It's one of Pacino's best chapters in the cinematic road movie that is his eternal death. Upside down, in slow motion, colour-drained, across Central Station, fixated on a garish, tacky Caribbean billboard. He looks into it and sees the same fantasy world which drew him to the USA from Cuba in Scarface over a decade ago. In Scarfacehe went out in a blaze of operatic death – a spectacular demise in neon, disco and velvet. In Carlito's Way he goes out in fluorescent, strings and vinyl.