All language subtitles for dfhgdfh

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