"Enjoy yourself -- every day above ground is a good day. - ANONYMOUS, MIAMI 1981

1 A PROLOGUE
crawls up the screen -- with Narrator.

NARRATOR
In May 1980, Fidel Castro -- in an effort to normalize relations with the Carter Administration -- opened the harbor at Mariel, Cuba with the apparent intention of letting some of his people join their relatives in the United States. Within seventy-two hours, 3,000 U.S. boats were headed for Cuba. In the next few weeks, it became evident that Castro was forcing the boat owners to carry back with them not only their relatives but the dregs of his jail population. By the time the port was closed 125,000 'Marielitos' had landed in Florida. An estimated 25,000 had criminal records. This is the story of that minority -- those they call 'Los Bandidos.'

The prologue is shredded diagonally by the blade of a
stiletto and in the empty black void we:

CUT TO

Opening Montage - Documentary Footage:
2 THE DISEMBARKATION
from the harbor in Mariel, Cuba. Vessels of every nature,
waving masses, demonstrations....

3 THE CROSSING
Sun and storm.

4 THE LANDING - KEY WEST
The flag of the United States. Choppers swooping over the ragged coastline of the Keys. Emerald waters dotted with fishing trawlers and pleasure craft, an "America the Beautiful"-type Immigration theme surging over this.
5 THE PROCESSING
Long lines. Immigration and Nationalization Officials, customs, Public Health, FBI, Church and Relief Organizations.
Babies bawling, arguments over paperwork, refugees being
interviewed by TV news, people crying, people eating,
families huddled on floors... chaos.
The music theme continuing in stately calm as we:

CUT TO
6 INT. OFFICE - PROCESSING HALL - AFTERNOON -
A FULL and CLOSEUP OF

7 TONY MONTANA 7
the scar-faced one, in the young angry prime of his life.
We dwell first on the scar which he likes to scratch now and
then. We move to the eyes, pure in their fury. Finally we
encompass the face -- the face of a man about to explode --
muscle, tissue, brain -- a man willing to live or die and
on the increment of a moment, inflict or receive either one.
He is clothed in rags crossed with holes, his shoes broken
cardboard, his hair unkempt, his complexion sallow from
prison.

Over this:

VOICE #1 (o.s.)
Okay so what do you call yourself?
VOICE #2 (o.s.)
Como se llama?

MONTANA
Tony Montana...you?

VOICE #1
Where'd you learn to speak the English, Tony?

MONTANA
My old man -- he was American. Sailor. Bum.
I always know, y'know, one day I gonna come to America.
I see all the movies...

VOICE #1
So where's your old man now?

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

VOICE #1
Mother?

TONY
She's dead too.
VOICE #2
What kind of work you do in Cuba, Tony?

TONY
This. That. The Army. Some construction work....

VOICE #2
Unhunh. Got any family in the States, Tony? Cousins, brother-in-law?

TONY
(a beat)
Nobody. Everybody's dead.

MAN #I
Y'ever been in jail, Tony?

TONY
Me jail? No way.

We now reveal three men in civilian clothing in the dark afternoon light of the little room. Actually it's a plywood office somewhere in the processing hall and we hear the din from the hall over the question and answer. Two of the men sit around a desk, the Third Man stands in a corner, staring at Tony, the most authoritative-looking of the three.

MAN #l
(checking off a list)
You been in a mental hospital, Tony?

TONY
(grinning)
Yeah, in the boat coming over.

MAN #1
How 'bout homosexuality, Tony? You like men, y'like to dress up like a woman?

TONY
(to Man #2)
Never tried it. What the ♥♥♥♥'s wrong with this guy, what's he think I am?

MAN #2
Just answer the questions, Tony.

The voices of the men remain cool and collected throughout.

TONY
(to Man #1)
♥♥♥♥ no.

MAN #1
Arrested? Vagrancy? Marijuana?

TONY
NO. ...NO. Never. Nothing.

His eye movements are rapid (over shoulders, sides, doors)
and he does a lot of touching -- objects -- lightly with the
tips of the fingers. Man #3 is stepping forward out of the
shadows.

MAN #3
So where'd you get the beauty scar?

TONY
This?..
(scratching the scar, shrugs)
I was a kid. You should see the other kid.
(a grim chuckle)

MAN #3
And this?

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

TONY
Oh that was for my sweetheart.

MAN #3
Sweetheart?
(to the other men)
We been seeing more and more of these. It's some kinda code these guys used in the can. Pitchfork means an assassin
or something. This one's new... You want to tell us, Montana or you want to take a little trip to the detention center?

TONY
Hey, so I was in the can once for buying dollars. Big deal.

MAN #3
That's pretty funny, Tony.

TONY
Some Canadian tourist....

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

TONY
Hey, so I ♥♥♥♥ Castro, what's it to you? You a Communist or something?
How would you like it they tell you all the time what to think, what to do, you wanna be like a sheep, like everybody else. Baa baa? Puta! You want a stoolie on every block? You wanna work eight hours a day and you never own nothing? I ate octopus three times a day, ♥♥♥♥♥♥♥ octopus is coming out my ears, ♥♥♥♥♥♥' Russian shoes are eating through my feet. Whaddaya want? You want me to stay there? Hey, I'm no little ♥♥♥♥♥, I'm no stinking thief! I'm Tony Montana and I'm a political prisoner here from Cuba and I want my ♥♥♥♥♥♥♥ 'Human Rights' just like President Jimmy Carter says, okay?

Silence.
There's a certain eloquence to the man`s plea but
it falls on disbelieving ears. One of them chuckles.

MAN #l
Carter should see this human right. He's good. He's very good. What do you say Harry?

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

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

Man #3 at the door stops, looks back.

TONY
Send me here, send me there. This.
That. Nothing you can do to me
Harry, Castro didn't do -- nothing....

That taunting smile on Tony's lips as, to the music of the
immigration theme, we:

DISSOLVE TO
7-A INT. FEDERAL BUS - HOUR LATER 7-A
The bus is packed with the harder-looking refugee-types.
The windows are caged and we see INS guards.
The noise level is high, like a sack of monkeys.

Manny (Manolo) Ribera's got his feet up on an empty seat.
He's big, strong, handsome, with dashing darkly feminine
eyes -- younger than Tony, and dapper in his cheap clothing.
He's eating a Baby Ruth candy bar.

MANNY
Seat's taken.

TONY
So I'll sit in your lap.

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

TONY
So what'd you tell them?

MANNY
I told them what you told me to tell them. I told them I was in sanitation in Cuba.

TONY
I didn't tell you sanitation. I told you to tell them you was in a sanitarium, not sanitation.

The bus pulling out now.

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

TONY
You know if you hadn't opened your mouth, they woulda thought you were a horse. I told you to tell them you had TB and was cured.

MANNY
♥♥♥♥ you Tony....

TONY
You did nothing right. I shoulda left you in Cuba.

7-B EXT. MIAMI FROM BUS - ESTABLISHING SHOT 7-B
of Miami as, to the music of the Immigration theme, we:

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

A movie projector...
...the face of Bogart -- unshaven, paranoid. We're watching a badly damaged 16 mm print of The Treasure of the Sierra-Madre. It's near the end of the film and he's alone, talking to himself just before the bandits get him....

The rag-tag audience is noisily yammering back at the screen,
the camera moving past Manny Ray, chewing gum, hair slicke