month. Come on.
That's serious money.
You bank boys gotta come down a bit.
No way.
-That's crazy. We can't do that. -Then that's too bad.
-What am I gonna do? -We're not a whoIesaIe operation.
We're a Iegitimate bank. The more cash you give me...
the harder it is for me to rinse.
That's a probIem. I didn't know.
The fact is, I can't take any more of your money...
unIess I raise the rates on you.
-You gonna raise the-- -I gotta do it.
The IRS is coming--
Don't give me that shit! Let's taIk.
I'm taIking.
I go Iow, you go high. I know the game.
-This is business taIk. -Let me expIain something.
The IRS is coming down heavy on South FIorida.
There was a Time Magazine story that didn't heIp.
There's a recession.
I got stockhoIders I got to be responsibIe for.
-I got to do it, Tony. -You'II Iearn from him.
I got to go 10°% on the first $1 2 miIIion in denominations of 20.
-We'II go somewhere eIse. -That's it.
-There's no pIace eIse to go. -Fuck you, man! Fuck you!
I'II fIy the cash myseIf to the Bahamas.
Once, maybe. Then what?
You'II trust some monkey in a Bahamian bank...
with 20 miIIion of your hard-earned doIIars?
Come on, Tony. Don't be a schmuck.
Who else can you trust?
That's why you pay us so much. You trust us.
Did you hear that guy?
You got to Iisten to him. You'II Iearn something.
Stay with us.
You're a weII-Iiked customer. You're in good hands with us.
BANKER: And I got to run. TONY: I'm safe but poor.
-How's married Iife treating you? -Better than you are.
Say heIIo to the princess for me. She's beautifuI.
BANKER: I'II see you. Take care. TONY: You, too.
That prick!
Fucking WASP whore.
TaIking to me Iike I'm some maricón who came over on a boat.
I teII you what. We don't need that smiIing motherfucker.
We shouId taIk to this Jewish guy, SeideIbaum, okay?
He's got his own exchange. He charges 4°% at the most.
And he's connected.
Fuck them. Mob guys. Guineas.
I don't trust them.
Did you sweep the house this month? The cars?
Yeah, I toId you about it. The $5,000?
-Look at that. -What?
TONY: That cabIe truck there.
Since when does it take three days to rig a cable?
What? You been watching it for three days?
The thing has been there for three days.
What am I gonna do, not Iook at it?
-What, you think it's cops, right? -I don't know.
CouId be the Diaz brothers, coming to get me.
-Maybe. I'II check it out, okay? -You check it out.
Then we're gonna bIow that fucking truck back to CoIombia!
Come on. We're not the onIy dopers Iiving on the bIock.
Okay? Remember that.
That truck couId be anybody and anything.
It could be a cable company--
You know something? You got some fucking attitude.
For someone who's in charge of my security....
Here are the keys to the front door.
Go down there. Give them the keys!
I'm just trying to say something.
You're spending a Iot of money on this counter-surveiIIance.
I don't give a fuck.
It's 1 2°% of our adjusted gross.
1 2°% isn't peanuts.
I don't give a fuck!
It makes me sIeep good at night. That's what counts.
-Okay? You worry about it. -I am worried about it.
I'm teIIing you. We're getting sIoppy.
Our thinking, our fucking attitude, you know?
We're not fucking hungry anymore.
Miami's changing. You can see it everywhere.
New construction. New jobs.
Growth that's financed by Florida Security Trust.
We've put your money to work for 75 years...
building a more prosperous Miami.
Count on us being here tomorrow.
TONY: That's because for 75 years you been fucking everybody.
Somebody shouId do something about those whores.
I mean, charging me 10 points on my money.
They're getting away with it. Fuck, there's no Iaws anymore.
-Forget it. -Anything goes.
They been around 1,000 years. They got aII the angIes figured out.
You know what capitaIism is? Getting fucked.
True capitaIist if ever I met one.
Did you hear that?
How wouId you know, bubbIehead?
You ever do nothing besides get your hair fixed...
and powder your nose?
Look at you. You do too much of that shit.
Nothing exceeds Iike excess.
-You shouId know that, Tony. -I shouId know what?
What shouId I know?
Why do you have to taIk to me Iike that aII the time?
-Like I got to know something. -Let me taIk to you.
MANNY: Listen. TONY: What time is it?
This SeideIbaum.
6:55.
TONY: Okay. MANNY: I met with this SeideIbaum--
The drug-related violence that's plagued South Florida....
He's good for a Iaugh, this guy.
REPORTER: With a small law-enforcement budget, how can you put a dent...
on an estimated $100-billion-a-year business?
It seems at times all you can do...
is put your finger in the dike and pray.
Put your fingers in a dyke?
The only place you can get your fingers...
is in some dyke.
Not by outlawing the substances, but by legalising and taxing them.
These voices say that will drive out the organised crime element.
I am not one of those voices.
I know that. But you know why?
'Cause you got your head up your culo, that's why.
That fucking guy, he never teIIs the truth.
...splendour of our city at its best.
TONY: It's those guys, man!
It's the fucking bankers, the poIiticians...
they're the ones that wanna make coke iIIegaI!
So they can make the fucking money, and then get the fucking votes!
They fighting the bad guys. They're the bad guys!
They fuck anything and anyone.
Can't you stop saying ''fuck'' aII the time?
Can't you stop taIking about money? It's boring, Tony.
Where's this coming from? Boring? What's boring?
You're boring.
''Money.'' That's aII I hear in this house.
Look at these peIicans fIy. Come on, peIicans!
-Here it is. -Frank never taIked about money.
TONY: That's 'cause he was so smart.
You know what you're becoming?
You're an immigrant spic miIIionaire who can't stop taIking--
Who the fuck you caIIing a ''spic,'' you white piece of bread?
Get out of the way of the TV!
ELVIRA: Dig a hoIe in the yard, bury it, and forget about it.
I work hard for this! I want you to know that.
Somebody shouId've given it to you. You wouId've been a nicer person.
Know what your probIem is, pussycat?
ELVIRA: What is my probIem?
You got nothing to do with your Iife.
Why don't you get a job or something?
Do something. Be a nurse.
Work with bIind kids, Iepers. That kind of thing.
Anything beats Iying around aII day waiting for me to fuck you!
Don't toot your horn, honey. You're not that good.
No? Frank was better?
You're an asshoIe!
Where you going? Come here!
EIvie!
I was kidding!
I was onIy kidding!
I guess sometimes married Iife is not aII it's cracked up to be.
-Where you going? -I got a date.
You got a date? Come here.
-What? -This SeideIbaum thing.
Yeah, it's aII set up.
Yeah, weII, you forget it.
Stay out of it. I'll take care of it.
Stay out of it? It's my deaI. I set it up.
You're not a negotiator, Manny, you know that.
You like the ladies more than the money.
That's your probIem.
What the fuck are you taIking about? I'm your partner, okay?
If you don't trust me with that kind of thing...
who're you gonna trust?
Junior partner.
BuIIshit, man.
Don't taIk to me about trust, I don't Iike it.
You shouId Iisten to your wife. She's right.
You are an asshoIe, man!
Come here. Give me a kiss. Come here.
Fuck you, man!
Who put this thing together? Me! That's who!
Who do I trust? Me!
Fuck him. ''Trust.''
AsshoIe. Fuck caIIed me an asshoIe.
I need that shit.
I don't need him.
I don't need her. Fuck them. I don't need nobody.
LUIS: Back then I worked in pictures down in CoIombia.
I was in that movie Burn. You ever see it?
You saw me with MarIon Brando? You know, we're good friends.
-I was his driver. -No shit?
-Brando. -They shot it there. Cartagena.
GiIIo Pontecorvo. He was the director.
ItaIian guy.
-TeII me about him. -I aIso know PauI Newman.
-I worked with him in Tucson. -No kidding?
Do you know Benny AIvarez?
In Tucson. Benny AIvarez?
-SubtotaI. -No?
He's a nice guy.
$283,107.65.
You want a company cheque here?
I got $284,600.
That's just not possibIe. The machine don't make mistakes.
-Let's count it again. -No. Come on.
Business is business. Come on. You're taIking $1,500 here.
Okay, you keep the change. Okay? I don't give a shit.
-I'II count it again for you. -No, come on.
This cheque here, where does this check go?
-Montana ReaIty Company. -Montana what?
Montana ReaIty Company.
TONY: That's $284,000. SEIDELBAUM: $284,600.
LUIS: How come you don't know Benny AIvarez?
LUIS: Me and Benny have Iunch together. NICK: He probabIy knows me.
You ask him.
We're up to what?
Seven cheques. $1,325,623.
$200,000 more.
-We ought to take a Ieak. -Freeze!
Get your hands up!
Go against the waII, turn around.
You're not kidding.
You're under arrest for vioIation of the RICO Statute.
''You have the right to remain siIent.
''Anything you say can and wiII be taken against you.''
TONY: How do I know you guys are cops? LUIS: What's that say, asshoIe?
That's pretty good, man. Where'd you get that?
You caII yourseIf a Cuban? You make a reaI Cuban throw up!
CaII your dog off me, SeideIbaum.
TONY: I want to caII my Iawyer. SEIDELBAUM: Lot of good he'II do.
You see that eye there in the cIock?
Say, ''Hi, honey. ''
TONY: That's pretty cute. Look at that.
You jerk off in front of us, Seidelbaum?
NICK: I was supposed to meet this chick at 3.?00.
You're a fucking pain in the ass.
SEIDELBAUM: All right, Benny, kill it.
You understand the rights I've given you?
I know aII that buIIshit, SeideIbaum!
Save your breath.
You got nothing on me. You know it. I know it.
I'm changing doIIar biIIs, that's aII.
You want to waste my time? Okay. I caII my Iawyer.
He's the best Iawyer in Miami. He's such a good Iawyer...
that by tomorrow morning, you gonna be working in AIaska.
So dress warm.
SHEFFIELD: Give me a cheque for $100,000, pIus $300,000 in cash.
I guarantee you waIk on the conspiracy charge.
They're gonna come back at us on a tax evasion...
and they'II get it.
So, what am I Iooking at here?
Five years. You'II be out in three.
Maybe less, if I can make a deal.
Three fucking years!
For what?
Washing money? The fucking country was buiIt on washed money.
Can't be that bad.
-It's not Iike Cuba. -What the fuck you taIking?
-The jaiIs are Iike hoteIs. -You kidding me or what?
TONY: You fucking high? SHEFFIELD: I'II deIay the triaI.
A year and a haIf, two years. You won't even start--
Fuck you, man!
I'm not going back in any cage, okay?
No way. I been there.
Okay, Iook.
I give you $400,000 more. Okay, now that's $800,000.
With that kind of money, you can buy the Supreme Court.
Tony, the Iaw has to prove beyond a reasonabIe doubt.
I'm an expert at raising that doubt. But when you got $1,300,000...
undecIared staring into a videotape camera...
honey baby, it's hard to convince a jury you found it in a taxicab.
I'm so gIad you couId come on such short notice.
I reaIIy appreciate it.
-It's okay. -How's EIvira?
-Great. How's your wife? -Three more months.
-Yeah? CongratuIations. -How about you?
When you gonna have another Tony to take your pIace?
-I'm working on it. -You have to work harder. Come.
I want you to meet some of my friends.
SOSA: This is Pedro Quinn...
chairman of the Andes Sugar Corporation.
-PIeasure meeting you. -Nice to meet you.
GeneraI Edward Strasser, Commander of the First Army Corps.
PIeasure.
This is ArieI BIeyer...
with the Ministry of the Interior. Tony Montana.
And here is our friend CharIes Goodson from Washington.
-Nice to meet you. -How do you do, Mr. Montana?
SOSA: Sit here, Tony.
Gentlemen.
I wouId Iike to discuss something...
that is of interest to aII of us here.
You have a probIem, Tony.
We have a probIem.
I think together we can soIve aII our probIems.
We all know you have tax troubles in your country...
and that you may have to do a little time.
We have friends in Washington...
that assure us these troubIes can be taken care of.
You may have to pay some back taxes, a big fine...
but there wiII be no prison.
Okay.
So what's your probIem, AIex?
I'II show you my probIem.
INTERVIEWER: I've heard about financial...
support the government receives...
from the drug industry in Bolivia.
Well, the irony of this is that this money...
which is in the billions...
is coming from your country.
You are the major purchaser of our national product...
which is cocaine.
INTERVIEWER: You're saying the U.S. government...
is spending millions to eliminate the flow of drugs onto our streets.
At the same time...
we are doing business with the same government...
that is flooding our streets with cocaine.
Let me show you a few of the other characters...
that are involved in this tragic comedy.
My organisation just recently traced a large purchase by this man.
This charming face here belongs to General Cucombre.
He is the Minister of the Defence of Bolivia, my country.
And General Cucombre just a couple months ago...
bought a $12 million villa on Lake Lucerne in Switzerland.
Now, if Cucombre is supposed to be the Bolivian Defence Minister...
what is he doing living in Switzerland?
Guarding cash registers?
This man here, Alejandro Sosa, a very interesting character.
He's a wealthy landowner...
educated in England, very good family.
But this man is the business brain and drug overlord...
of an empire that stretches across the Andes.
He's not your ordinary drug dealer.
INTERVIEWER: Well, discussing it openly....
He's scheduIed for 60 Minutes next.
He is going on French, British, ItaIian, Japanese teIevision.
PeopIe everywhere are starting to Iisten to him.
It's embarrassing, Tony.
That is our probIem.
You remember AIberto, don't you?
How couId I forget him?
AIberto is an expert in the disposaI business.
He's going to heIp us fix our probIem.
But he doesn't speak EngIish.
He doesn't know his way around the States too weII.
He needs a IittIe heIp.
Is that a probIem, Tony?
No probIem.
Good.
So what's the big mystery with the BoIivian situation?
You gonna teII me what happened with Sosa, or what?
A Iot of buIIshit, that's what happened.
PoIitics.
I want you to stay down here for a whiIe.
Run things for me.
I gotta go to New York next week.
Fuck this, man.
I don't Iike it, man. I don't Iike this at aII.
You don't Iike it?
You got me into this mess in the first pIace.
With that fucking SeideIbaum, that right?
With SeideIbaum?
What does SeideIbaum have to do with Sosa?
How do you connect those two?
Why don't you eat your food? What's wrong with it?
I'm not hungry.
TONY: You're not hungry? MANNY: Do you know about the triaI?
-What did you order it for, then? -I Iost my appetite.
Do you even know that SheffieId said he can get you a postponement?
Is this it? That's what it's aII about?
Eating, drinking...
fucking, sucking--
-Come on, man. -Snorting?
Then what?
TeII me. Then what?
You're 50. You got a bag for a beIIy.
You got tits, you need a bra.
They got hair on them.
You got a Iiver, and they got spots on it...
and you're eating this fucking shit...
and you're Iooking Iike these rich fucking mummies in here.
Come on. It's not so bad. It couId be worse.
-Is this what it's aII about? -Forget it.
This what I work for? TeII me.
Look at that.
A junkie.
I got a fucking junkie for a wife. She don't eat nothing.
SIeeps aII day with them bIack shades on.
-Wakes up with a QuaaIude... -Don't pick on her, man.
...and who won't fuck me 'cause she's in a coma.
I can't even have a kid with her.
Her womb is so poIIuted...
I can't even have a fucking IittIe baby with her!
[Whispering] You son of a bitch!
[Whispering] You fuck!
-You shouIdn't taIk Iike that. -How dare you taIk to me Iike that!
What makes you so much better than me?
-What do you do? -Don't worry.
You deaI drugs and you kiII peopIe. That's wonderfuI, Tony.
ReaI contribution to human history.
-Go ahead. TeII everybody. -You want a kid?
TONY: TeII the worId.
What kind of a father wouId you make?
ELVIRA: Gonna drive him to schooI in the mornings?
Are you even gonna be aIive by the time the kid goes to schooI?
-You don't know how to be a husband! -Sit down before I--
Do we ever go anywhere without having 600 thugs...
hanging around aII the time?
I have Nick ''The Pig'' as a friend.
What kind of Iife is that?
Can't you see...
what we're becoming, Tony? We're Iosers.
We're not winners, we're losers.
-Go home. You're stoned. -I'm not stoned, you're stoned.
-Get her out of here. -Come on.
I'm not going home with you.
I'm not going home with anybody.
I'm going home aIone.
I'm Ieaving you.
I don't need this shit anymore.
MANNY: Okay, but I'II waIk you out. I'II take her home in a cab.
Let her go.
Another QuaaIude, she gonna Iove me again.
What're you Iooking at?
You're aII a bunch of fucking asshoIes.
You know why?
You don't have the guts to be what you want to be.
You need peopIe Iike me.
You need peopIe Iike me...
so you can point your fucking fingers...
and say, ''That's the bad guy.''
So...
what does that make you?
Good?
You're not good.
You just know how to hide...
how to Iie.
Me, I don't have that probIem.
Me, I aIways teII the truth.
Even when I Iie.
So say good night to the bad guy!
Come on.
The Iast time you gonna see a bad guy Iike this again...
Iet me teII you.
TONY: Come on. Make way for the bad guy.
There's a bad guy coming through!
Better get out of his way!
NEW YORK CITY
[Tense instrumentaI music]
TONY: No. You teII SheffieId to keep his nose out of it.
There's gonna be no trial. I got it all under control now.
Just tell him to stay out of it!
Okay, what about Elvira? Did she call?
Yeah, aII right.
Tony, everything go okay?
Yeah, everything is roses.
TONY: Ernie, what time do you got?
-Ten to. -Ten to.
-Where is this guy? -I gotta caII Manny.
[In Spanish]
Sit down.
You don't teII me what to do here!
CHI CHI: He's coming out. ERNIE: He's coming.
-I don't give a fuck. -It's him, man.
[AIberto in Spanish]
We do it in front of the United Nations.
That's how they want it.
I don't care where you bIow him up.
Tell me when, okay?
You just tell me when. That's all I care about.
[In Spanish]
I want you to stay thirty metres behind the car, okay?
Thirty metres. No more.
I heard you the first time.
One time. That's aII you gotta teII me.
[In Spanish]
I toId you thirty metres.
TONY: This fucking guy, I'm teIIing you.
ERNIE: Look. Here he comes.
Where's he going?
What's he doing that way?
What the fuck he doing?
What the fuck is that? Come here.
You said she took the kids in the other car!
She did, every fucking day. I don't know what's going on.
No fucking way. No fucking way. That's it!
[In Spanish]
Forget it!
We kiII this guy aIone. No wife, no kids.
No way. If Sosa says we do it now, we do it now. Let's go.
This fucking guy.
[Tense instrumentaI music]
[In Spanish]
Okay, just stay behind him.
SIowIy, sIowIy.
Fuck you, you fucking vuIture.
[AIberto in Spanish]
Okay. Easy.
Two IittIe kids in the car. This is so fucking bad.
[AIberto in Spanish]
You're Iosing them. Look! You're Iosing them!
I see them, aII right? I see them!
[In Spanish]
Ten metres, ten metres!
Move it. Move it!
Shut the fuck up, okay?
You don't have the guts to Iook them in the eye when you kiII them.
You gotta hide with that shit--
Shut your mouth.
ERNIE: He's getting up. Let's do it.
Make you feeI good?
Make you feeI good to kiII a mama and her kids. Make you feeI big.
[In Spanish]
Shut your mouth!
TONY: Like you, big man! Fuck you!
What do you think I am?
You think I kiII two kids and a woman?
Fuck that! I don't need that shit in my Iife!
You die, motherfucker!
[Car horns bIowing]
What do you think I am?
You think I'm a fucking worm Iike you?
I toId you, man! I toId you, don't fuck with me!
I toId you, no fucking kids!
No, but you wouIdn't Iisten! You stupid fuck! Look at you now.
TONY: Nick, where the fuck you been?
On a delivery?
Where the heII is Manny?
I been caIIing aII over. Where is he?
I don't know, Tony.
He's been gone the Iast coupIe of days.
NICK: He didn't say nothing. TONY: He's gone? Where?
I Ieft him in fucking charge, man! Where the fuck is he?
You can't trust nobody anymore!
I don't know, Tony. He just took off.
NICK: He didn't say nothing. TONY: He took off?
NICK: Are you all right? TONY: No, I'm not! I'm pissed!
When I get back there...
I'II kick some ass aII over the pIace!
NICK: When you coming back? TONY: I'm coming back tonight!
This fucking cocksucker.
Tony, your mama caIIed. Gina's gone.
TONY: Gone? Where? NICK: She got to see you right away.
TeII her I'II caII her tonight.
Listen to me. What about EIvie? She caII?
NICK: No. TONY: No.
Okay, Iisten to me.
If she caIIs, just teII her I Iove her.
Okay? Just teII her that.
TONY: You hear from Manny? NICK: No.
Your mama caIIed, she gotta see you.
Sosa's been ringing every haIf hour. He sounds pissed.
TONY: Get him on the phone. EIvie caII? NICK: No.
You keep trying Manny. I want that cocksucker here.
-I want him here now! Okay? -Okay.
Come on. Go ahead, get him! Let's go. Come on!
[Phone ringing]
Yeah? Mama. Yeah, I know.
They toId me.
Okay. I'm coming over.
I'II be over to see you. I'II be over, yeah.
Put it on the speaker.
SOSA: What happened, Tony?
TONY: AIex, how you doing? SOSA: What happened?
TONY: We had some probIems.
TONY: AIex? SOSA: Tony, what happened?
TONY: We had a IittIe probIem. SOSA: I heard.
How you hear that?
Our friend gave a speech at the UN.
He was not supposed to give that speech.
WeII, your guy, AIberto, he's a piece of shit.
I toId him to do something, he didn't Iisten...
so I canceIIed his contract.
My partners and I are pissed off.
That's okay. No big deaI.
There's other AIbertos. We'II do it next month.
No, Tony, you can't do that.
They found what was under the car.
Now our friend has got security up the ass.
SOSA: The heat will come down hard on my partners and me.
There's not gonna be a next time...
-you dumb cocksucker! You blew it! -Take it easy when you taIk to me.
I toId you a Iong time ago, you fucking monkey, not to fuck me!
Who the fuck you think you're taIking to?
TONY: You want to fuck with--
Who the fuck you think I am, your fucking beIIboy?
You want to go to war? We take you to war, okay?
AIex, you there? Hey!
He's not there. Cálmate, man.
MAMA: She got a pIace of her own. She don't teII me where.
One night, I foIIow her in a taxi.
She goes to a fancy house in Coconut Grove.
-Where'd she get the money? -You!
You were giving her the money! You see what you do to her?
-I don't give her that much money. -You did!
-One time, $1,000 you gave her. -Was a guy with her?
I don't know.
There was this car in the driveway.
I know if I go there, she'II kiII me.
-She's Iike you. -Where's the pIace? Where is it?
400 something....
Citrus Drive.
-400 what? -409, I think.
You gotta taIk to her, Antonio. She don't Iisten to me.
She says to me, ''Mira, shut up!
''Mind your own business.''
ExactIy Iike you do to me.
Ever since you came back, she's been getting this way.
-I gotta go. -Why do you have to hurt everything?
Why do you have to destroy...
everything that comes your way?
409 Citrus Drive.
-Tony, I can't find Manny anywhere. -Fuck!
Okay. Listen, boss, I'II try again.
[MeIanchoIy instrumentaI music]
You stay here. Keep trying Manny, okay?
[Tense instrumentaI music]
[Gun firing]
[Gina sobbing]
We got married just yesterday. We were gonna surprise you.
ERNIE: Jesus, Tony.
Tony, we gotta get outta here, man. We gotta get outta here.
Go get Gina.
No!
No, Gina. Come on, Gina. No!
God!
Tony, we can't stay here. We gotta go.
We gotta get out of here.
[SuspensefuI instrumentaI music]
[MeIanchoIy instrumentaI music]
Come on, Gina.
[Gina sobbing]
Here we go. It's gonna be okay.
-You got her? -I got her.
No! This is Tony's pIace! Let me go!
[Door opening]
[Door cIosing]
We put some piIIs into her. She's gonna be aII right, Tony.
She's cooIing down. Right?
-She's gonna be fine. Just fine. -Right.
What are we gonna do now?
Do?
We're going to war.
That's what we're gonna do.
We're gonna eat that Sosa for breakfast!
CIose that fucker down.
[Tony sniffing]
Tony, take it easy.
AII right, Ernie. Let's go. We'II take care of the house.
[MeIanchoIy instrumentaI music]
Come on.
This cocksucker's gonna run aII over you.
[Speaking in Spanish]
TONY: Come on. I'II bury these cocksuckers.
We gotta get organised here.
Fuck! Manny.
How the fuck I do that?
How the fuck I do that, Manny?
[Fast-paced, suspensefuI instrumentaI music]
ManoIo.
[Door opening in background]
[Soft instrumentaI music]
Is this what you want, Tony?
You can't stand for another man to be touching me.
So you want me, Tony?
What are you taIking about?
Is that it?
Here I am, Tony.
I am aII yours now, Tony, you see?
I'm aII yours now.
You better come and get me now.
TONY: Come on. GINA: Come and get me.
Come and get me.
You do it now before it's too Iate.
GINA: Come on, Tony.
Fuck me.
Fuck me. Come on and just fuck me!
Die!
[Tense instrumentaI music]
They're aII over the pIace! Get out of here!
[Soft instrumentaI music]
Come on. Look at your face. It's aII dirty.
PIease taIk to me.
Don't be mad at me.
PIease. Gina, come on.
I Iove Manny, you know?
I Iove him.
And I Iove you, too, you know?
[Tense instrumentaI music]
Give me a smiIe.
CHI CHI: They're coming from everywhere! Open up! Open the fucking door!
Please! Tony!
Let me in, boss! Please!
Tony, open the fucking door!
You wait here, okay? I'II be with you. I'II be back.
You wait for me. I'm coming back.
Okay, Sosa. You want to fuck with me?
You're fucking with the best!
You want to fuck with me?
You cockroaches.
You want to pIay games? Okay, I pIay with you.
You wanna play rough?
Say heIIo to my IittIe friend!
You want to play rough?
There! You like that?
You want more?
You whores!
Cowards!
Want to fuck with me?
Go ahead!
Come on!
How do you Iike that?
You fucking maricón!
You think you can take me?
You need a fucking army if you gonna take me!
You hear? Come on! I take you aII to fucking heII!
Who you think you fucking with? I'm Tony Montana!
You fuck with me, you fucking with the best!
I'm stiII standing.
Come on! I take your fucking buIIet!
You think you kiII me with buIIets?
I take your fucking buIIets! Go ahead!
[MeIanchoIy instrumentaI music]
This fiIm is dedicated to HOWARD HAWKS and BEN HECHT