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"Enjoy yourself -- every day above groundis a good day."ANONYMOUS, MIAMI 19811 A PROLOGUE 1crawls up the screen -- with Narrator.NARRATORIn May 1900, Fidel Castro -- in aneffort to normalize relations withthe Carter Administration -- openedthe harbor at Mariel, Cuba with theapparent intention of letting someof his people join their relativesin the United States. Within seventy-two hours, 3,000 U.S. boats were headedfor Cuba. In the next few weeks, itbecame evident that Castro was forcingthe boat owners to carry back withthem not only their relatives but thedregs of his jail population. 3y thetime the port was closed 125,000'Marielitos' had landed in Florida.An estimated 25,000 had criminalrecords. This is the story of thatminority -- those they call 'LosBandidos.'The prologue is shredded diagonally by the blade of astilleto and in the empty black void we:CUT TOOpening Montage - Documentary Footage:2 THE DISEMBARKATION 2from the harbor in Mariel, Cuba. Vessels of every nature,waving masses, demonstrations....;ITHE CROSSING 3I. 3i7 Sun and storm.,14 THE LANDING - KEY WEST 4The flag of the United States. Choppers swooping over theragged coastline of the Keys. Emerald waters dotted withfishing trawlers and pleasure craft, an "America theBeautiful" -type Immigration theme surging over 'this.#02154 2Rev.11/22/82
 
5 THE PROCESSING5Long lines. Immigration and Nationalization Officials,customs, Public Health, FBI, Church and Relief Organizations.Babies bawling, arguments over paperwork, refugees beinginterviewed by TV news, people crying, people eating,families huddled on floors...chaos.The music theme continuing in stately calmas we:CUT TO6 INT. OFFICE - PROCESSING HALL - AFTERNOON - A FULL6and CLOSEUP OF TONY MONTANAant77the scar-faced one, in the young angry prime of his life.We dwell first on the scar which he likes to scratch now andthen. We move to the eyes, pure in their fury. Finally weencompass the face -- the face of a man about to explode --muscle, tissue, brain -- a man willing to live or die andon the increment of a moment, inflict or receive either one.He is clothed in rags crossed with holes, his shoes brokencardboard, his hair unkempt, his complexion sallow fromprison.Over this:VOICE #1 (0.8.)Okay so what do you call yourself?VOICE #2 (0.6.)Corn0 se llama?MONTANA (X)Tony Montana...you?VOICE #1Where'd you learn to speak the English,Tony?MONTANA (XlSailor.My old man -- he was American.I always know, y'know, one day IBum.I see all thegonna come to America.movies....VOICE #lSo where's your old man now?MONTANAHe's dead. He died. Somewhere....VOICE #1Mother?
 
TONYShe's dead too.CONTINUED.#02154 3Rev.11/22/826 CONTINUED6and ant77VOICE #2What kind of work you do in Cuba,Tony?TONYThis. That. The Army. Some con-struction work....VOICE #2Unhunh. Got any family in theStates,Tony? Cousins, brother-in-law?TONY(a beat)Nobody. Everybody's dead.NO.MAN #IY'ever been in jail, Tony?TONYMe jail? No way.We now reveal three men in civilian clothing in thedarkafternoon light of the little room. Actually it'saplywood office somewhere in the processing hall andwe hearthe din from the hall over the question and answer.Two ofthe men sit around a desk, the Third Man stands ina corner,staring at Tony, the most authoritative-looking ofthethree.MAN #l(checkingoff a list)You been in a mental hospital, Tony?TONY(grinning)
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