Original subtitles

I n May 1 980 , F idel Castro opened the harbor at Mariel , C u ba ,

with the apparent i ntention of letti ng some of h is people

joi n thei r relatives i n the U n ited States .

With i n seventy-two hou rs , 3 , 000 U . S . boats were headed for C u ba .

It soon became evident that Castro was forci ng the boat owners

to carry back with them not on ly thei r relatives ,

but the d regs of h is jai ls .

Of the 1 25 , 000 refugees that landed i n F lorida ,

an esti mated 25 , 000 had cri m i nal records .

(S P EAKI N G I N S PAN I S H)

... they are u nwi l l i ng to adapt to the spi rit of ou r revol ution ...

We don 't want them ! We don 't need them !

(C ROWD C H E E RI N G)

MARI E L HARBO R, C U BA

(I N D I STI N CT C HATTE RI N G)

(C ROWD C H E E RI N G)

O F F I C E R 1 : What do you cal l you rself, h u h ?

(RE P EATS Q U ESTI O N I N S PAN I S H)

Anton io Montana .

And you , what you cal l you rself?

O F F I C E R 2 : Where'd you learn E ng l ish , Tony?

I n school .

And my father, he was from the U n ited States .

J ust l i ke you , you know?

H e was a Yan kee .

H e used to take me a lot to the movies .

I learned .

I watch the g uys l i ke H u m ph rey Bogart, J ames Cag ney.

They teach me to tal k. I l i ke those g uys .

I always know one day I ' m com i ng here , U n ited States .

O F F I C E R 2 : So where's you r old man now?

H e dead . H e d ie .

Someti me . Somewhere .

O F F I C E R 2 : Mother?

S he dead , too .

O F F I C E R 1 : What ki nd of work you do i n C u ba?

You know, th i ngs .

I was th is , that.

Construction busi ness .

I work a lot with my hands . I was i n the Army.

O F F I C E R 1 : Any fam i ly i n the States?

Cousi ns , brother-i n-law, anybody?

N obody. Everybody's dead .

O F F I C E R 2 : You ever been to jai l , Tony?

Me? J ai l ? N o way, no .

O F F I C E R 2 : Been i n a mental hospital ?

O h , yeah . O n the boat com i ng over.

O F F I C E R 2 : What about homosexual ity, Tony? You l i ke men , h u h ?

You l i ke to d ress u p l i ke a woman ?

What is wrong with th is g uy? H e kidd i ng me or what?

O F F I C E R 1 : J ust answer the q uestions , Tony.

O kay. N o .

F uck, no .

O F F I C E R 2 : Arrested for vag rancy? Marij uana?

N ever, man . O F F I C E R 2 : H eroi n ?

Cocai ne?

N o .

O F F I C E R 3 : Where'd you get the beauty scar, toug h g uy? Eati ng pussy?

H ow am I gon na get a scar l i ke that eati ng pussy?

Th is was when I was a kid , you know?

O F F I C E R 3 : M m m-h m m .

You shou ld see the other kid . You can 't recog n ize h i m .

And th is?

What? That's noth i ng . That's from my sweetheart.

Sweetheart, my ass !

We've been seei ng more and more of these .

Some ki nd of code these g uys used i n the can .

P itchfork means an assassi n or someth i ng .

You want to tel l us about it,

or you want to take a tri p to the detention center?

O kay, you got me .

I was i n the can one ti me .

For buyi ng dol lars . B ig deal .

That's pretty fu n ny, Tony.

That's true .

It was a Canad ian tou rist.

D id you m ug h i m fi rst? Get h i m out of here !

O F F I C E R 2 : Come on !

So I fuck u p !

Let me tal k to th is g uy.

P lease ! Let me tal k to h i m a m i n ute .

You a Com m u n ist?

H u h ?

H ow'd you l i ke it?

They tel l you always what to do ,

what to th i n k, what to feel .

Do you want to be l i ke a sheep?

Li ke al l those other people?

(M I M I C KI N G S H E E P B L EATI N G)

I don 't have to l isten to th is !

You wan na work 8 , 1 0 fucki ng hou rs?

You own noth i ng , you got noth i ng !

Do you want a chivato on every corner,

watch i ng everyth i ng you do?

Everyth i ng you say, man ?

You know I eat octopus th ree ti mes a day?

I got fucki ng octopus com i ng out of my ears .

I got fucki ng Russian shoes , my feet's com i ng th roug h .

H ow'd you l i ke that?

You want me to stay there and do noth i ng ?

I ' m no fucki ng cri m i nal , man . I ' m no puta or th ief.

I ' m Tony Montana , a pol itical prisoner from C u ba .

I want my fucki ng h u man rig hts , now!

Li ke P resident J i m my Carter says . O kay?

Carter shou ld see th is h u man rig ht. H e's real ly good .

What do you say?

I don 't bel ieve any of th is sh it !

They al l sou nd al i ke to me .

That Castro is sh itti ng al l over us .

Send the bastard to F reedom Town . Let them see h i m .

Get h i m out of here .

You know someth i ng ?

You can send me anywhere .

H ere , there , th is , that. It don 't matter.

There's noth i ng you can do to me

that Castro hasn 't done ...

O F F I C E R 3 : Get h i m out of here !

MAN NY: So? TO NY: So?

What'd you tel l them ?

What you told me to tel l them .

That we . . . I was i n san itation .

They d id n 't go for it.

San itation ?

Yeah .

I told you to tel l them

you was i n a san itari u m , not san itation .

San itari u m . Yeah .

You d id n 't tel l me that.

N o , I told you to say you had TB and you was i n a san itari u m .

You was cu red .

When d id you tel l me that?

You shou ld 've kept you r mouth sh ut.

They'd th i n k you was a horse and let you out.

(C U BAN M U S I C P LAYI N G)

O N E MO NTH LATE R

(S P EAKI N G S PAN I S H)

Tony ! Montana !

Tony Montana ! Come here .

Come here , man . I gotta tal k to you .

Come on , man . It's i m portant.

So close , man . Come on .

I gotta tal k to you .

Where are you goi ng ?

Leave h i m alone .

I got better th i ngs to do .

You ' re ch icken , man . You al most made it.

Are you ready for some good news?

S u re . What you got, man ?

We can be outta th is place i n 30 days .

N ot on ly that, but we got a g reen card and a job i n M iam i .

N ow are we made or are we made , man ?

What do we gotta do? Go to C u ba and h it the Beard ?

N o , man , somebody else .

You ' re kidd i ng .

N o .

You ' re not kidd i ng ?

G uy named Rebenga , man . E m i l io Rebenga .

Rebenga?

I know that name .

Yeah ?

H e's pol itical . Yeah .

MAN NY: Wel l , he's com i ng i n here today. Castro j ust spru ng h i m .

Th is g uy was one of the top dogs for F idel i n the early days .

Castro felt he cou ld n 't trust h i m and th rew h i m i n jai l .

B ut wh i le he was on top , he tortu red a few g uys to death .

O ne of the g uy's brothers is a rich g uy i n M iam i now.

H e wants the favor repaid .

That's where we come i n .

It's ug ly, man .

(LAU G H S) Yeah .

You tel l you r g uys i n M iam i , you r friend ,

it'd be a pleasu re .

I 'd ki l l a Com m u n ist for fu n ,

but for a g reen card , I gon na carve h i m u p real n ice .

M IAM I , F LO RI DA, AU G U ST 11 , 1 980 (U P I) . . . H U N D RE DS O F C U BAN RE F U G E ES

B EGAN RI OTI N G TH I S MO RN I N G AT A D ETE NTI O N C E NTE R S ITUATE D

U N D E R I NTE RSTATE 95 I N N O RTH M IAM I , B U RN I N G TE NTS AN D ATTAC KI N G

I MM I G RATI O N AN D NATU RAL IZATI O N G UARDS WITH P I P ES , STI C KS , AN D ROC KS .

(YE L L I N G)

(RI OTE RS YE L L I N G) (S I RE N S WAI L I N G)

(C HANTI N G I N S PAN I S H)

Rebenga !

(CO NTI N U ES C HANTI N G)

F rom a friend you fucked !

That face . That's n ice .

That doesn 't look l i ke me .

(EXC LAI MS) That looks pretty, man .

(LAU G H I N G) Whoo !

TO NY: F uck !

What's wrong , man ?

(RE P EATS Q U ESTI O N I N S PAN I S H)

You r big shot friend better come u p with someth i ng soon .

I d id n 't come to the U . S . to break my fucki ng back.

H e's com i ng ! What do you want from me?

F ucki ng th i ng !

I told you .

(S P EAKI N G S PAN I S H)

What's wrong ?

(CO NTI N U ES S P EAKI N G S PAN I S H)

(S P EAKI N G S PAN I S H)

(M U S I C P LAYI N G)

(EXC LAI M I N G I N S PAN I S H)

Look at that one .

That one i n the pi n k. S he's beautifu l .

Look at those titties .

TO NY: Look at that pu n k with her.

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

Wel l , he's very handsome , for one th i ng , you know?

(C H U C KL I N G)

I mean , look at the way he d resses .

Come on . That's style , flash , pizzazz.

And a l ittle coke money doesn 't h u rt nobody.

Look at th is .

F ucki ng on ions .

They oug ht to be picki ng gold from the street.

O h , God , I can feel it.

There's two g uys looki ng for you out there .

That's h i m , man . That's El mono. I told you .

OWN E R: Don 't stay too fucki ng long .

We've got a lot of work to do .

(M U S I C P LAYI N G O N CAR STE REO)

(LAU G H I N G)

(MAN NY S P EAKI N G S PAN I S H)

Waldo ! Good to see you , man .

Th is is my friend Tony Montana I 've been tel l i ng you about.

Tony, that's O mar S uarez, and that's Waldo Rojas over there .

I got someth i ng for you .

Yeah ? What do we gotta do?

Gotta u n load a boat.

Marij uana . 25 tons . You get 500 each .

500? That's g reat.

You gotta be kidd i ng .

500?

Who do you th i n k we are , baggage hand lers?

The goi ng rate on a boat is 1 , 000 a n ig ht.

You know that.

F i rst you gotta work you r way u p to 500 .

What I d id for you i n F reedom Town , what was that?

That Rebenga h it was a game of dom i noes?

That was someth i ng else .

TO NY: S h ut u p ! Take it easy.

What's with th is d ishwasher, chico ?

Don 't he know we cou ld 've got

any space cadet to h it Rebenga cheaper?

50 bucks !

Then why d id n 't you ?

Don 't cal l me no fucki ng d ishwasher,

or I ' l l kick you r mon key ass .

Who the fuck are you ?

You can 't do that, man !

The Colom bians !

O kay, al l rig ht, big man !

You want to make some big bucks?

Let's see how toug h you are .

You know someth i ng about cocai ne?

(S P EAKI N G S PAN I S H)

You kidd i ng me or what?

There's a bu nch of Colom bians com i ng i n F riday.

N ew g uys .

They say they got two keys for us , for openers .

P u re coke . H otel i n M iam i Beach .

I want you to go over there .

If it's what they say, pay them and bri ng it back.

Do that, you got 5 g rand .

Go , pay them , bri ng it back, yeah ?

You know how to hand le a mach i ne g u n ?

Yeah , man . We were i n the Army.

You gon na need a cou ple other g uys .

That's no problem .

Be at H ector's bodega at noon , F riday.

You get the buy money then .

If anyth i ng happens to that buy money,

my boss wi l l stick you r heads u p you r asses

faster than a rabbit gets fucked !

I ' m scared .

(TI RES SQ U EAL I N G)

You ' re push i ng you r l uck. Don 't worry.

That was d u m b .

You worry too m uch .

You ' l l have a heart attack.

You act l i ke that g uy's doi ng you a favor or someth i ng .

What's th is with the Colom bians?

What does it matter?

H e says "Colom bians , " and you make these eyes ...

I don 't l i ke fucki ng Colom bians , okay?

What you g uys doi ng ?

There's a lot of d ishes to be washed .

Wash them you rself.

I reti re !

What the fuck you gon na do now?

Don 't come back here !

I gotta look after my i nvestment !

F uck you g uys !

C lose the shop !

MAN NY: Look at those tits . S he's begg i ng for it.

C H I C H I : Are you fucki ng crazy?

S he's 1 03 years old .

N ot that one , man ! That one !

C H I C H I : Wh ich one?

MAN NY: The you ng one .

Move the fucki ng car. We' re at a stop sig n .

(S P EAKI N G S PAN I S H)

We' re j ust stayi ng loose u p here . You gotta stay loose .

You can 't worry. You ' l l have a heart attack.

C H I C H I : J ust play it cool . M iam i Beach .

MAN NY: M iam i Beach , man !

The money stays i n the tru n k ti l l I come out.

You got it? Me , nobody else . O kay.

I ' m not out i n 1 5 m i n utes , someth i ng 's wrong . O kay?

Room 9 . You ready?

AN G E L : S u re th i ng .

(G RE ETI N G I N S PAN I S H)

(S P EAKI N G S PAN I S H)

O kay. You m i nd leavi ng the door open ?

So my brother-i n-law sees everyth i ng 's okay.

S u re . N o problem .

N o problem .

H el lo . Th is is Marta .

Marta , hel lo .

I am H ector.

And I am Tony.

So , O mar says you ' re okay.

Yeah ? Good . O mar's okay.

O kay.

So , you got the money?

You got the stuff?

S u re I have the stuff, but not rig ht here with me now.

I got it close by.

I don 't have the money either, man .

I have it close by, too .

Where?

I n the car?

N o , not i n the car, man .

H ECTO R: N o?

H ow about you ? Where you have you r stuff?

N ot far.

(CAR H O RN H O N KI N G)

O kay. You want me to come i n ? We start over agai n ?

(LAU G H S)

Where you from , Tony?

What the fuck d ifference does it make where I ' m from ?

(S P EAKI N G S PAN I S H)

Take it easy, man .

I j ust want to get to know who I do busi ness with .

You ' l l know me once you do busi ness with me and stop fucki ng arou nd .

O kay?

TO NY: What's the story? Tony !

(S H O UTI N G I N S PAN I S H)

You know, F rog Face , you j ust fucked you rself.

You steal from me , you ' re dead .

Yeah ?

You want to g ive me the cash ,

or do I ki l l you r brother fi rst

before I ki l l you ?

Why don 't you try sticki ng you r head u p you r ass?

See if it fits .

Yeah ? O kay.

(C HATTE RI N G O N TV)

(VO L U M E I N C REAS I N G)

MAN 1 O N TV: Yeah, it's very important.

WOMAN O N TV: I understand it's important.

MAN 1 : Thank you. WOMAN : You 're welcome.

MAN 2 : You forecasted an earthquake

in the 3-to-4-point range this morning.

MAN 3 : 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...

(PO P M U S I C P LAYI N G O N CAR STE REO)

You have such beautifu l ski n .

I l i ke the way you ...

I don 't know what I ' m su pposed to do today, but...

(C HAI N SAW WH I RRI N G)

Anton io , mira!

Watch what happens to you r friend .

If you don 't want th is to happen to you ,

g ive me the money.

(AN G E L SC REAM I N G)

Come on , come on .

(EXC LAI M I N G I N S PAN I S H)

N ow the leg , h u h .

(S P EAKI N G S PAN I S H)

Let's do it, man . Come on .

We' re al l gon na be al l rig ht.

O kay, cara cicatriz.

You can d ie , too . It makes no d ifference to me .

Last chance , pendejo!

F uck you !

(WH I RRI N G)

(S P EAKI N G S PAN I S H)

(G ROAN S)

(SC REAM I N G)

You okay?

Yeah , man . It went i n and out.

TO NY: O kay, take h i m out of here , q u ick !

C h i C h i ! Get the yeyo.

(S P EAKI N G S PAN I S H)

(P EO P L E SC REAM I N G)

You r tu rn .

I ki l l you !

D ie !

(C ROWD SC REAM I N G)

(S I RE N S WAI L I N G)

H u rry u p ! Get i n ! Come on . Let's go !

C lose the door!

(TI RES SC RE EC H I N G)

B u nch of cowboys . Somebody fucked u p .

OMAR OVE R P H O N E : Yeah, well, I'll check it out right away.

You do that, O mar. You do that.

You still got the money?

Yeah .

And I got the yeyo.

You got the yeyo?

Yeah , rig ht.

Bring it here.

F uck you .

I ' m taki ng it to Lopez myself.

N ot you , me .

N ice fucki ng g uy.

F ran k Lopez. Tony Montana .

Tony Montana .

M r. Lopez. It's a real pleasu re .

You can cal l me F ran k.

Everybody cal ls me F ran k. My Little Leag ue team ,

even the fucki ng prosecutors arou nd town ,

they al l cal l me F ran k.

O kay, F ran k. H ow are you ?

Man ny Ri bera .

H e caug ht one on the job .

Went rig ht th roug h .

We heard about that.

O mar, he tel ls me g reat th i ngs about you g uys .

Wel l , O mar's okay.

N ot to mention , of cou rse , the n ice job you d id for me .

That Com m ie son of a bitch ...

You don 't have to mention that.

That was fu n .

That was fu n ?

Dam n rig ht.

(LAU G H I N G) That was fu n .

Someti mes it's fu n .

What do you want to d ri n k?

Scotch , g i n , ru m ? What do you l i ke?

G i n is fi ne . Want some? Two g i ns .

I need a g uy with steel i n h is bal ls , Tony.

A g uy l i ke you . And I need h i m arou nd me al l the ti me .

You , Tony, and you r compadre here .

H ere's the stuff.

Two keys .

It cost my friend Angel h is l ife . H ere's the money.

My g ift to you .

I ' m sorry about you r friend , Tony.

If people wou ld do busi ness the rig ht way,

there'd be no fuck-u ps l i ke th is .

Don 't th i n k I don 't appreciate the gestu re .

You ' re gon na fi nd , you stay loyal i n th is busi ness ,

you ' re gon na move u p . You ' re gon na move u p fast.

And you ' l l fi nd out you r biggest problem

is not bri ng i ng i n the stuff,

but what to do with al l the fucki ng cash !

(LAU G H I N G)

I hope I have that problem someday.

You ' l l have that problem , don 't worry.

S it down over here .

Where the hel l 's E lvi ra?

It's late . Go fi nd her, wi l l you ?

J esus ! F ucki ng broad .

S he spends half her l ife d ressi ng , the other half u nd ressi ng .

(AL L LAU G H I N G)

Gotta get her i n between .

E RN I E : S he's com i ng .

Yeah .

You gotta j u m p on her when she's not looki ng .

That's the best ti me .

What are you g uys doi ng ton ig ht?

You wan na go to a n ice restau rant with me? You h u ng ry?

I cou ld eat a horse .

O kay, they' l l cook you a horse .

I ' l l eat it.

Tel l me , where'd they get you ? Rig ht there i n the side?

It's noth i ng . It went rig ht th roug h me .

It h it the wal l .

I ran out of bu l lets , l i ke an asshole .

When I changed the cl i p , a g uy who I thoug ht I ki l led

wasn 't dead and shot me .

The g uy was beh i nd me . I ki l led h i m .

H ow many bu l lets you catch ?

B u l lets? O ne bu l let.

9 m m .

(I N D I STI N CT C HATTE RI N G)

F RAN K: E lvi ra , where the hel l you been ?

It's 1 0 : 00 . I ' m starvi ng .

You ' re always h u ng ry. You shou ld try starvi ng .

Where you goi ng ? Come on .

Come over here ! I want you to meet a friend of m i ne .

Tony Montana . E lvi ra .

H el lo .

Man ny Ri bera . E lvi ra .

So , there are five of us .

Where are we havi ng d i n ner?

I thoug ht we'd go to the Babylon C l u b .

Agai n ? Agai n .

You know, F ran k, if anyone wanted to assassi nate you ,

you wou ld n 't be too hard to fi nd .

Assassi nate me? Who the hel l wou ld want to ki l l me?

(F RAN K LAU G H S)

I got noth i ng but friends !

You never know.

Maybe the catcher on you r Little Leag ue team .

The catcher? That son of a bitch ,

he d id n 't get a base h it al l season .

I shou ld ki l l h i m !

(PO P M U S I C P LAYI N G)

(I NAU D I B L E)

You know who that is? Lu is and M ig uel Echevierra .

They got the biggest d istri bution setu p from here to H ouston ,

Tucson , al l down that way.

What do you th i n k of that, h u h ?

Look.

You see that fat bastard ? That's N acho Contreras .

El Gordo!

H e's got more cash than anybody i n th is place .

H e's a real chazer!

(LAU G H I N G)

You know what a chazer is?

N o , F ran k, you tel l me . What is a chazer?

It's the Yidd ish word for " pig . "

A g uy who wants more than he needs .

H e don 't fly straig ht no more .

So , it comes down to one th i ng ,

Tony boy, and you never forget it.

Lesson N u m ber 1 :

Don 't u nderesti mate

the other g uy's g reed !

E LVI RA: Lesson N u m ber 2 :

Don 't get h ig h on you r own su pply.

That's rig ht. Lesson N u m ber 2 :

Don 't get h ig h on you r own su pply.

Cou rse , not everybody fol lows the ru les .

You r cham pag ne , M r. Lopez.

That is '64?

The best, M r. Lopez.

O mar, you pou r it, and you bri ng

another bottle rig ht away, wi l l you ?

P leasu re , M r. Lopez.

$550 for th is bottle , Tony. What do you th i n k of that?

That's pretty good .

For a bu nch of fucki ng g rapes .

So , here's to old friends and to new friends .

H ow you l i ke it, Tony?

That's good , F ran k. That's good ?

Li ke you say, man .

That's good !

I ' m gon na get you new clothes , too .

I ' m gon na get you $550 su its ,

so you look real sharp .

'Cause I want you to work for me .

I want you and you r boys to work with O mar here .

We are goi ng to do someth i ng big next month .

We are ru n n i ng a stri ng of m u les from Colom bia .

You do good on that, there' l l be some other th i ngs .

That sou nds l i ke fu n to me , F ran k.

You want a cigar?

You wan na dance , F ran k,

or sit here and have a heart attack?

Who? Me , dance? I want a heart attack i nstead .

Don 't foam i nto the Dom m ie P .

H ow about you ?

What? You want me to dance?

Yeah , su re . Go on , Tony. You dance .

Go on . H ave some fu n .

What do you th i n k of h i m ?

I th i n k he's a fucki ng peasant !

B ut you get a g uy l i ke that on you r side ,

he breaks h is back for you .

What's you r name?

What?

What's you r name? E lvi ra what?

H ancock.

What?

H ancock !

H ancock?

Sou nds l i ke a bi rd . H ancock.

F lyi ng arou nd .

Where you from ?

Balti more .

What?

Balti more ! Balti more?

Where's that?

It doesn 't real ly matter, okay?

I ' m j ust tryi ng to be friend ly.

I don 't need another friend ,

especial ly one who j ust got off a banana boat.

Banana boat?

H old it. You got the wrong g uy.

I don 't come off no banana boat.

You ' re th i n ki ng of someone else , maybe .

Aren 't you part of the C u ban cri me wave?

What you tal ki ng crazy for? I ' m a pol itical refugee here .

So take it easy. Don 't tal k crazy.

Sorry.

I d id n 't know you were so sensitive about you r d i plomatic status .

What is you r problem , baby?

You ' re good-looki ng .

You got a beautifu l body, beautifu l legs ,

a beautifu l face , al l these g uys i n love with you .

O n ly you got a look i n you r eye

l i ke you haven 't been fucked i n a year!

H ey, J osé .

Who , why, when and how I fuck is none of you r busi ness , okay?

N ow you ' re tal ki ng to me , baby.

That I l i ke . Keep it com i ng .

Don 't cal l me " baby" ! I ' m not you r baby.

N ot yet, but you gotta g ive me some ti me .

Even if I were bl i nd , desperate ,

starved and begg i ng for it on a desert island ,

you 'd be the last th i ng I 'd ever fuck.

That ch ick he's with ...

MAN NY: Yeah ? . . . she l i kes me .

S he l i kes you ? H ow do you know?

I know.

The eyes , chico. They never l ie .

Are you serious?

Serious? What do you th i n k?

That's the boss's lady, okay?

You ' re gon na get us ki l led .

F uck you , man . The boss's lady.

That g uy's soft.

Look i n h is face .

The booze and the concha tel l h i m what to do .

Don 't fucki ng go crazy on me , okay?

J ust remem ber last year at th is ti me

we were i n a fucki ng cage , okay?

You remem ber.

I 'd l i ke to forget that.

I say be happy with what you got.

You be happy.

Me , I want what's com i ng to me .

What's com i ng to you ?

The world , chico,

and everyth i ng i n it.

O h , man .

TH RE E MO NTH S LATE R

Th is is parad ise .

Th is is parad ise , I ' m tel l i ng you .

Th is town 's l i ke a g reat big pussy j ust waiti ng to get fucked .

I shou ld 've come here 1 0 years ago .

I 'd have been a m i l l ionai re by th is ti me .

By th is ti me , I 'd have had my own boat,

my own car, my own golf cou rse .

You know what I want? I thoug ht of th is the other day.

A l i ne of bl ue jeans .

With my name written on the back of ch icks' asses .

H ow's that?

That sou nds com pletely crazy to me .

Look at that. Look.

You ' re m issi ng the sig hts . That's what you ' re doi ng .

We' re m issi ng the action .

(S P EAKI N G S PAN I S H)

Want to have some ice cream with my friend and me?

Get lost, g reasebal l !

Look at that. Ice cream ?

That's rig ht. You said " ice cream"?

G i rls l i ke ice cream .

O h , come on . That won 't work.

You can 't do it that way.

You know how you pick u p ch icks i n th is cou ntry?

What was that? What you j ust d id ?

That's what you do .

That's d isg usti ng .

Watch .

Look at that fucki ng th i ng . You look l i ke a l izard .

Li ke a bug com i ng out of you r mouth .

F ig u res you wou ld n 't u nderstand .

B ut the women i n th is cou ntry,

when you do that, they know.

They know what?

They u nderstand . They go crazy.

It' l l take practice , but you gotta learn .

'Cause women love when you suck the pussy.

Look at that.

(S P EAKI N G S PAN I S H)

S he's looki ng at us .

You th i n k you can do it with her?

I th i n k I can .

TO NY: You want to try it with her?

MAN NY: Why not?

You gon na watch me?

I ' m looki ng at you . Go ahead .

You won 't do it. Watch th is .

I ' m with you , man .

I ' m gon na get her.

Go ahead , Romeo ! Do you r th i ng .

J ust be q u iet. J ust hang back.

Romeo !

You ' re looki ng very pretty today.

Yes , you . I 've been watch i ng you .

You want to see someth i ng fu n ny?

Take a look over there . See that man ?

Watch that g uy. I gotta sit down here .

I gotta watch my friend .

H e gon na stick h is tong ue out to that g i rl .

O h , look at that.

You ' re sick !

You see what happened to h i m ?

If I wasn 't a n ice g uy...

S he's too big for you .

Causi ng trou ble l i ke that, come on .

B itch ! Lesbian ! What I try to tel l you ?

What I try to tel l you ?

Th is cou ntry, you gotta make the money fi rst.

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 you r own moves .

MAN NY: That's the one I rented .

N o . That's her, man . There she is .

About ti me .

F ran k got held u p at the golf cou rse .

H e told me to pick you u p .

H e said he'd meet us at the track later.

H e said to bet on Ice C ream i n the fi rst, by the way.

I n that th i ng ? You m ust be kidd i ng .

What you tal ki ng about? That's a Cad i l lac.

I wou ld n 't be caug ht dead i n that.

O h , come on .

It's got a few years , but it's a cream puff.

It looks l i ke somebody's n ig htmare .

So , you l i ke th is better?

Yeah .

It's l i ke one of them tigers from I nd ia .

Tigers , h u h ? Tigers , no?

C razy g uy. Know what he's been doi ng ?

D ragg i ng me to the zoo to look at tigers .

H e says he's gon na buy one .

You do that and you won 't have any friends left.

N ot that you have any now.

You ' re gon na l i ke that tiger, man .

You gon na d rive arou nd with a tiger i n you r passenger seat?

Maybe . Some lady tiger.

H ow m uch ?

43 , 000 , fu l ly eq u i pped .

That al l ?

Mach i ne-g u n tu rrets are extra .

H e's a fu n ny g uy. Come here , Man ny.

B u l letproof th is , okay?

And th is here and here .

MAN NY: O kay. TO NY: And the wi ndows .

Get me a phone with a scram bler.

A scram bler.

And a rad io with scan ners

to pick u p flyi ng saucers , stuff l i ke that.

Don 't forget the fog l ig hts .

O h . I n case I get caug ht i n a swam p . That's a good idea .

(H O RN H O N KI N G)

Get out of the way, lady ! I ' m tryi ng to d rive here !

I thoug ht you were taki ng me to F ran k.

We got an hou r. You h u ng ry?

N o , but I ' m bored .

Wel l , that fig u res .

C heck it out, Man ny, okay? And pay the g uy.

And you take a taxi . Meet me at the track, okay?

Good doi ng busi ness with you . M r. Montana .

O h , God , man !

I wou ld n 't buy the car if you d id n 't l i ke it.

P lan n i ng on d rivi ng the g i rls crazy, aren 't you , Tony?

O h , yeah . You know who?

What wou ld F ran k say?

I l i ke F ran k, you know?

O n ly I l i ke you better.

(S N I F FS)

You got some for me?

S u re .

O kay.

(S N I F FS)

O kay.

Don 't get confused , Tony.

I don 't fuck arou nd with the hel p .

You wan na play that way with me , I play with you .

S h it.

Wou ld you kiss me if I wear the hat?

N o !

P layti me is over, okay?

(LAU G H S)

O kay.

Mama?

Anton io .

Long ti me .

N o postcards from jai l , h u h ?

G i na .

Tony?

Look at you .

You ' re beautifu l .

I d id n 't...

Mama , look at those eyes , h u h .

Look at that. S he looks l i ke me .

(LAU G H S)

You know the last ti me I saw you , you was l i ke that.

You looked l i ke a l ittle boy. N ow look at you .

I got someth i ng for you .

It's no big deal .

O h , Tony !

(SO B B I N G)

I never thoug ht I 'd see you agai n , you know?

You th i n k they'd keep a g uy l i ke me down ?

Wel l , no .

You look so good .

Look, open that u p . O pen it.

For me?

I th i n k so .

It's noth i ng m uch , you know, noth i ng .

(EXC LAI M I N G)

See what's written on the back?

G I NA: O n the back? Aw.

Always .

"Always . " It's beautifu l , Tony !

Mama is sti l l worki ng i n the factory,

and I work part-ti me i n a beauty parlor.

I ' m doi ng hai r, Tony. Do you remem ber H i ram Gonzalez?

H is father owned that barbershop . It's h is place .

P l us I go to j u n ior col lege . M iam i Dade .

I n two more years , I get my cosmetology l icense .

Then I ' l l be maki ng enoug h money...

S u rprise !

Al l that's over, starti ng today.

Why?

My kid sister don 't have to work

i n no beauty parlor, and Mama ,

she don 't have to sew i n no factory.

You r son made it, Mama .

H e's a success .

That's why I d id n 't come arou nd before .

I want you to see what a good boy I 've been .

H ere's $ 1 , 000 .

For you , Mama .

(C L EARS TH ROAT)

Who d id you ki l l for th is , Anton io?

Mama .

I d id n 't ki l l nobody, Mama .

MAMA: N o? N o .

What are you doi ng now?

Ban ks , or is it sti l l bodegas , you and the others?

N o ! Th i ngs are d ifferent now.

I ' m worki ng with an anti-Castro g rou p .

I ' m an organ izer now.

I get a lot of pol itical contri butions .

S u re you do .

A g u n sticki ng i n somebody's face is how.

You know, al l we hear about i n the papers

is an i mals l i ke you and the ki l l i ngs .

It's C u bans l i ke you who are g ivi ng a bad name to ou r people ,

people who come here , work hard

and make a good name for themselves .

People who send thei r ch i ld ren to school .

What are you sayi ng ? That's you r son ...

Son ? I wish I had one .

H e's a bu m . N o .

H e was a bu m then and he's a bu m now.

Who do you th i n k you are?

M m m ?

We haven 't heard a word from you i n five years .

(S P EAKI N G S PAN I S H)

You sudden ly show u p here , th row some money arou nd

and th i n k you can get my respect.

You th i n k you can buy me with jewel ry?

You th i n k you can come i nto my house with you r hotshot clothes

and you r jai l man ners and make fu n of us?

You don 't know what you ' re sayi ng .

That's not the way I am , Anton io !

That is not the way I raised G i na to be !

You are not goi ng to destroy her.

I don 't need you r money.

(THAN KI N G I N S PAN I S H)

I work for my l ivi ng .

I don 't want you i n th is house anymore !

I don 't want you arou nd G i na .

So come on . Get out !

O kay.

Mama ...

And take th is lousy money with you . It sti n ks .

Tony.

Why do you have to spoi l it for everybody, h u h ?

I ' m sorry, Tony.

O kay, Mama .

N o . Tony, wait a m i n ute !

Don 't go , please !

G i na , stay here !

N o , Mama .

H e's no good . G i na !

Tony, wait, please !

I ' m sorry. I don 't know.

Mama , ever si nce Papa left, she's ...

Forget Papa . We never had one .

I know you d id some bad th i ngs back then .

I n the Army, I know you got i nto some trou ble .

The Com m u n ists ,

they' re always tryi ng to tel l you what to do .

Mama doesn 't u nderstand that.

I know.

I j ust. . . I don 't know.

I j ust 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 blood , always .

I know.

Come on . I want you to take th is .

I gotta go back i n .

N o , Tony. P lease .

You need th is .

What wi l l I tel l her?

Take that. You don 't tel l her anyth i ng .

Don 't tel l her I gave it to you ,

but g ive her some from ti me to ti me .

And l isten , you go out you rself.

Go ahead . Go out, do some th i ngs . H ave some fu n .

You gotta get some fu n out of l ife .

You gon na beat you rself to death at 1 9?

A pussycat l i ke you ? Come here .

I ' l l tal k to you agai n . O kay.

P ut that money away. Don 't let her see it.

I ' l l tal k to her.

I ' l l tal k to you . O kay.

Let's go .

S he's beautifu l . H ow come you ...

H ey !

Stay away from her. You hear?

S he's not for you .

O kay.

(E N G I N E STARTI N G)

COC HABAM BA, BO L IVIA

So , th is and my other factory,

I can g uarantee prod uction

of 200 ki los refi ned every month of the year.

The problem is , I have no steady market.

Basical ly, what I ' m looki ng for is somebody i n the States

who can share the risk with me ,

somebody who can g uarantee

to buy from me , say, 1 50 ki los a month .

O h , that's a big com m itment, M r. Sosa . Someth i ng l i ke that...

Too bad F ran k's not here . You shou ld tal k to h i m .

It wou ld 've been n ice if he'd come .

H e wou ld l i ke to come ,

but with h is trial com i ng u p ,

it's hard to leave the cou ntry.

So he sent you i nstead ?

Someth i ng l i ke that.

We' l l tal k at my house , shal l we?

You got good stuff here . C lass-A sh it.

Th is Lopez g uarantees to buy 1 50 ki los from me

every month of the year.

H e picks it u p here .

I can sel l it to h i m for as l ittle as

7 , 000 a key. You can 't do better than that.

B ut then we got to take the risk of movi ng it.

We' l l be cutti ng out the Colom bians . Know what that means?

That means we have to go to war with them .

We cut out the Colom bians , we take risks on both sides .

TO NY: Why don 't we spl it the risk?

You g uarantee you r del ivery, say, as far as Panama ,

we take it from there .

Panama is risky. It costs me more .

Panama I can sel l for 1 3 . 5 a key.

1 3 . 5? What, are you n uts?

1 3 . 5? We sti l l got to take that sh it to F lorida .

Do you know what that's l i ke these days?

You got the N avy everywhere .

You got frog men .

You got EC2s with the satel l ite-tracki ng sh it.

You got the fucki ng Bel l 209 assau lt choppers u p the ass .

We' re losi ng one out of every n i ne loads .

That's no d uckwal k anymore , let me tel l you .

Forget about 1 3 . 5 .

(P H O N E RI N G I N G)

What do you suggest that is reasonable?

Excuse me . O ne moment.

What the fuck's the matter with you ?

Are you negotiati ng for F ran k Lopez?

Don 't worry about it. Take it easy.

I ' m not worried about it. You shou ld worry about it.

If he wants to make a deal , it's u p to h i m , not you .

We' re doi ng th is one deal . That's it.

F uck you . H ow's that?

F uck you . F uck you .

OMAR: You need to open you r eyes and keep you r mouth sh ut.

That's it. Let it go at that.

TO NY: Don 't worry about it.

You r head 's i n the wrong place .

You m ust watch out for you rself.

Why not tal k to h i m ?

You th i n k he wants to g ive you the money?

S h ut the fuck u p .

I ' m doi ng the tal ki ng here , not you .

You ' re here to watch my back. Watch my back.

Better than you r front, let me tel l you .

That's easier to watch . (I NAU D I B L E)

C lose you r mouth .

I can 't wait to see what F ran k's gon na react to th is one .

J ust sh ut u p . I ' m doi ng the tal ki ng here .

SOSA: N ow where were we?

Panama .

You ' re looki ng for a partner, rig ht?

Someth i ng l i ke that.

Look, M r. Sosa , we' re getti ng ahead of ou rselves .

I am down on F ran k's authority to buy 200 keys , that's it.

That's my l i m it. I got no rig ht.

N obody got no rig ht to negotiate ...

Let the man fi n ish , okay?

Let h i m propose a proposition , then we can tal k more .

You got no authority here .

I started you i n th is busi ness , so sh ut the fuck u p .

F ran k is gon na love it.

That's u p to F ran k, not you !

I ' m sorry about th is , M r. Sosa .

N o , it is al l rig ht.

You ' re rig ht. Maybe you shou ld tal k to F ran k.

Wel l , good .

I don 't th i n k it's someth i ng I want to do on an overseas phone .

B ut as soon as I get back to M iam i ,

I wi l l tal k to F ran k personal ly.

Good .

My associates can escort you to my chopper

to take you to Santa C ruz.

I have a jet there . You ' l l be i n M iam i i n five hou rs .

You ' l l be back here tomorrow i n ti me for l u nch .

Good .

(S P EAKI N G S PAN I S H)

Good tal ki ng to you .

Why not leave you r friend here?

Wh i le you ' re gone , he can tel l me how to ru n my busi ness .

I th i n k F ran k wants to see h i m .

N o , that's okay.

You tel l F ran k I ' m keepi ng th is g uy on ice for h i m .

(BOTH LAU G H I N G)

I g uess so .

Let's fi n ish ou r l u nch .

I have to hand it to you , M r. Sosa .

You got everyth i ng a man cou ld want.

I l i ke you , Tony. There is no lyi ng i n you .

U nfortu nately, I don 't feel the same

about the rest of you r organ ization .

(H E L I CO PTE R H OVE RI N G)

What do you mean by that, M r. Sosa?

I ' m tal ki ng about O mar S uarez.

Th is garbage was recog n ized by my associate at l u nch

from several years ago i n N ew York.

H e was an i nformer for the pol ice .

(G ROAN I N G)

(SC REAM I N G)

H e put Vito D uval and N el lo and G i no Ramos away for l ife .

So how do I know you ' re not a chivato, too , Tony?

H ey, Sosa .

Let's get th is straig ht now.

I 've never fucked anybody over who d id n 't have it com i ng .

You got that?

Al l I have i n th is world is my bal ls and my word .

I don 't break them for no one , you u nderstand ?

That piece of sh it u p there , I never l i ked h i m ,

I never trusted h i m .

For al l I know, he had me set u p

and had my friend Angel Fernandez ki l led .

B ut that's h istory. I ' m here , he's not.

You want to go on with me , say it.

You don 't, then you make a move .

I th i n k you speak from the heart, Montana .

B ut I say to myself,

"Th is Lopez, you r boss ,

" he had chivatos l i ke that worki ng for h i m . "

H is j udg ment sti n ks .

So I th i n k to myself,

" H ow many other m istakes has th is Lopez g uy made?

" H ow can I trust h is organ ization ?" You tel l me , Tony.

F ran k is smart, you know?

You can 't blame h i m for that an i mal .

It's a crazy busi ness we' re i n , you know?

That cou ld happen to anyone , even you .

Why don 't I go back and tal k to F ran k

and work it out?

I ' l l fix th i ngs between us .

You got my word on that.

I th i n k you and me , we can work th is th i ng out,

we do busi ness together a long ti me .

J ust remem ber,

I ' l l on ly tel l you one ti me ,

don 't fuck me , Tony.

Don 't you ever try to fuck me .

F RAN K: You what?

You made a deal for fucki ng $ 1 8 m i l l ion

without even checki ng with me?

Are you crazy, Montana? Are you crazy?

Coño. Take it easy. Coño, my ass !

At 1 0 . 5 a key, it's puro.

You can 't lose money. N o way.

We make 75 m i l l ion on th is deal .

75 m i l l ion .

That is serious money.

What is Sosa goi ng to do

when I don 't come u p with the fi rst 5 m i l l ion ?

What is he goi ng to do? Wi l l he send me a bi l l ?

H e' l l send a h it sq uad u p here !

There' l l be a war i n the street.

Relax ! Take it easy. I ' m i n tig ht with Sosa .

You short a cou ple of m i l , I go on the street for you .

I make a cou ple of moves ,

a m i l here , a m i l there , you got it.

O kay?

You 've been maki ng moves on you r own ?

I got ears , you know. I hear th i ngs .

What do you hear about Echevierra and the D iaz brothers?

What about Gomez?

What' l l he do when you start movi ng 2 , 000 keys ...

F uck Gaspar Gomez and fuck the D iaz brothers !

F uck them al l !

I ' l l bu ry those cockroaches !

What they ever do for us?

Look, F ran k, the ti me has come .

We gotta expand .

The whole operation . D istri bution .

N ew York, C h icago , LA.

We gotta set ou r own mark and enforce it.

We gotta th i n k big now.

Th i n k big .

Li ke you r friend Sosa .

Let me tel l you someth i ng about that g reasebal l cocksucker.

H e is a snake , that's what he is .

You tu rn you r back on h i m , he' l l stick it i n .

You don 't trust a g uy l i ke that.

You want me to bel ieve

O mar was a stool ie because Sosa said so?

You boug ht that l i ne?

Maybe I made a m istake send i ng you down there .

Maybe you and Sosa know someth i ng I don 't know.

Li ke what?

Li ke what?

You tel l me , " Li ke what. "

You cal l i ng me a l iar, F ran k?

That what you ' re cal l i ng me?

Let's j ust say I want th i ngs

to stay the way they are for now.

You stal l you r deal with Sosa .

Stal l it?

O kay, boss .

Come on .

I am the boss .

S u re , you ' re the boss .

H ey, Tony.

Remem ber I told you when you started ,

the g uys who last i n th is busi ness

are the g uys who fly straig ht,

low-key, q u iet.

And the g uys who want it al l ,

chicas, cham pag ne , flash ,

they don 't last.

You fi n ished ?

Can I go now?

H i , there .

You j ust m issed F ran k.

Too bad .

O n ly I d id n 't come to see F ran k.

Th is is not the ti me or the place , Tony.

N ext ti me , make an appoi ntment.

That's okay.

I got someth i ng i m portant I want to tal k to you about.

So why don 't we have a cou ple of d ri n ks ,

act normal ,

and j ust take it easy?

Come on . I l i ke Scotch .

S u re . Why not?

O kay. I won 't bite you .

We' re al l normal here .

I heard you and F ran k aren 't worki ng together anymore .

That's rig ht.

I th i n k it's easier, don 't you ?

Makes th i ngs easier.

Than k you .

H ere's to the land of opportu n ity.

For you , maybe .

You l i ke kids?

Kids?

Kids . You know, kids . Little kids .

S u re . Why not?

As long as there's a n u rse .

Good , 'cause I l i ke kids , too .

I l i ke them . Boys , g i rls . Don 't matter to me .

F ran k's gon na be back any m i n ute .

Come here .

S it here .

I want to tal k to you . S it down .

I ' m not gon na bite you .

O kay, here's the story.

I come from the g utter. I know that.

I got no ed ucation , but that's okay.

I know the street,

and I ' m maki ng al l the rig ht con nections .

With the rig ht woman , there's no stoppi ng me .

I cou ld go rig ht to the top .

Anyway, what I got to tel l you is th is ,

I l i ke you .

I l i ked you the fi rst ti me I laid eyes on you .

I said , "S he's a tiger.

"S he' l l belong to me . "

Anyway,

I want you to marry me .

I want you to be the mother of my ch i ld ren .

Me? Marry you ?

That's rig ht.

(S I G H S)

What about F ran k, Tony?

What wi l l you do about F ran k?

F ran k is not gon na last, okay? H e's fi n ished .

J ust th i n k about it, okay?

I want you to real ly th i n k about it.

I ' l l go now. Take care .

(M U S I C P LAYI N G)

Al l you r enem ies are gone .

M r. Montana . H ow are you ?

H el lo .

What the fuck she doi ng here?

MAN NY: Come on , man . S he's j ust danci ng .

Come on . Take it easy.

It's j ust a d isco .

Who's that g uy she's with ?

MAN NY: H e's some g uy who works for Luco . H e's nobody.

H e's harm less . Works for Luco?

Yeah . Forget h i m .

(EXC LAI MS)

H el lo , Tony. You remem ber me?

Bernstei n . Mel Bernstei n , rig ht?

C h ief Detective , N arcotics .

That's rig ht, yeah . I th i n k we shou ld tal k.

Tal k? What are we goi ng to tal k about?

I ai n 't ki l led nobody, not lately.

N o , not lately.

What about ancient h istory, l i ke E m i l io Rebenga?

O r a bu nch of whacked-out I nd ians at the S u n Ray Motel ?

Whoever's g ivi ng you you r i nformation

is taki ng you for a long ride .

O h , yeah ? Yeah .

Tony, baby, we gon na tal k,

or am I gon na bust you r wiseass spic bal ls

here and now?

Keep you r eye on her.

MAN NY: I ' l l do that. TO NY: O kay.

My office . Good .

The word on the street is you ' re bri ng i ng i n a lot of yeyo.

That means you ' re not a smal l-ti me pu n k anymore ,

you ' re pu bl ic property now.

S u preme Cou rt says that you r privacy can be i nvaded .

O kay. H ow m uch ?

H ow m uch ?

There's an answer to that, too .

H ere's how m uch .

Can you see it?

B ig n u m ber. Yeah !

That's on a month ly basis , same th i ng every month .

You know how th is works?

N o . You tel l me .

We tel l you who's movi ng agai nst you ,

and we shake down who you want shaken down .

Let's say that you got a real problem maki ng a col lection .

And then we step i n for you .

Got eig ht ki l lers with badges worki ng for me .

When they h it, it h u rts .

Same th i ng works the other way.

You feed me a bust now and then .

Some cowboy setti ng h i mself u p i n busi ness .

S mal l fry, you know?

We l i ke snacks .

H ow do I know you ' re the last cop I ' m gon na have to g rease?

What about Fort Lauderdale? Metro? D EA?

H ow do I know what rock they' re gon na crawl out from u nder?

Wel l , that's not my busi ness , Tony.

We don 't cross no l i nes .

You th i n k I want th is conversation

goi ng any farther than th is table?

My g uys' got fam i l ies . They' re leg iti mate cops .

I don 't want to see them em barrassed .

If they' re em barrassed , they' l l suffer.

If they suffer, they' l l make you suffer.

(S P EAKI N G S PAN I S H)

You u nderstand what I ' m tal ki ng about?

H u h ?

Than ks for the d ri n k.

By the way,

I got a vacation com i ng u p .

I ' m gon na take the wife to London , E ng land .

We've never been there .

So th row i n a cou ple of rou nd-tri p tickets , fi rst class .

You gotta sm i le more , Tony. You gotta enjoy you rself.

Every day above g rou nd is a good day.

H el lo .

H el lo .

Yeah . N ow that's the idea .

O kay, Mel .

You th i n k about what I said ?

About the kids?

You know, you are real ly n uts .

I ' m n uts about you .

Why don 't you fi nd you r own g i rl ?

My own g i rl ? Yeah .

That's what I ' m doi ng .

Go do it somewhere else . Get lost.

Maybe I don 't hear so good someti mes .

You won 't hear anyth i ng if you go on l i ke th is .

Wi l l you do someth i ng ?

You ' re fucki ng rig ht I ' m goi ng to do someth i ng !

I ' m g ivi ng you orders . B low!

O rders? You g ivi ng me orders?

The on ly th i ng i n th is world

that g ives orders is bal ls . You got that?

Bal ls .

Let's go .

E lvi ra .

When you gon na learn ? H u h ?

Looki ng good , honey. Keep u p the bad work.

That cocksucker.

What happened ?

H e put that prick Bernstei n on me .

Who? Lopez d id ?

H ow do you know?

Who else knew about Rebenga? O mar?

H e's ferti l izer.

H e's letti ng me know he's got weig ht on me .

I ' l l tel l you what, man .

You know ou r l ittle tri p we've been plan n i ng to N ew York?

It m ig ht be a good ti me .

Wait. Where you goi ng ?

(I N D I STI N CT C HATTE R)

Welcome to my private room .

You r private room .

Th is is my private room .

I got a beautifu l , n ice , wh ite lou nge chai r for you .

G i na , you taste so muy bueno.

(BOTH LAU G H I N G)

Tony !

What are you doi ng ? S h ut u p !

What? We wasn 't doi ng noth i ng !

G I NA: Fernando , wait !

Get out !

Dam n you !

You th i n k he's cute?

I saw h i m putti ng h is hand al l over you r ass .

My kid sister i n a toi let.

It's none of you r busi ness .

N one of my busi ness? The fuck it ai n 't !

You can 't tel l me what to do !

I am tel l i ng you !

Listen to me . Come here .

I catch you here agai n ,

I ' m gon na wi pe you al l over the fucki ng place .

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 th i n k you can tel l me what to do?

You can 't tel l me what to do .

I ' m not a baby anymore .

I ' l l do what I want to do , see whoever I want to see .

And if I want to fuck them , then I ' l l fuck them !

F ucki ng , man ! Come on , man .

What the fuck you want? You want someth i ng ? H u h ?

N o . Don 't touch me .

N o . We've got to get out of here .

N ot there . I don 't want to go out there .

Another great night here at the Babylon, right? (D RU MS B EATI N G)

Okay. All right!

Do another gram, you 'll all be babbling on.

(P EO P L E LAU G H I N G)

Is that coke in your bra, or are you just glad to see me ?

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.

I do Laurel and Hardy in Spanish, too.

(S P EAKI N G S PAN I S H)

That's the height of culture, I assure you.

But my fa vorite Cuban of all time has to be Ricky Ricardo.

(AL L LAU G H I N G)

Mr. Babalu himself.

He had the same problem for 1 0 years.

"Lucy, don 't come down to the club."

H e's you r brother. H e loves you . That's why he d id it.

Al l rig ht? H e cares about you .

To h i m , you ' re sti l l h is l ittle sister.

That's the problem . H e sti l l treats me l i ke I ' m a baby.

I ' m 20 years old now.

I ' m not anybody's baby.

You ' re so g rown-u p .

Come on , G i na . P ut you rself i n h is place , okay?

Rig ht now, you happen to be the best th i ng i n h is l ife ,

the on ly th i ng that's any good , that's pu re .

Of cou rse he doesn 't want you m ixi ng with those people ,

g rowi ng u p to be l i ke h i m .

H e has th is father th i ng for you .

Feels l i ke he has to protect you .

P rotect me agai nst what?

Agai nst g uys l i ke that asshole

you were danci ng with ton ig ht.

I l i ke Fernando . H e's a fu n g uy and he's n ice .

And he knows how to treat a woman . Al l rig ht?

H e knows how to treat a woman ? Yes .

By taki ng her to the toi let 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 Octa vio!

(P EO P L E C H E E RI N G)

(I N STRU M E NTAL BAL LAD P LAYI N G)

Look arou nd . Go out with someone

who has someth i ng on the bal l ,

who's goi ng somewhere i n l ife .

Li ke who?

For i nstance , someone who's got a real job , l i ke a ban ker.

O r. . . O r a doctor, a lawyer...

What about you ?

What are you tal ki ng about?

Why don 't you take me out?

Are you crazy?

I see the way you look at me , Manolo .

Do you th i n k I ' m bl i nd ? I see .

Come on .

What? Look, G i na ,

Tony and I are l i ke brothers , al l rig ht?

You ' re h is kid sister.

So what? That's where it ends .

That's where it stays .

Are you afraid of Tony, h u h ?

You afraid of Tony's kid sister?

I ' m not afraid of anybody !

That's not the poi nt here !

(DAN C E M U S I C P LAYI N G)

(AL L SC REAM I N G)

(P H O N E RI N G I N G) MAN NY: O h , fuck.

(M I RIAM LAU G H S)

It's not for me . Don 't look at me .

H ow do you know?

'Cause I ' m not here .

O h , real ly? Then where are you ?

S h it, you ' re wei rd .

I ' m wei rd ?

H el lo?

TO NY: Hello, Miriam ?

Tony !

Put Manny on, okay?

O kay. J ust a second .

It's Tony.

What are you doi ng , checki ng u p on me?

Get you r clothes on and meet me

i n front of Lopez Motors i n 45 m i n utes .

What? What happened ?

Nothing we can 't fix.

Al l rig ht. I ' l l be there .

You 're still on the phone. Let's go.

Take it easy, okay?

I ' m leavi ng now. F uck.

N ick? Yeah , Tony.

Th is is what I want you to do for me ,

you cal l Lopez.

Cal l h i m at h is office at 3 : 00 sharp .

And you tel l h i m ,

"We fucked u p , he got away. "

O kay. Yeah .

Got it? What are you goi ng to say?

"We fucked u p . H e got away. "

What ti me? 3 : 00 sharp .

F RAN K: So when are we gon na make some money on th is th i ng ?

S ix months to start don 't mean sh it, Larry.

I ' m not a Rockefel ler, you know. N ot yet, anyway.

(F RAN K LAU G H I N G)

So you owe me .

Listen , go down to the bal l game ton ig ht?

I cou ld n 't make it. I got th i ngs .

I ' l l tel l you about them .

You ' re kidd i ng . What was the score? Th ree to two?

Mel , g uess what.

My Little Leag ue team , the Little Lopezers ,

they won the d ivision ton ig ht.

That's g reat. Cong ratu lations .

What'd you do , fix the u m pi re?

J esus C h rist.

Tony, what happened to you ?

They wanted to spoi l my $800 su it.

Who the fuck d id th is?

H itters . I don 't know.

Somebody m ust've broug ht them i n .

I 've never seen them before .

H el lo , Mel .

Got an answer to th is , too?

There always is , Tony.

I ' l l bet it was the D iaz brothers .

They got a beef goi ng back to the S u n Ray th i ng .

Maybe you ' re rig ht, you know?

Anyway, I ' m g lad you made it, Tony.

We' l l retu rn the favor for you i n spades .

I ' l l take care of th is myself.

What is the g u n for, Tony?

What, th is? It's noth i ng .

I ' m . . . H ow do you say? Paranoid .

(P H O N E RI N G I N G)

You gon na answer, F ran k?

It m ust be E lvi ra . S he got mad after we left the cl u b .

I ' l l tel l her you ' re not here , okay?

N o , it's al l rig ht. I ' l l tal k to her.

H el lo .

It's al l rig ht. I ' m gon na be home i n an hou r. Don 't worry.

F ran k, you ' re a piece of sh it.

What are you tal ki ng about?

You know what I ' m tal ki ng about,

you fucki ng cockroach .

What are you tal ki ng about? Listen to me , h u h .

You know what a chazer is , F ran k?

That's a pig that don 't fly straig ht.

N either do you , F ran k.

Tony, why the fuck wou ld I h u rt you ?

I broug ht you i n .

So we had a few d ifferences , no big deal .

I gave you you r start. I was the one who bel ieved i n you .

I stayed loyal to you .

I made what I cou ld on the side ,

but I never tu rned on you , F ran k !

N ever!

B ut you ,

a man who ai n 't got h is word is a cockroach .

Mel . Do someth i ng , wi l l you ?

It's you r tree , F ran k. You ' re sitti ng i n it.

Al l rig ht, Tony. I was the one .

P lease , g ive me a second chance .

Wi l l you do that? P lease?

G ive me a second chance . I ' l l g ive you $ 1 0 m i l l ion .

O kay? $ 1 0 m i l l ion .

I got it i n a vau lt over there i n S pai n , Tony.

We go over there , we get on a plane , and it's you rs .

O kay? Al l of it. $ 1 0 m i l l ion .

O kay, Tony?

H u h ?

P lease , Tony?

E lvi ra? You want E lvi ra?

You can have her. I ' l l go away. I ' m gon na d isappear.

You ' l l never see me agai n .

P lease , Tony, I don 't want to d ie .

I never d id noth i ng to nobody.

N o , you never d id noth i ng to nobody.

You had somebody else do it for you .

O h , Tony, I ' m begg i ng you .

Get u p ! Get u p now!

(SO B B I N G) J esus ! N o ! God !

Look. Tony, no ! Don 't ki l l me , please .

I won 't ki l l you .

O h , C h rist, than k you . Get off my foot.

Than k you .

Manolo , shoot that piece of sh it !

N o , no !

N o !

Every dog has h is day, h u h , Mel ?

I told h i m

it d id n 't make any sense

cl i ppi ng you when we had you worki ng for us . H e wou ld n 't l isten .

H e got hot ton ig ht about the broad .

H e fucked u p .

You , too , Mel . You fucked u p .

Don 't go too far, Tony.

I ' m not, Mel . You are .

(G ROAN I N G)

F uck. You can 't shoot a cop !

Whoever says you was one?

Wait a m i n ute !

You let me go . I ' l l fix th is u p .

S u re , Mel . Maybe you can hand le you rself

one of them fi rst-class tickets to the Resu rrection .

F ucki ng pu n k ! Son of a bitch !

So long , Mel . H ave a good tri p .

F uck you !

O kay, come on .

What about E rn ie?

You want a job , E rn ie?

S u re , Tony.

O kay, then you cal l me tomorrow.

Man , you got a job !

Tony ! Than ks .

Tony.

God , what's happened ?

Where's F ran k?

Where do you th i n k?

Come on . Get you r stuff.

You ' re com i ng with me .

(RHYTH M I C PO P M U S I C)

(I NAU D I B L E)

(I NAU D I B L E)

(ROARI N G)

TO NY: So you come to me with some ki nd of th i ng . O kay.

You propose it, I tal k to you .

B ut we got a problem . I can 't pay more .

I ' m bri ng i ng i n twice as m uch as I ever d id before .

We' re doi ng 1 0 m i l l ion , 1 5 m i l l ion a month . Come on .

That's serious money.

You ban k boys gotta come down a bit.

N o way.

That's crazy. We can 't do that.

Then that's too bad .

What am I gon na do?

We' re not a wholesale operation .

We' re a leg iti mate ban k. The more cash you g ive me ,

the harder it is for me to ri nse .

That's a problem . I d id n 't know.

The fact is , I can 't take any more of you r money

u n less I raise the rates on you .

You gon na raise the . . . I gotta do it.

The I RS is com i ng ...

Don 't g ive me that sh it ! Let's tal k.

I ' m tal ki ng .

I go low, you go h ig h . I know the game .

Th is is busi ness tal k.

Let me explai n someth i ng .

The I RS is com i ng down heavy on South F lorida .

There was a TIME magazi ne story that d id n 't hel p .

There's a recession .

I got stockholders I got to be responsi ble for.

I got to do it, Tony.

You ' l l learn from h i m .

I got to go 1 0% on the fi rst 1 2 m i l l ion i n denom i nations of 20 .

I ' l l go 8% on you r $ 1 0 bi l ls ,

6% on you r fives .

We' l l go somewhere else . That's it.

There's no place else to go .

F uck you , man ! F uck you !

I ' l l fly the cash myself to the Bahamas .

O nce , maybe . Then what?

You ' l l trust some mon key i n a Baham ian ban k

with 20 m i l l ion of you r hard-earned dol lars?

Come on , Tony. Don 't be a sch m uck.

Who else can you trust?

That's why you pay us so m uch . You trust us .

H u h ?

D id you hear that g uy?

You got to l isten to h i m . You ' l l learn someth i ng .

Stay with us .

You ' re a wel l-l i ked customer. You ' re i n good hands with us .

And I got to ru n .

I ' m safe but poor.

H ow's married l ife treati ng you ?

Better than you are .

(LAU G H S)

Say hel lo to the pri ncess for me . S he's beautifu l .

I ' l l see you . Take care .

You , too .

That prick !

F ucki ng WAS P whore .

Tal ki ng to me l i ke I ' m some maricón who came over on a boat.

(S N I F FS)

I tel l you what. We don 't need that sm i l i ng motherfucker.

We shou ld tal k to th is J ewish g uy, Seidel bau m , okay?

H e's got h is own exchange . H e charges 4% at the most.

And he's con nected .

F uck them . Mob g uys . G u i neas .

I don 't trust them .

D id you sweep the house th is month ? The cars?

Yeah , I told you about it. The $5 , 000?

Look at that.

What?

That cable truck there .

S i nce when does it take th ree days to rig a cable?

What? You been watch i ng it for th ree days?

The th i ng has been there for th ree days .

What am I gon na do , not look at it?

What, you th i n k it's cops , rig ht?

I don 't know.

Cou ld be the D iaz brothers , com i ng to get me .

Maybe . I ' l l check it out, okay?

You check it out.

Then we' re gon na blow that fucki ng truck back to Colom bia !

Come on . We' re not the on ly dopers l ivi ng on the block.

O kay? Remem ber that.

That truck cou ld be anybody and anyth i ng .

It cou ld be a cable com pany...

You know someth i ng ? You got some fucki ng attitude .

For someone who's i n charge of my secu rity...

H ere are the keys to the front door.

Go down there . G ive them the keys !

I ' m j ust tryi ng to say someth i ng .

You ' re spend i ng a lot of money on th is cou nter-su rvei l lance .

I don 't g ive a fuck.

It's 1 2% of ou r adj usted g ross .

1 2% isn 't pean uts .

I don 't g ive a fuck !

It makes me sleep good at n ig ht. That's what cou nts .

O kay? You worry about it.

I am worried about it.

I ' m tel l i ng you . We' re getti ng sloppy.

O u r th i n ki ng , ou r fucki ng attitude , you know?

We' re not fucki ng h u ng ry 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.

TO NY: That's because for 75 years , you been fucki ng everybody.

Somebody shou ld do someth i ng about those whores .

I mean , charg i ng me 1 0 poi nts on my money.

They' re getti ng away with it.

F uck, there's no laws anymore .

Forget it. Anyth i ng goes .

They been arou nd 1 , 000 years .

They got al l the ang les fig u red out.

You know what capital ism is? Getti ng fucked .

E LVI RA: True capital ist if ever I met one .

U h-oh .

D id you hear that?

H ow wou ld you know, bu bblehead ?

You ever do noth i ng besides get you r hai r fixed

and powder you r nose?

Look at you . You do too m uch of that sh it.

N oth i ng exceeds l i ke excess .

You shou ld know that, Tony.

I shou ld know what?

What shou ld I know?

Why do you have to tal k to me l i ke that al l the ti me ,

l i ke I got to know someth i ng ?

Let me tal k to you .

Listen . What ti me is it?

Th is Seidel bau m ...

6 : 55 .

O kay.

I met with th is g uy Seidel bau m ...

The drug-related violence that's plagued South Florida...

H e's good for a laug h , th is g uy.

With a small law-enforcement budget, how can you put a dent

on an estimated $ 1 00-billion-a-year business ?

It seems at times all you can do

is put your finger in the dike and pray.

P ut you r fi ngers i n a dyke?

The on ly place you can get you r fi ngers

is i n some dyke .

...not by outlawing the substances,

but by legalizing and taxing them.

These voices say that will drive out the organized crime element.

I am not one of those voices.

I know that. B ut you know why?

'Cause you got you r head u p you r culo, that's why.

That fucki ng g uy, he never tel ls the truth .

...splendor of our city at its best.

TO NY: It's those g uys , man !

It's the fucki ng ban kers , the pol iticians ,

they' re the ones that wan na make coke i l legal

so they can make the fucki ng money

and then get the fucki ng votes !

They fig hti ng the bad g uys . They' re the bad g uys !

They fuck anyth i ng and anyone .

Can 't you stop sayi ng "fuck" al l the ti me?

Can 't you stop tal ki ng about money? It's bori ng , Tony.

Where's th is com i ng from ? Bori ng ? What's bori ng ?

You ' re bori ng . O h .

"Money. " That's al l I hear i n th is house .

Look at these pel icans fly. Come on , pel icans !

H ere it is .

F ran k never tal ked about money.

That's 'cause he was so smart.

(BOTH S P EAKI N G S PAN I S H)

You know what you ' re becom i ng ?

You ' re an i m m ig rant spic m i l l ionai re who can 't stop tal ki ng ...

Who the fuck you cal l i ng a "spic, " you wh ite piece of bread ?

Get out of the way of the TV!

D ig a hole i n the garden , bu ry it, and forget about it.

I work hard for th is ! I want you to know that.

Somebody shou ld 've g iven it to you .

You wou ld 've been a n icer person .

Know what you r problem is , pussycat?

What is my problem ?

You got noth i ng to do with you r l ife .

Why don 't you get a job or someth i ng ?

Do someth i ng . Be a n u rse .

Work with bl i nd kids , lepers . That ki nd of th i ng .

Anyth i ng beats lyi ng arou nd al l day

waiti ng for me to fuck you !

Don 't toot you r horn , honey. You ' re not that good .

N o? F ran k was better?

You ' re an asshole !

Where you goi ng ? Come here !

E lvie !

I was kidd i ng !

I was on ly kidd i ng !

I g uess someti mes married l ife

is not al l it's cracked u p to be .

Where you goi ng ?

I got a date .

You got a date? Come here . Yeah .

What?

Th is Seidel bau m th i ng .

Yeah , it's al l set u p .

Yeah , wel l , you forget it.

Stay out of it. I ' l l take care of it.

Stay out of it? It's my deal . I set it u p .

You ' re not a negotiator, Man ny, you know that.

You l i ke the lad ies more than the money.

That's you r problem .

What the fuck are you tal ki ng about? I ' m you r partner, okay?

If you don 't trust me with that ki nd of th i ng ,

who' re you gon na trust?

J u n ior partner.

B u l lsh it, man .

Don 't tal k to me about trust, I don 't l i ke it.

You shou ld l isten to you r wife . S he's rig ht.

You are an asshole , man !

Come here . G ive me a kiss . Come here .

F uck you , man !

Who put th is th i ng together? Me ! That's who !

Who do I trust? Me !

F uck h i m . "Trust. "

(SWITC H I N G C HAN N E LS)

Asshole . F uck cal led me an asshole .

I need that sh it.

I don 't need h i m .

I don 't need her. F uck them . I don 't need nobody.

Back then I worked i n pictu res down i n Colom bia .

I was i n that movie Burn. You ever see it?

You saw me with Marlon B rando?

You know, we' re good friends .

I was h is d river.

N o sh it?

B rando .

They shot it there . Cartagena .

G i l lo Pontecorvo . H e was the d i rector.

Ital ian g uy.

Tel l me about h i m .

I also know Pau l N ewman .

I worked with h i m i n Tucson .

N o kidd i ng ?

Do you know Ben ny Alvarez?

I n Tucson . Ben ny Alvarez?

S u btotal .

N o?

H e's a n ice g uy.

$283 , 1 07 . 65 .

You want a com pany check here?

I got 284 . 6 .

That's j ust not possi ble .

The mach i ne don 't make m istakes .

Let's cou nt it agai n .

N o . Come on .

B usi ness is busi ness . Come on .

You ' re tal ki ng $ 1 , 500 here .

O kay, you keep the change . O kay? I don 't g ive a sh it.

I ' l l cou nt it agai n for you .

N o , come on .

Th is check here , where does th is check go?

Montana Realty Com pany.

Montana what?

Montana Realty Com pany.

Montana Realty Com pany.

That's 284 .

284 , 600 .

L U I S : H ow come you don 't know Ben ny Alvarez?

Me and Ben ny have l u nch together.

N I C K: H e probably knows me .

You ask h i m .

We' re u p to what?

Seven checks . $ 1 , 325 , 623 .

200 , 000 more .

We oug ht to take a leak.

(TH U D) F reeze !

Get you r hands u p !

Go agai nst the wal l , tu rn arou nd .

You ' re not kidd i ng .

You ' re u nder arrest for violation of the RI CO Statute .

You have the rig ht to remai n si lent.

Anyth i ng you say can and wi l l be taken agai nst you .

H ow do I know you g uys are cops?

What's that say, asshole?

That's pretty good , man . Where'd you get that?

You cal l you rself a C u ban ?

You make a real C u ban th row u p !

Cal l you r dog off me , Seidel bau m .

I want to cal l my lawyer.

S E I D E L BAU M : Lot of good he's gon na do you .

You see that eye there i n the clock?

Say, " H i , honey. "

That's pretty cute. Look at that.

You jerk off in front of us, Seidelbaum ?

N I C K: I was supposed to meet this chick at 3:00.

You 're a fucking pain in the ass.

All right, Benny, kill it.

You u nderstand the rig hts I 've g iven you ?

I know al l that bu l lsh it, Seidel bau m !

Save you r breath .

You got noth i ng on me . You know it. I know it.

I ' m chang i ng dol lar bi l ls , that's al l .

You want to waste my ti me? O kay. I cal l my lawyer.

H e's the best lawyer i n M iam i . H e's such a good lawyer

that by tomorrow morn i ng , you gon na be worki ng i n Alaska .

So d ress warm .

S H E F F I E L D : Give me a check for 1 00 grand, plus 300 in cash.

I g uarantee you wal k on the conspi racy charge .

They' re gon na come back at us on a tax evasion ,

and they' l l get it.

So , what am I looki ng at here?

F ive years . You ' l l be out i n th ree .

Maybe less , if I can make a deal .

Th ree fucki ng years !

For what?

Wash i ng money?

The fucki ng cou ntry was bu i lt on washed money.

Can 't be that bad .

It's not l i ke C u ba .

What the fuck you tal ki ng ?

The jai ls are l i ke hotels .

You kidd i ng me or what?

You fucki ng h ig h or what?

I ' l l delay the trial .

A year and a half, two years . You won 't even start...

F uck you , man !

I ' m not goi ng back i n any cage , okay?

N o way. I been there .

O kay, look. (C L EARS TH ROAT)

I g ive you $400 , 000 more . O kay, now that's $800 , 000 .

With that ki nd of money, you can buy the S u preme Cou rt.

Tony, the law has to prove beyond a reasonable dou bt.

I ' m an expert at raisi ng that dou bt.

B ut when you got 1 . 3 m i l l ion

u ndeclared stari ng i nto a videotape camera ,

honey baby, it's hard to convi nce a j u ry

you fou nd it i n a taxicab .

I ' m so g lad you cou ld come on such short notice .

I real ly appreciate it.

It's okay. H ow's E lvi ra?

O h , g reat. H ow's you r wife?

Th ree more months .

O h , yeah ? Cong ratu lations .

H ow about you ?

When you gon na have another Tony to take you r place?

I ' m worki ng on it.

You have to work harder. Come .

I want you to meet some of my friends .

Th is is Ped ro Q u i n n ,

chai rman of the Andes S ugar Corporation .

P leasu re meeti ng you .

N ice to meet you .

General Edward Strasser, Com mander of the F i rst Army Corps .

(S P EAKI N G S PAN I S H)

P leasu re .

Th is is Ariel B leyer,

with the M i n istry of the I nterior. Tony Montana .

And here is ou r friend C harles Goodson from Wash i ngton .

N ice to meet you .

H ow do you do , M r. Montana?

SOSA: S it here , Tony.

Gentlemen .

I wou ld l i ke to d iscuss someth i ng

that is of i nterest to al l of us here .

You have a problem , Tony.

We have a problem .

I th i n k together we can solve al l ou r problems .

We al l know you have tax trou bles i n you r cou ntry

and that you may have to do a l ittle ti me .

We have friends i n Wash i ngton

that assu re us these trou bles can be taken care of.

You may have to pay some back taxes , a big fi ne ,

but there wi l l be no prison .

O kay.

So what's you r problem , Alex?

I ' l l show you my problem .

I NTE RVI EWE R: I've heard about financial support your 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.

I NTE RVI EWE R: On one hand, 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 in volved in this tragic comedy.

My organization just recently traced

a large purchase by this man.

This charming face here belongs to General Cucombre.

He is the Minister of the Defense 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 Defense 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.

I NTE RVI EWE R: Well, discussing it openly...

(SWITC H ES O F F TV)

H e's sched u led for 60 Minutes next.

H e is goi ng on F rench , B ritish , Ital ian , J apanese television .

People everywhere are starti ng to l isten to h i m .

It's em barrassi ng , Tony.

That is ou r problem .

You remem ber Al berto , don 't you ?

H ow cou ld I forget h i m ?

Al berto is an expert i n the d isposal busi ness .

H e's goi ng to hel p us fix ou r problem .

B ut he doesn 't speak E ng l ish .

H e doesn 't know h is way arou nd the States too wel l .

H e needs a l ittle hel p .

Is that a problem , Tony?

N o problem .

Good .

So what's the big mystery with the Bol ivian situation ?

You gon na tel l me what happened with Sosa , or what?

A lot of bu l lsh it, that's what happened .

Pol itics .

I want you to stay down here for a wh i le .

Ru n th i ngs for me .

I gotta go to N ew York next week.

F uck th is , man .

I don 't l i ke it, man . I don 't l i ke th is at al l .

You don 't l i ke it?

You got me i nto th is mess i n the fi rst place .

With that fucki ng Seidel bau m , that rig ht?

With Seidel bau m ?

What does Seidel bau m have to do with Sosa?

H ow do you con nect those two?

Why don 't you eat you r food ? What's wrong with it?

I ' m not h u ng ry.

You ' re not h u ng ry?

Do you even know about the trial ?

What d id you order it for, then ?

I lost my appetite .

Do you even know that S heffield said

he can get you a postponement?

(S N I F F I N G)

Is th is it? That's what it's al l about?

Eati ng , d ri n ki ng ,

fucki ng , sucki ng ...

Come on , man .

S norti ng ?

Then what?

Tel l me . Then what?

You ' re 50 . You got a bag for a bel ly.

You got tits , you need a bra .

They got hai r on them .

You got a l iver, and they got spots on it

and you ' re eati ng th is fucki ng sh it

and you ' re looki ng l i ke these rich fucki ng m u m m ies i n here .

Come on . It's not so bad . It cou ld be worse .

Is th is what it's al l about?

Forget it.

Th is what I work for? Tel l me .

Look at that.

A j u n kie .

I got a fucki ng j u n kie for a wife . S he don 't eat noth i ng .

S leeps al l day with them black shades on .

Wakes u p with a Q uaal ude ...

Don 't pick on her, man .

... and who won 't fuck me 'cause she's i n a coma .

I can 't even have a kid with her.

H er wom b is so pol l uted ,

I can 't even have a fucki ng l ittle baby with her!

You son of a bitch !

You fuck !

You shou ld n 't tal k l i ke that.

H ow dare you tal k to me l i ke that !

What makes you so m uch better than me?

What do you do? Don 't worry.

You deal d rugs and you ki l l people .

O h , that's wonderfu l , Tony.

Real contri bution to h u man h istory.

Go ahead . Tel l everybody.

You want a kid ?

TO NY: Tel l the world .

What ki nd of a father wou ld you make?

(YE L L I N G)

Gon na d rive h i m to school i n the morn i ngs?

Are you even gon na be al ive by the ti me the kid goes to school ?

You don 't know how to be a h usband !

S it down before I ...

Do we ever go anywhere without havi ng 600 th ugs

hang i ng arou nd al l the ti me?

I have N ick "The P ig" as a friend .

What ki nd of l ife is that?

Can 't you see

what we' re becom i ng , Tony? We' re losers .

We' re not wi n ners , 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 goi ng home with you .

I ' m not goi ng home with anybody.

I ' m goi ng home alone .

I ' m leavi ng you .

I don 't need th is sh it anymore .

O kay, but I ' l l wal k you out.

I ' l l take her home i n a cab .

Let her go .

Another Q uaal ude , she gon na love me agai n .

(P EO P L E M U RM U RI N G)

What' re you looki ng at?

You ' re al l a bu nch of fucki ng assholes .

You know why?

You don 't have the g uts to be what you want to be .

You need people l i ke me .

You need people l i ke me

so you can poi nt you r fucki ng fi ngers

and say, "That's the bad g uy. "

So , what does that make you ?

Good ?

You ' re not good .

You j ust know how to h ide ,

how to l ie .

Me , I don 't have that problem .

Me , I always tel l the truth .

Even when I l ie .

So say good n ig ht to the bad g uy !

Come on .

The last ti me you gon na see a bad g uy l i ke th is agai n ,

let me tel l you .

Come on . Make way for the bad g uy.

There's a bad g uy com i ng th roug h !

Better get out of h is way !

N EW YO RK C ITY

TO NY OVE R P H O N E : N o . You tel l S heffield to keep h is nose out of it.

There's gon na be no trial .

I got it al l u nder control now.

J ust tel l h i m to stay out of it !

O kay, what about E lvi ra? D id she cal l ?

Yeah , al l rig ht.

Tony, everyth i ng go okay?

Yeah , everyth i ng is roses .

E rn ie , what ti me do you got?

Ten to .

Ten to .

Where is th is g uy, man ? I gotta cal l Man ny agai n .

(S P EAKI N G S PAN I S H)

S it down .

You don 't tel l me what to do here !

H e's com i ng out.

E RN I E : H e's com i ng .

I don 't g ive a fuck.

It's h i m , man .

(AL B E RTO S P EAKI N G S PAN I S H)

We do it i n front of the U n ited N ations .

That's how they want it.

I don 't care where you blow h i m u p .

Tel l me when , okay?

You j ust tel l me when . That's al l I care about.

(CO NTI N U ES S P EAKI N G S PAN I S H)

I want you to stay th i rty meters beh i nd the car, okay?

Th i rty meters . N o more .

I heard you the fi rst ti me .

O ne ti me . That's al l you gotta tel l me .

I told you th i rty meters .

Th is fucki ng g uy, I ' m tel l i ng you .

E RN I E : Look. H ere he comes .

Where's he goi ng ?

What's he doi ng that way?

What the fuck he doi ng ?

What the fuck is that? Come here .

You said she took the kids i n the other car!

S he d id , every fucki ng day.

I don 't know what's goi ng on .

N o fucki ng way. N o fucki ng way. That's it !

(S P EAKI N G S PAN I S H)

Forget it !

We ki l l th is g uy alone . N o wife , no kids .

N o way. If Sosa says we do it now, we do it now. Let's go .

Th is fucki ng g uy.

(S P EAKI N G S PAN I S H)

O kay, j ust stay beh i nd h i m .

S lowly, slowly.

F uck you , you fucki ng vu ltu re .

(AL B E RTO S P EAKI N G S PAN I S H)

O kay. Easy.

Two l ittle kids i n the car. Th is is so fucki ng bad .

Th is is so fucki ng bad .

You ' re losi ng them . Look ! You ' re losi ng them !

I see them , al l rig ht? I see them !

Ten meters , ten meters !

Move it. Move it !

S h ut the fuck u p , okay?

You don 't have the g uts to look them i n the eye when you ki l l them .

You gotta h ide with that sh it...

S h ut you r mouth .

E RN I E : H e's getti ng u p . Let's do it.

Make you feel good ?

Make you feel good to ki l l a mama and her kids?

Make you feel big .

S h ut you r mouth !

TO NY: Li ke you , big man ! F uck you !

What do you th i n k I am ?

You th i n k I ki l l two kids and a woman ?

F uck that ! I don 't need that sh it i n my l ife !

You d ie , motherfucker!

(H O RN S B LARI N G)

(TI RES SC RE EC H I N G)

What do you th i n k I am , h u h ?

You th i n k I ' m a fucki ng worm l i ke you ?

I told you , man ! I told you , don 't fuck with me !

I told you , no fucki ng kids !

N o , but you wou ld n 't l isten !

You stu pid fuck ! Look at you now.

TO NY: N ick, where the fuck you been ?

O n a del ivery?

Where the hel l is Man ny?

I been cal l i ng al l over. Where is he?

(STUTTE RI N G) I don 't know, Tony.

H e's been gone the last cou ple of days .

He didn 't say nothing.

H e's gone? What? Where?

I left h i m i n fucki ng charge , man ! Where the fuck is he?

You can 't trust nobody anymore !

I don 't know, Tony. H e j ust took off.

He didn 't say nothing.

H e took off?

Are you all right?

N o , I ' m not al l rig ht ! I ' m pissed !

When I get back there ,

I ' l l kick some ass al l over the place !

When you coming back?

I ' m com i ng back ton ig ht !

Th is fucki ng cocksucker.

Tony, you r mama cal led . G i na's gone .

Gone? Where?

She got to see you right away.

Tel l her I ' l l cal l her ton ig ht.

Listen to me . What about E lvie? S he cal l ?

No.

N o .

O kay, l isten to me .

If she cal ls , j ust tel l her I love her.

O kay? J ust tel l her that.

TO NY: You hear from Man ny? N o .

You r mama cal led , she gotta see you .

Sosa's been ri ng i ng every half hou r. H e sou nds pissed .

Get h i m on the phone . E lvie cal l ?

N o .

You keep tryi ng Man ny. I want that cocksucker here .

I want h i m here now! O kay?

O kay.

Come on . Go ahead , get h i m ! Let's go . Come on !

(C H I C H I S P EAKI N G S PAN I S H)

(P H O N E RI N G I N G)

Yeah ? Mama . Yeah , I know.

They told me .

O kay. I ' m com i ng over.

I ' l l be over to see you . I ' l l be over, yeah .

P ut it on the speaker.

(S N I F F I N G)

SOSA OVE R P H O N E : What happened, Tony?

Alex, how you doi ng ?

What happened?

O h , we had some problems .

Alex?

Tony, what happened?

We had a l ittle problem .

I heard.

H ow you hear that?

O u r friend gave a speech at the U N .

H e was not su pposed to g ive that speech .

Wel l , you r g uy, Al berto , he's a piece of sh it.

I told h i m to do someth i ng , he d id n 't l isten ,

so I canceled h is contract.

My partners and I are pissed off.

That's okay. N o big deal .

There's other Al bertos . We' l l do it next month .

N o , Tony, you can 't do that.

They fou nd what was u nder the car.

N ow ou r friend has got secu rity u p the ass .

The heat will come down hard on my partners and me.

There's not gon na be a next ti me ,

you dumb cocksucker! You blew it!

Take it easy when you tal k to me .

I told you a long ti me ago , you fucki ng mon key, not to fuck me !

Who the fuck you th i n k you ' re tal ki ng to , h u h ?

You want to fuck with...

Who the fuck you th i n k I am , you r fucki ng bel l boy?

You want to go to war? We take you to war, okay?

(S P EAKI N G S PAN I S H)

Alex, you there? H ey !

H e's not there . Cálmate, man .

S he got a place of her own . S he don 't tel l me where .

O ne n ig ht, I fol low her i n a taxi .

S he goes to a fancy house i n Cocon ut G rove .

Where'd she get the money? You !

You were g ivi ng her the money !

You see what you do to her?

I don 't g ive her that m uch money.

You d id !

O ne ti me , $ 1 , 000 you gave her.

Was a g uy with her?

I don 't know.

There was th is car i n the d riveway.

I know if I go there , she' l l ki l l me .

S he's l i ke you .

Where's the place? Where is it?

400 someth i ng ...

C itrus D rive .

400 what? 409 , I th i n k.

You gotta tal k to her, Anton io . S he don 't l isten to me .

S he says to me , "Mira, sh ut u p !

"M i nd you r own busi ness . "

Exactly l i ke you do to me .

Ever si nce you came back, she's been getti ng th is way.

I gotta go .

Why do you have to h u rt everyth i ng ?

Why do you have to destroy

everyth i ng that comes you r way?

(YE L L I N G I N S PAN I S H)

409 C itrus D rive .

O kay.

Tony, I can 't fi nd Man ny anywhere .

F uck !

O kay. Listen , boss , I ' l l try agai n .

You stay here . Keep tryi ng Man ny, okay?

(DOO R B E L L B UZZ I N G)

Tony.

(G U N F I RI N G)

(I NAU D I B L E)

(SO B B I N G)

We got married j ust yesterday.

We were gon na su rprise you .

E RN I E : J esus , Tony.

Tony, we gotta get outta here , man .

We gotta get outta here .

Go get G i na .

N o !

N o , G i na . Come on , G i na . N o !

God !

Tony, we can 't stay here . We gotta go .

We gotta get out of here .

(G I NA SO B B I N G)

Come on , G i na .

H ere we go . It's gon na be okay.

You got her? I got her.

N o ! Th is is Tony's place ! Let me go !

(SC REAM I N G)

We put some pi l ls i nto her.

S he's gon na be al l rig ht, Tony.

S he's cool i ng down . Rig ht?

S he's gon na be fi ne . J ust fi ne .

Rig ht.

What are we gon na do now?

Do?

We' re goi ng to war.

That's what we' re gon na do .

We' re gon na eat that Sosa for breakfast !

C lose that fucker down .

(S N I F F I N G)

Tony, take it easy.

Al l rig ht, E rn ie . Let's go .

We' l l take care of the house .

Come on .

Th is cocksucker's gon na ru n al l over you .

(S P EAKI N G S PAN I S H)

Come on . I ' l l bu ry these cocksuckers .

(C L EARS TH ROAT)

We gotta get organ ized here .

F uck ! Man ny.

H ow the fuck I do that?

H ow the fuck I do that, Man ny?

(I N D I STI N CT C HATTE RI N G)

G I NA: Tony.

G i na .

Is th is what you want, Tony?

You can 't stand for another man to be touch i ng me .

So you want me , Tony, h u h ?

H u h ?

What are you tal ki ng about?

Ah .

Is that it?

H ere I am , Tony.

I am al l you rs now, Tony, you see?

(C H U C KL I N G)

I ' m al l you rs now.

G i na .

You better come and get me now.

Al l rig ht. Come on . Come and get me .

Come and get me .

You do it now before it's too late .

(G ROAN I N G)

O h , come on , Tony.

F uck me .

F uck me . Come on and j ust fuck me !

(SC REAM I N G)

(SC REAM I N G)

D ie !

(S P EAKI N G S PAN I S H)

They' re al l over the place ! Get out of here !

G i na .

Come on . Look at you r face . It's al l d i rty.

(SO B B I N G)

P lease tal k to me .

Don 't be mad at me .

P lease . G i na , come on .

I love Man ny, you know?

I love h i m .

And I love you , too , you know?

G ive me a sm i le .

They' re com i ng from everywhere !

Tony, open u p ! O pen the fucki ng door!

(BAN G I N G O N DOO R) P lease ! Tony !

Let me i n , boss ! P lease !

Tony, open the fucki ng door!

(G ROAN I N G)

You wait here , okay? I ' l l be with you . I ' l l be back.

You wait for me . I ' m com i ng back.

O kay, Sosa . You want to fuck with me?

(I N D I STI N CT C HATTE RI N G)

You ' re fucki ng with the best !

You want to fuck with me?

You cockroaches .

You want to play games? O kay, I play with you .

You wan na play roug h ?

Say hel lo to my l ittle friend !

(SC REAM I N G)

You want to play roug h ?

There ! You l i ke that?

You want more?

You whores !

Cowards !

(SC REAM I N G)

Want to fuck with me?

Go ahead !

Come on !

H ow do you l i ke that, h u h ?

You fucki ng maricón!

You th i n k you can take me?

You need a fucki ng army if you gon na take me !

You hear? Come on ! I take you al l to fucki ng hel l !

Who you th i n k you fucki ng with ? I ' m Tony Montana !

You fuck with me , you fucki ng with the best !

I ' m sti l l stand i ng .

Come on ! I take you r fucki ng bu l let !

Come on ! I take you r fucki ng bu l let !

You th i n k you ki l l me with bu l lets?

I take you r fucki ng bu l lets ! Go ahead !

(G ROAN S)

Th is fi l m is ded icated to H OWARD HAWKS and B E N H EC HT