Rev. 04/29/87 (Blue)
ABOVE THE LAW
Screenplay by
STEVEN PRESSFIELD and RONALD SHUSETT
and ANDREW DAVIS
Story by
ANDREW DAVIS and STEVEN SEAGAL
FINAL DRAFT
March 27, 1987
WARNER BROS. INC. © 1987
4000 Warner Boulevard WARNER BROS. INC.
Burbank, California 91522 All Rights Reserved
ABOVE THE LAW
FADE IN:
1 TITLES SEQUENCE - MONTAGE WITH SCORE
PHOTOGRAPHIC STILLS show us NICOLA TOSCANI as a city boy in
various growing-up SHOTS, circa 1950's -- with street chums
wearing a Wyatt Earp T-shirt, in a communion suit. Then:
in his first qi, a youngster studying the martial arts; he
grows, we see news clippings of him winning trophies, his
name on contest posters, SHOTS of him in action. Then:
Japan. Nico now in his teens, studying with real masters,
being dumped on his butt, posing smiling beside Japanese
martial artists, then himself as an instructor. Now: a
few military uniforms enter the picture, we see security
clearance documents with Nico's picture and name on them.
Then Nico near draft age with an American friend NELSON
FOX on some kind of training base. TITLES END.
DISSOLVE TO:
2 EXT. JUNGLE - DAY
Blowing through the roof of a dense jungle straight AT
CAMERA, HELICOPTER ROTORS RISE to a DEAFENING PITCH.
SUPER: Viet - Cambodian Border, 1972. Jungle foliage
whips in the fierce downdraft as --
3 "HUEY" GUNSHIP
with US Army markings becomes discernible. The chopper
lowers toward a crude landing zone hacked out of the
wilderness. We GLIMPSE Cambodian troops and several
machine gun positions around the LZ.
4 EXT. JUNGLE - TWO ARMED AMERICANS - DAY
watch from the edge of the landing zone. We recognize Nico
and Fox, now in their twenties, dressed in the nonmilitary
jungle attire that usually marks a CIA "spook."
5 HELICOPTER
touches down. THREE OLDER AMERICANS -- rough-looking, in
their mid-thirties, all carrying some kind of medical bags
-- disembark into the HOWLING ROTOR BLAST. They hit the
ground nimbly, as if they've done it many times before.
6 LEADER OF THREE
wears a khaki cowboy hat and packs a pearl-handled .45.
7 NICO AND FOX
don't know whether to react with laughter or uneasiness.
2.
FOX
You ever see chemical interrogation
before?
Nico's eyes stay on the approaching "cowboy," KURT ZAGON,
for whom he plainly feels an instant animosity.
NICO
These assholes are agency?
8 NICO'S POV
FOLLOWS the medical bag in the cowboy's hand.
9 BACK TO FOX AND NICO
FOX
We're all C.I.A. But these guys are
from a page that ain't on the map.
10 EXT. JUNGLE - LATE AFTERNOON
Nico in the point, leading Fox and the three CIT (Chemical
Interrogation Team) men down an unmarked, twisting trail.
We see from Nico's gait that he is athletic, a born leader
and totally at home in the jungle.
11 TRAIL - LATE AFTERNOON
snakes along a ridge line, high enough to give us a view and
let us know these guys are way out in the boonies.
ZAGON
How long till we're across the border?
NICO
We've been over for the past hour.
The group continues along the ridge.
CUT TO:
12 EXT. JUNGLE - NIGHT
The sky glows from nearby bomb attacks.
13 NICO
listening hard -- and even sniffing the air -- glances back
at Zagon, who stands impatiently, drawing on a cigarette.
ZAGON
What are you looking at, hotshot?
NICO
(indicates cigarette
glow)
Why don't you light a bonfire?
3.
Irritably, Zagon ditches his smoke.
ZAGON
Just drive the taxi, ace.
As the party moves out, Fox flashes Nico a look as if to say,
"Don't fuck with these guys."
14 EXT. CAMBODIAN BASE CAMP - NIGHT
A pocket-fortified position. Armed Cambodian lookouts,
several hooches, radio equipment. Nico leads the party in
through the perimeter. Zagon eyes the layout like he's seen
100 of them. Fox indicates a hooch.
FOX
(to Zagon)
They're in there.
The three CIT men start for the hooch. Nico casts a concerned
glance around at the base camp troops, looking sloppy as hell.
NICO
I don't trust these yo-yo's.
15 FULL SHOT - BASE CAMP
We see Nico moving like a shadow from one defensive position
to another, checking the perimeter. We can vaguely hear him
ROUSTING the Cambodian lookouts, speaking in dialect.
16 DEFENSIVE POSITION - NICO
hears a SOUND, looks back toward the hooch.
17 NICO'S POV - HOOCH
Two Asian prisoners, stripped to the waist, babbling in-
coherently, are dragged out the back by a pair of Cambodian
guards and hustled off into the darkness. VOICES can be
heard inside the hooch. A single lantern glowing inside
gives the hut a creepy, frightening aspect.
18 BACK TO NICO
He's extremely uneasy about what's about to happen inside the
hooch.
19 INT. HOOCH - CLOSE ON RICKETY CARD TABLE - NIGHT
on which are spread a terrifying array of syringes, drug vials
and surgical instruments. Zagon's hand picks up a hypodermic,
squirt-tests it.
4.
20 TWO ASIAN PRISONERS
are on their knees, shirtless, handcuffed with heavy nylon
tape to a stake driven into the ground in the center of the
hooch. One of the subordinate CIT men moves in, grabs the
first prisoner by the shoulders. Zagon injects the first
prisoner. Instantly the man begins shivering, convulsing.
Zagon watches with professional satisfaction.
ZAGON
That's the nice thing about modern
technology. You don't have to wait
for results.
He moves close to the first prisoner.
ZAGON
(to first prisoner)
Where is it, Charley? You got six tons
of our shit --
The prisoner tries to speak, but he's in such torment all
that comes out is a blood-curdling wail --
21 EXT. BAST CAMP - NICO
hears this horrifying cry. He starts swiftly toward the
hooch --
22 INT. HOOCH - INTERPRETER
has moved as close to Zagon and the first prisoner as a fight
referee to two boxers. The prisoner is convulsing wildly.
Zagon grabs him fiercely by the hair.
ZAGON
Don't you die on me, fucker --
FOX
(from the side)
What the hell's wrong?
ZAGON
(throws the prisoner
down)
This pussy can't hold his liquor.
The first prisoner is plainly in a death spasm.
23 NICO
enters at this point. He takes in the scene quickly, moves
to a spot beside the entrance. Zagon doesn't look at Nico,
but it's plain he is aware of Nico's presence. It is as if
he wants to prove something to this muscular kid -- and prove
it to the others, too.
ABOVE THE LAW - Rev. 4/17/87 5.
24 FIRST PRISONER
dies in agony on the ground.
25 SECOND PRISONER
watches with eyes like flint. He is in his mid-forties,
scarred, missing several fingers. Probably a colonel or
higher, he looks like he's been fighting these round-eyes
since the French in the 50's. He is plainly one tough
customer. The second prisoner meets Zagon's eyes, as if
daring him to use the drugs on him, too. Zagon eyes the
prisoner with barely contained hatred. The prisoner doesn't
back down an inch.
ZAGON
(to second prisoner)
So my little doctor bag doesn't *
scare you, eh? Well I don't need *
it to open your yap. *
Zagon reaches to a scabbard on his Western belt, pulls out a
fearsome serrated blade -- a cross between a bowie knife and
a scalpel. He steps toward the prisoner, displaying the
blade in the lantern light.
26 NICO
watches impassively.
ZAGON (O.S.)
(to prisoner)
Where's our load, you sack of slime?
What did you do with my shit? --
27 ZAGON
punches the prisoner full in the face, holding the knife
handle in his fist to double the force of the blow and to
terrify him with the proximity of the blade. The prisoner
crashes sideways, face bloody --
ZAGON
I'm gonna teach you good. I'm gonna
teach you never to fuck with my
opium --
28 FOX AND TWO CIT MEN
seem to know exactly what this is about.
29 NICO
didn't know, but the new kid on the block is catching on fast.
Nico has difficulty containing his emotion. Zagon stands
over the prisoner, as if daring him to get back up.
6.
The prisoner gets back to his knees, bloody eyes meeting
Zagon's with defiance --
ZAGON
(to prisoner)
You're a hard nigger, aren't you, boy?
You took it from the Chinks... you took
it from the French. You'll be fucked
if some Yankee peckerwood's gonna start
your gums flapping --
Nico watches Zagon move the knife blade closer to the
prisoner.
ZAGON
-- Well, you're gonna chirp for me,
tough guy. You're gonna sing like a
choir --
Nico takes a step toward Zagon.
NICO
What the fuck does this have to do
with military intelligence?
ZAGON
Your orders are 'assist and observe'
cherry --
Zagon turns to face Nico --
FOX
(to Nico)
Back off, partner --
Zagon turns from Nico. He moves close to the second prisoner,
close as a lover, displaying the blade in the lamplight.
ZAGON
(to second prisoner)
I'm gonna start carving at your ankles.
We'll throw your feet in that box right
over there. Then I'm gonna take off
your arms --
One of the CIT men yanks the prisoner's leg forward, clamping
it to the ground with his hands. The prisoner still hasn't
flinched. He seems as locked into this dance of death as
Zagon.
NICO
(can't take
much more)
Fox --
FOX
Shut up, Nico.
7.
ZAGON
You can disappear as easy as this
slope, kid --
Zagon starts for the prisoner. Here comes the blade.
Suddenly -- Nico grabs Zagon's shoulder. Zagon spins with
terrifying quickness, cocking the blade to slash at Nico.
Before Zagon's blow even starts, Nico slams him with a
ferocious elbow shot right under the jaw. Zagon literally
comes off the ground, Nico's blow is so terrific. Zagon drops
in an unconscious heap. In a flash the two other CIT men
move to jump Nico. Smash! The second CIT man is swallowing
his teeth. Fox leaps in the way of the third, shoves Nico
out of the hooch --
30 EXT. HOOCH - NIGHT
Fox wrestles Nico away from the hooch --
FOX
Are you crazy?!!
(as Nico jerks free)
What the fuck's the matter with you?!!!
Nico is shaking with rage and fear. He takes several steps
away from the hooch, then draws up abruptly. Nico pulls his
.45 from his holster, pops the safety, starts back for the
hooch --
FOX
Nico!
NICO
I don't cap him now, he's gonna do me
later.
The last CIT man appears, gun drawn, in the hooch doorway.
Fox grabs Nico, hauls him back again --
FOX
I'll cover this. Get back to the
L.Z. --
(as Nico resists)
-- I'll fix it! Get out! Get the
fuck outa here!
The CIT man calls out to the Cambodian troops, in dialect,
pointing at Nico. The soldiers start toward Nico, as if to
seize him. Fox, too, starts yelling to the troops in dialect,
apparently countermanding the orders of the CIT men. The
troops, confused, hold up for a moment.
FOX
(to Nico)
I'll call for a chopper... get outa
here!
ABOVE THE LAW - Rev. 4/29/87 8.
Nico gives a last look, turns and takes off down the jungle
trail. Fox seems abandoned. The DISTANT BOMBING CONTINUES.
Nico disappears into the darkness.
FADE TO BLACK.
FADE IN ON:
31 CHURCH STEEPLE - DAY
TILT DOWN to reveal St. Elizabeth's, a huge parish church in
an Italian/Latino neighborhood in Chicago. The church looks
festive, we see a few formally-dressed people hurrying in,
then a squad car pulls up. The cops run upstairs as if
they're late --
32 INT. ST. MARY'S - DAY
A baptism in progress. Nico -- 15 years older than when we
last saw him, is standing beside SARA, his lovely wife *
-- watching a 60-ish priest, FATHER GENARRO, finish the
final ritual on Nico's infant son Julian. The priest
straightens the baby's baptismal garment, tugging the cloth
around the little fellow's crotch. Smiles from friends and
relatives clustered proudly around. Several cops, some in
uniform are amongst them. Nico grabs his son from Genarro
with a theatrical protective motion, tugs up the little boy's
garment, kisses him smack on the bare butt. Laughter from
all as Nico holds the lad high and proud. He puts his arm
around Sara. *
33 EXT. NICO'S HOUSE - BACK YARD - DAY
Huge trays of Italian delicacies are carried out into the
sunlight by several "old country"-type women. Wine is
poured from generous carafes. Friends and relatives are
everywhere, laughing and enjoying themselves; apparently
the party has come here straight from the church. Presents
for the new baby are being opened by Nico's wife, Sara, *
and Nico's mother, ROSA.
SARA *
Mama, look at this -- all done by hand.
Sara lifts a cute baby outfit. *
ROSA
Nico had one just like this. Thank
you, Cora.
Cora, an aunt, proudly smiles.
34 NICO
Holding the baby. Realizes that his little son has pooped
in his pants. He turns for help to Sara. *
ABOVE THE LAW - Rev. 4/29/87 9.
NICO
I think we got a little problem here.
SARA *
(winking at the women)
I carried him for the last nine months,
you take him for the next diaper.
Assorted uncles and aunts watch with amusement as Nico tries
awkwardly to deal with the problem.
NICO
(to all)
That's what you get for not marrying a
Sicilian.
Sara lets Nico struggle a moment, then takes over. *
SARA *
My brave husband. He's not afraid of
thieves and muggers, but he's terrified
when his son poops in his pants.
Toscani relatives look on with approval at the happy couple
and their baby.
35 ANOTHER PART OF BACK YARD
Three Chicago cops, LUKICH and HENDERSON in plain clothes
and LIEUTENANT STROZAH in uniform wolf some Italian goodies
while eying the group of celebrating relatives.
LUKICH
(indicates Nico
across the patio)
Toscani holds the record... for havin'
more relatives under federal indictment
than any other cop in Chicago.
36 TWO OF NICO'S UNCLES
BRANCA and LUIGI, who look like they have been on the other
side of a cop's work, are in turn eying Lukich and Henderson
-- plus a cluster of other cops in civvies hovering around
the buffet table like vultures.
BRANCA
Look at these stiff dicks. A free meal
and they come out like flies.
37 STREET OUTSIDE NICO'S HOUSE - DAY
An unmarked police car pulls up. DOLORES JACKSON ("Jax"),
another undercover cop, tall, black, and elegant, enters
the driveway leading to Nico's back yard --
ABOVE THE LAW - Rev. 4/29/87 10.
38 BACK YARD
Jackson enters. She's impeccably dressed and radiates
intelligence. She's greeted warmly by Lukich, Henderson,
Strozah, and a couple of other cops.
STROZAH
I didn't do nothing, Counselor. I'm
clean.
JACKSON
Eight more days, Lieutenant. You
better start preparing your defense.
HENDERSON
Baby, I'm gonna put you on retainer.
LUKICH
You passed the bar? I make it a
point never to pass the bar.
Jackson sees Nico and Sara across the yard, waves and *
starts toward them --
39 BACK TO BRANCA AND LUIGI
Luigi indicates Jackson as she crosses the patio.
LUIGI
Now this cop. She can bust me any
day.
40 NICK, SARA AND ROSA (NICO'S MOTHER) *
Jackson comes up, makes a theatrical appreciation of Nico's
stylish attire, kisses Sara and greets Nico's mom warmly. *
She starts oohing and ahhing over the baby.
41 VARIOUS SHOTS
Young kids playing on the lawn, more guests arriving, Father
Genarro dancing with an elderly matron. We see that Nico's
friends are an electric mix. Cops, art-y types, people of
varied ages and professions.
42 BACK TO JACKSON
Holding the baby.
JACKSON
Look at this little bundle. What a
cupcake!
NICO
You give up being the D.A. and hurry
up and find the right fella, Jax.
You might have time for one of these
yourself.
ABOVE THE LAW - Rev. 4/29/87 10A.
SARA *
Nico, will you let the woman
catch her breath?
43 JAPANESE WOMAN (DR. WATANABE) *
moves in shyly on the fringe of the cluster. While Jackson
and Sara continue their "mom" talk, Nico edges off toward *
Watanabe, shaking her hand with real pleasure. *
NICO
Watanabe! Say hey, Doc.
They begin jabbering in Japanese.
We will meet Watanabe again later. She's a brainy-looking *
woman -- reserved, a bit mysterious -- who talks quietly and *
intensely in Japanese with Nico like they're old friends who
go back a long way.
ABOVE THE LAW - Rev. 4/17/87 11. *
44 EXT. TOSCANI FRONT PORCH - LATER
Branca, Luigi and several other Toscani patriarchs smoke
cigars and sip beer in a cluster. Nico holds Julian.
BRANCA
You're a father now. Are you gonna
take me up on my offer?
NICO
I'm happy, Branca. I like what I do.
Branca glances seriously to the other uncles, then, with a
smile, pats Nico's cheek.
BRANCA
Look at this face! Six-foot-four,
pretty as the statue of David. And
he's a cop!
Branca laughs. From a distance, Watanabe watches, missing
nothing. Across the porch, Lukich and several other cops
observe and try to listen.
BRANCA
This face should be sticking up from
a white shirt. It should be a banker,
a businessman, someone who earns a
decent living for his family!
NICO
We're happy.
LUIGI
Nickels and dimes. Your wife's a
woman with class. What did she run
-- a ballet school...?
NICO
An art gallery.
BRANCA
Same thing. She wants a husband who
carries a briefcase, not a shoulder
holster.
Jackson watches Nico trying to keep his good humor. This
is serious stuff, despite the light tone. Branca's eyes
meet Nico's.
ABOVE THE LAW - Rev. 4/29/87 12.
BRANCA
You wanted to get shot, you got shot.
You wanted to get knifed, you got
knifed. You've had your fun. Basta!
Enough!
UNCLE GUISEPPE
Let your family help you, Nico.
NICO
(lightly)
Uncle Gio, that kind of help I don't
need. I'd rather get shot by someone
I don't know.
Jackson and Lukich crack up. The others follow. For the
moment, the tension is dispelled.
45 INT. NICO'S HOUSE - UPSTAIRS - DAY
Nico comes out of the bedroom, adjusting his shoulder
holster, tugging his jacket over it. He sees his mother
standing near the head of the stairs, just outside
another bedroom door. Concern on her face.
NICO
What are you doing in here, Mama?
Go join the party...
Nico comes down the hall, tucking in his shirt -- stops
to give his mother a squeeze. O.S. from the bedroom:
the sound of QUIET SOBBING. Nico glances in.
46 INT. NURSERY - DAY *
Sara and another woman sit on the bed, comforting a 60-ish *
grandmother Zingaro, who is crying. Nico comes in. He
kneels before MRS. ZINGARO, concerned.
NICO
Mrs. Z.
(tries to be light)
Is this a way to act on the day of
my son's baptism?
The poor woman can't meet Nico's eyes.
SARA *
It's Lucy. She's gone again.
Nico glances from Sara to Rosa. *
Mrs. Zingaro shakes her head, choked with pain. Nico
holds her, looking over her shoulder toward Sara. *
NICO
It's that kid from the bar on Damen?
The one with the drugs?
ABOVE THE LAW - Rev. 4/29/87 13.
Sara doesn't know. Nico does. He comforts Mrs. Zingaro *
another moment, then stands.
NICO
Listen to me, Mrs. Z. Are you
listening?
(as the woman nods
miserably)
I have to go to work now. But
I'll come by tonight. You'll be
at the bakery?
MRS. ZINGARO
Si, Nico.
NICO
We'll talk, okay? We'll find a
way to take care of this.
Nico kisses Mrs. Z. He takes Sara's hand in goodbye, *
starts for the door.
47 EXT. NICO'S HOUSE - DAY
Festivities still in progress. Nico passes through,
nodding, thanking people for coming, taking farewells.
Jackson waits for him, glancing at her watch.
48 INT. UNMARKED CAR - MOVING
Nico is driving. Jackson checks in on the radio.
JACKSON
(into mike)
Unit Ten Tango X-ray. We're up
and clear.
49 EXT. VARIOUS STREETS - UNMARKED CAR
moves into the central city.
50 POV THROUGH CAR WINDOWS - STREETS - MOVING
Bad-looking hombres on stoops, street corners.
NICO (O.S.)
I promised the Lieutenant, I'm
gonna take care of you. Broken
windows and lost kittens for your
last week.
WIDEN SHOT to include Nico and Jackson.
JACKSON
And then you're gonna come visit
me in a nice, clean, air conditioned
office --
ABOVE THE LAW - Rev. 4/29/87 14.
51 EXT. STREET - BUCKSHOT'S LIQUORS - DAY *
The unmarked car pulls up outside a liquor store and bar.
52 INT. UNMARKED CAR
as it parks. Jackson gives Nico a look: "What are we
stopping at this dive for"?
NICO
I gotta take a quick leak. Stay
put.
He gets out of the car, starts for the bar.
53 INT. BUCKSHOT'S LIQUORS - DAY *
Dim, smoke-choked, dangerous characters at the bar. Nico
enters.
ABOVE THE LAW - Rev. 4/17/87 15.
His silk shirt and sport coat clash with the druggy, working-
class attire of the bar's denizens. Hard faces check him out
subtly, ignore him. Nico approaches the bartender, shows a
photograph. The bartender (BAD DUDE) shakes his head.
BAD DUDE *
Why the fuck don't you assholes *
leave me alone? *
He continues mouthing off to Nico. Nico moves to one stool, *
then another; the same exchange is repeated.
54 FAVOR ONE PARTICULARLY TOUGH CUSTOMER *
A hulking bruiser with an earring. He watches as --
55 NICO
approaches him. Three ARMY JACKETS look up sullenly.
Beefy arms, tattoos, greasy mustaches.
NICO
Gentlemen.
One Jacket treats him like he doesn't exist, and begins
to pick his nose.
FIRST ARMY JACKET
(to others)
I thought this was a kosher bar.
They didn't allow no pork in here.
The two others snicker, then so does the rest of the bar.
Nico holds out a photo of a young girl (Lucy).
NICO
You seen this girl?
SECOND ARMY JACKET
I seen the top of her head.
NICO
That's witty.
ABOVE THE LAW - Rev. 4/17/87 15A.
Nico takes a step away, as if moving on to the next
stool. From behind the bar, the bartender swings a *
sawed-off baseball bat into view. Other bodies move *
ominously toward Nico. Suddenly he spins and, in a move *
almost too quick to see, he kicks the entire stool right
out of its floor socket. Beer bottles fly, bodies crash.
Nico slams the First Jacket in the face so hard it looks
like his nose has exploded. Blood sprays onto Nico's silk
shirt. He hauls the Second Jacket upright, nails him with
a shot that crushes three ribs. A savage elbow blasts the
third, head over heels, out over the bar and careening
into the sink. In three seconds 600 pounds of fat has
been put in cold storage. The rest of the bar is on its
feet. Four huge men confront Nico. Now five. Six.
Seven. Nico's jacket and shirt are ripped, blood spat-
tered; his eyes are like an animal's, daring the men --
NICO
Come on. Show me something.
No one moves.
ABOVE THE LAW - Rev. 4/17/87 16. *
NICO
I get it. It's a gay bar. Is
that it?
The men, led by the Bad Dude, are shifting to surround
Nico. But no one attacks. Nico has Lucy's photo in his
hand. He jams it in one man's face, then another's, slap-
ping each one violently, spitting, raging for them to attack.
NICO
You seen the top of her head, huh?
Like I seen your mother's --
(to another guy)
Or was it yours?
(to a third)
Or yours?
(slaps him fero-
ciously)
I couldn't tell, it looked like
her ass --
Nico rages like a beast.
NICO
Come on, motherfuckers. Do it.
Do it! One man --
Nico lunges for the Bad Dude, grabs him like he's about
to tear his face off --
BAD DUDE
Upstairs!
(in terror)
She's upstairs! 4-D!
Nico drags the Dude from behind the bar. Holding him,
Nico turns, glowering, to all.
NICO
You cocksuckers are brave enough
with 14-year-old girls.
55A INT. FLOPHOUSE HALLWAY
Nico throws Bad Dude down the hallway in front of him.
56 INT. FOURTH-FLOOR APARTMENT - DAY
The door bursts in from a jackhammer kick. Nico stands
in the hallway. Bad Dude stands next to him; hurt,
shaking.
NICO
(to Bad Dude)
Get outta here.
We look in the apartment.
ABOVE THE LAW - Rev. 4/17/87 16A.
REVERSE - NICO'S POV *
A young PIMP -- quite handsome in a boyish way -- stares up
in panic from a grimy mattress on the floor. Little LUCY
is in bra and panties, strung out, 14 and beautiful.
Syringes and free-base paraphernalia are on a table.
NICO IN DOORWAY *
NICO
(to Pimp)
This ain't your day, kid.
Nico comes in, eyes taking in everything.
ABOVE THE LAW - Rev. 4/17/87 17.
PIMP
Wait, man. It ain't like it
looks --
Nico grabs the Pimp by the scruff of the neck, lifting him
bodily. Lucy starts wailing in horror. Nico smashes the
Pimp's face down into a mirror with white powder on the
table --
NICO
That's two years.
He jerks the Pimp back, rips open a drawer. More pills
and glacene bags.
NICO
That's four.
(twisting the Pimp's
neck toward Lucy)
She'll get you eight more. And
I'm just warming up --
Lucy is crying hysterically. Nico flings the Pimp, face *
bloody, toward the open door. *
PIMP
(to Nico, indicat-
ing drugs)
Take it, baby. It's all yours --
NICO
Get your clothes on, Lucy.
PIMP
There's money. Three grand in the
mattress...
(begging)
... I can get ya more --
QUICK CUTAWAY TO:
57 EXT. STREET OUTSIDE - JACKSON
Three young STUDS have ambled to the window of her parked
car.
STUD
Hey, sister, what it be?
With infinite boredom, Jackson lifts her badge -- and
gun. The Studs shuffle away.
58 INT. HALLWAY - DAY
Other tenants stare from doorways as Nico drags the Pimp *
to the top of the flight of stairs, threatening to throw *
him down. *
ABOVE THE LAW - Rev. 4/17/87 17A.
NICO *
Don't you fuckin' move. *
Nico steps back into the apartment, hauls out Lucy in *
a dressing gown.
ABOVE THE LAW - Rev. 4/17/87 18.
59 TOP OF LANDING *
The Pimp is dazed, bloody. Nico comes down with Lucy,
hauls the Pimp to his feet --
LUCY
Let him alone! He's beautiful!
NICO
Not when I get through with him.
Nico lifts the Pimp by the throat, pins him to the wall.
PIMP
No, man, wait! I'll give you
something! Something big!
LUCY
Please, Nico! Don't!
PIMP
It's huge! I swear it! A
shipment... coming in next
Tuesday --
NICO
Shipment, my ass.
PIMP
This is square! On my mother's
soul! You can't send me up --
Nico glances to Lucy. Half of him wants to tear the
Pimp apart, the other half doesn't want to make the poor
girl's life any more tragic. Besides, he's a good cop
-- and maybe this "shipment" is on the level.
PIMP
I heard it from a hooker friend
of mine. She's banging some big
coke lawyer, he told her. I swear
to Jesus!
Nico relents -- a little.
NICO
What lawyer?
PIMP
I don't know.
(sees Nico doesn't
believe him)
That platinum chola... Carla
DeCarlo... she knows.
Nico tightens his grip on the Pimp's throat.
ABOVE THE LAW - Rev. 4/17/87 19. *
PIMP
She got popped this afternoon.
She's downtown. Red dress, lizard
shoes --
60 EXT. STREET OUTSIDE BAR - DAY
Jackson looks up from the car to see Nico -- wild-haired,
shirt ripped and bloody -- emerging from the adjacent
apartment stoop, leading young Lucy, who's tear-streaked,
wearing a torn dressing gown. Instantly, Jackson is out
of the car, moving to Lucy.
JACKSON
It's okay, girl. Mama Jax is
here.
She wraps an arm around Lucy, helps her toward the car.
JACKSON
(to Nico)
That was some leak you took.
From the door of the bar, several bloodied heads peek.
JACKSON
Broken windows and lost pussy cats,
huh.
Jackson checks out her battered partner.
JACKSON
You're one crazy bastard, Toscani.
Nico opens the rear door, helps Jackson ease Lucy in.
NICO
We'll get her some clothes and a
bath. I'm not bringing her home
to her grandmother like this.
DISSOLVE TO:
61 OMITTED
&
62
63 EXT. ZINGARO BAKERY - DAY
From the front seat of Nico's car emerges a tearful Lucy,
in fresh clothes and looking miserably contrite. Nico
walks her inside.
ABOVE THE LAW - Rev. 4/17/87 20. *
The Zingaro family is busy preparing for the night's baking.
Grandpa and Grandma Zingaro leave their work and receive
their waif-like granddaughter. With eyes watering they
thank Nico. They disappear upstairs with Lucy. Jackson,
standing in the doorway, has seen all this.
64 INT. UNMARKED CAR - MOVING - DAY
Nico at the wheel has just pulled away from the bakery.
Jackson, in the passenger seat, studies her partner for a
few moments, shaking her head at the contradictions in this
man. Educated, classy, an elegant dresser -- yet underneath
an out-and-out wild man.
JACKSON
I don't get you, Toscani.
(beat)
What the hell are you doing being a
shitheel cop? With your background?
For a long moment Nico says nothing. Then, quietly, look-
ing straight ahead:
NICO
When I was overseas, I saw some
things. Things that eat your guts
out. Things that stay in front of
your eyes like they were burned in
and branded.
He turns to Jackson.
NICO
You can walk away from them, Jax.
You can quit, but you know it's
still going on. You try something
anyway --
(smiles a moment)
-- I know I'm not going to change
the world. I can't stop the tonnage
coming in, I can't fight the boys
behind the desks pushing their
buttons --
ANGLE INCLUDING MEAN STREETS OUTSIDE
NICO
But maybe here, huh?
(indicates street)
Maybe in my own city, my own
neighborhood, on my own block --
maybe here I can do something.
He turns a corner.
NICO
That's why I'm a shitheel cop.
ABOVE THE LAW - Rev. 4/17/87 20A. *
64A INT. POLICE STATION - DAY
Behind the desk, a few detectives man the phones. A Latin
attorney, ABANDANO, is at the counter.
COP (O.S.)
You can see your client. As soon
as she's through eating her dinner.
65 INT. POLICE LOCKUP - "CAGE" AND HALLWAY - EVENING
Hookers, female addicts, etc. in the downtown "cage."
Nico has the girl in the red dress and lizard shoes
(CARLA DECARLO) out in the hallway adjacent to the lock-
up. Nico is Mr. Charm, offering her a heart-shaped box
of chocolates.
NICO
Carla... Carla -- I just want the
name of your boyfriend --
CARLA
I got 200 boyfriends.
The hooker, Carla DeCarlo, slaps the box away, cursing in
Spanish.
21.
CARLA
Pinchi cabron, cabeza colon!
Some of the chocolates tumble onto the lockup floor, the
detainees snap them up, start munching. The girl con-
tinues to spit curses at Nico, gesturing with her hands
with Latin flamboyance. Nico grabs her by the elbow, as
a jailer opens the lockup door. More curses are being
flung at Nico from various females in the cage. Nico
heaves Carla in among them. Carla flops down on a bench
next to a tall black hooker. MOVE IN ON the black hooker.
It's Nico's partner, Jackson, dolled up like a street-
walker, playing her undercover role to the hilt.
JACKSON
(to Nico)
Why can't you sons-a-bitches ever
treat someone with a little
respect?
NICO
(walking away)
Take it easy, sister.
JACKSON
I ain't your goddamn sister. We
ain't got the same mother,
motherfucka.
Carla fires one final parting salvo of obscenities, then
sags back among the women. Carla starts to cry. Jackson
comforts her; Carla responds, lets herself be comforted.
CUT TO:
66 EXT. DOWNTOWN - FINANCIAL DISTRICT - DAY
Jackson, back in her normal daytime wear, exits a
building. She gets into Nico's car.
67 INT. CAR - DAY
Jackson checks her makeup in the rearview mirror. Nico
sits behind the wheel. The two are on some kind of
stakeout.
JACKSON
The lawyer's name is Abandano.
He's on the third floor. I got a
look at him. I couldn't get how
he's connected, but according to
Carla, he's a lousy lay.
NICO
Maybe we can bust him for that.
Jackson spots something, gestures subtly out window --
ABOVE THE LAW - Rev. 4/17/87 22.
68 EXT. DOWNTOWN BUILDING - DAY
A short, slick-looking Latin man in a business suit emerges
from the building.
JACKSON
That's our stud.
Nico and Jackson leave their car and follow him on foot.
69 EXT. FINANCIAL DISTRICT - BANK - DAY
ABANDANO meets a striking-looking middle-aged woman in front
of a stately financial institution. They go in. Jackson
remains out on the street, while Nico follows the couple in.
70 LATER
Jackson has been waiting, sipping some coffee. Nico
emerges from the bank, signaling to his partner to follow
him. Abandano and the woman exit from the bank's revol-
ving doors and immediately jump into a cab. Nico and
Jackson look at each other and step in front of another
cab. Nico opens the cab door, flips his badge open, then
asks the occupant to leave. Jackson gets in the front
seat next to the protesting cabbie.
71 EXT. FEDERAL BUILDING - DAY
Abandano and the woman are crossing the plaza as Nico and
Jackson run up the block. Near the entrance to the Federal *
Building, a small but vocal group of protestors are *
gathered, carrying signs and chanting slogans. The frus- *
trated cabbie watches them in the background.
72 PLAZA
Jackson and Nico watch Abandano and the woman pass the *
crowd of demonstrators and enter the building. Jackson acts *
indifferent, almost frustrated; Nico keenly senses something.
CUT TO:
73 INT. EXPENSIVE RESTAURANT ("BOGOTA") - DAY *
The main dining room. No customers, just busboys readying
tables for the evening's business. We notice one of the *
busboys is the "pimp" Nico found with Lucy. *
74 BOOTH NEAR BACK HALLWAY
The owner's table. Stacks of dining checks, a cashbox
and calculator, full ashtrays, wine glasses. BAUTISTA
SALVANO, a heavyset, swarthy Venezuelan dressed in a tux
with the collar open, glowers across the table at a mus-
cular, scar-faced Latin busboy -- the kind who looks like
he does more for his boss than clean up the tables. The
busboy (NARDO) is nervous, apologetic --
ABOVE THE LAW - Rev. 4/17/87 23.
SALVANO
(pissed off)
-- I brought you in for your
muscles, Nardo, not your mouth.
NARDO
(scared)
I'm sorry, boss.
SALVANO
Your English is getting good...
You're showing it off. Showing it
off on the street --
NARDO
I keep quiet. I never talk no
more --
Salvano glowers at Nardo like he's about to punch him.
Instead he reaches over, playfully chokes the busboy --
then releases him, as if all is forgiven.
SALVANO
Make yourself useful.
(indicates empty
wine bottle on
table)
Get downstairs, bring me one of
these.
(as Nardo stands,
starts for back
hallway)
Then get back to work.
75 INT. RESTAURANT BASEMENT STOREROOM - LATE AFTERNOON
Nardo enters at the top of the stairs, radiating relief.
He trots down into the empty basement, toward a floor-to-
ceiling wine rack.
NARDO
(to himself)
I thought I was dead, man.
(whistles with
relief)
I thought I was fucking dead.
He crosses to the wine rack. It's dark, hard to see.
He searches for the bottle. Suddenly: a METALLIC sound
behind him. Nardo turns -- CHI CHI TESTAMENTE, a wiry,
pock-faced Latino, stands in the shadows (it is clear he
has been waiting there, hiding) -- holding a small
silencer automatic.
CHI CHI
You were right, cabron. *
ABOVE THE LAW - Rev. 4/17/87 24.
One SHOT between the eyes and Nardo CRASHES backward into
the WINE RACK, eyes wide with shock and bewilderment. Chi
Chi SHOOTS him AGAIN; Nardo drops like a stone. Coolly,
professionally, Chi Chi pumps FOUR more SHOTS into the
prone busboy's head. Chi Chi ejects the clip into his
palm, unscrews the silencer, holsters the gun. Salvano
appears at the top of the stairs. Two busboys are behind
him. One of them is the young pimp. The busboys hurry *
down, the pimp -- scared shitless but playing it macho-cool. *
Salvano comes down the stairs. Chi Chi stands over his work.
SALVANO
(to busboys)
Clean up this mess.
CHI CHI *
Who knows who else is talking -- *
SALVANO *
He was a young fool. *
76 BACK IN UPSTAIRS DINING ROOM
Salvano and Chi Chi emerge from the basement steps and
walk toward their booth.
CHI CHI
We're crazy waiting for this
bullshit 'shipment.' Let me waste
the other fucker now.
Salvano puts a hand on Chi Chi's shoulder.
SALVANO
Be patient. This will be done
the way it was planned.
CUT TO:
77 EXT. BODY AND FENDER SHOP - NIGHT
Rusting cyclone fences surround a mud-lot repair yard in a
dingy industrial section. Young Lation and black workers
finish up for the night; through the dirty, security-barred
office window we can see Chi Chi talking on the phone. The
lawyer, Abandano, is also there.
78 EXT. ALLEY - REAR OF SHOP - NIGHT
Nico finishes connecting a small transmitter which has
been hastily wired to the entering phone line.
79 INT. UNMARKED CAR - NIGHT
Nico and Jackson in the shadows down the street from the
body shop. Nico wears earphones, a small tape recorder
on the seat beside him. Jackson does not look happy.
ABOVE THE LAW - Rev. 4/17/87 25.
JACKSON
Toscani, you're going to have me
doing time.
NICO
Lighten up, Jax. No one's
bringing this into court.
JACKSON
Except against us.
NICO
I don't give a shit how we do it.
I just wanna get there.
Jackson gives Nico a dirty look, but stifles her protest.
JACKSON
I thought you said you were
gonna protect me. Cover my butt.
Be my guardian angel --
Nico hears something through the earphones. Gestures for
silence --
80 ANGLE THROUGH OFFICE WINDOW
Chi Chi listens with increased intensity to something on the
phone. He starts writing it down --
81 BACK TO NICO
In unmarked car. He's writing it down too.
NICO
I got the shipment. *
JACKSON
What? What's he saying?
NICO
(scribbling furiously)
'... Engine block has cleared
customs. Serial number VA-748.
Pick up Tuesday, 3 May as
authorized.'
82 EXT. BODY SHOP - NIGHT
Chi Chi emerges from the office, tucking a scrap
of paper into his pocket. Abandano follows. They get
into a late-model Lincoln which pulls out onto the street. *
83 EXT. STREET - NIGHT
Nico and Jackson's car follows at a discreet distance.
ABOVE THE LAW - Rev. 4/17/87 26.
NICO (V.O.)
Unit Ten Tango X-ray. I need a
vehicle registration I.D.
POLICE RADIO (V.O.)
Go ahead, please.
NICO (V.O.)
'86 Lincoln. Illinois 354 Dog '67. *
84 INT. UNMARKED CAR - MOVING - NIGHT
Jackson picks up Nico's pad to take down the response.
After a moment:
POLICE RADIO (V.O.)
Vehicle registration follows.
Leaseholder: Ramon Testamente,
registered alien. Nation of
origin: Venezuela. Do you wish
criminal record search?
NICO
(into mike)
I want to know when he wipes his *
behind. *
85 SERIES OF SHOTS
As Nico and Jackson tail the Lincoln out of the industrial
zone into a fancier, non-Latin neighborhood. On the sidewalks
we glimpse theatergoers, fashionable white couples out on the
town.
86 LINCOLN
Pulls up to a valet park outside a ton-y restaurant. A
sign says: "BOGOTA." *
87 INT. UNMARKED CAR - MOVING
Nico and Jackson exchange a glance.
JACKSON
Salvano?
NICO
Jackpot.
88 EXT. RESTAURANT - NIGHT
Chi Chi and Abandano get out of their car, a valet takes it,
Chi Chi enters the restaurant.
89 INT. SALVANO'S RESTAURANT - NIGHT
Nico and Jackson enter the main dining room, which we
recognize from the scene with Nardo the busboy.
27.
The place is packed with fashionable people of all races.
A band plays salsa; couples dance. Nico and Jackson pass
easily as a hip "uptown" couple. A pretty Latin HOSTESS
approaches them.
HOSTESS
Two for dinner?
NICO
Two for drinks.
They elbow up to the packed bar, standing. Nico squints
toward the rear dining room.
90 NICO'S POV - DOWN BAR
Looking past numerous patrons, we see Chi Chi whisper
something to a waiter and take a seat at a rear table
(the same "owner's table" where Salvano sat before.)
The waiter hurries off into a back hallway.
91 NICO AND JACKSON - AT BAR
Jackson moves to the salsa beat. A BARMAID approaches.
JACKSON
Gimme something stiff. I need it.
BARMAID
Who doesn't?
Nico's eyes never leave Chi Chi.
92 REAR DINING ROOM
From the back hallway Salvano emerges -- in his tux,
looking prosperous. He sits down beside Chi Chi and
Abandano. A waitress brings two drinks. After a few
words, Chi Chi removes the scrap of paper from his pocket,
hands it to Salvano.
NICO (O.S.)
You'll have your engine block
next Tuesday, boss.
93 BACK TO NICO AND JACKSON
As the Barmaid brings their drinks. Jackson sees her
peaceful week to retirement flying out the window.
JACKSON
Why couldn't it be a week from
Tuesday? I could read about it
in the paper.
Nico grabs her waist, pulls her onto the dance floor, and
does a playful twirl.
ABOVE THE LAW - Rev. 4/17/87 28.
NICO
Cheer up, partner. I'm gonna
make you famous.
94 EXT. WHOLESALE MEAT AREA - DAY *
Track spurs, greasy streets, parked fork lifts.
94A EXT. ROOF - DAY *
Lieutenant Strozah surveys the street traffic. *
95 NICO, JACKSON AND LUKICH
The two men, dressed as meat processors in hard hats and
bloody white coats, rake cattle guts under the eave of a
packing plant. Jackson, dressed like a USDA Inspector and *
carrying a clipboard, inspects a few hanging carcasses.
JACKSON
You missed a few spots, boys.
LUKICH
I'm takin' it home t'a make
kilbasa, boss.
Luke casts an impatient glance across the street to a lot
with four parked meat trucks. We glimpse two "truckers"
keeping low in the shadows of one cab. Down the block a
seemingly empty pickup truck is parked in an alley.
LUKICH
This ain't a bust -- it's a
convention.
NICO
Don't you like company, Luke?
(sarcastic)
We got all the scouts here --
Drug Enforcement Agency, the
Alcohol, Tobacco and Firearms --
WALKIE-TALKIE (V.O.)
Keep this channel clear, Toscani.
We realize Nico, Jackson and Lukich are wired, with mikes
out of sight under their coats. Nico glances to the pick-
up, near to which three men can be spotted in the alley.
Apparently one of them is the walkie-talkie voice.
NICO
(into mike)
This is our channel, dickhead.
And our collar.
ANOTHER WALKIE-TALKIE (V.O.)
That's enough, all of you! Keep
this channel clear.
ABOVE THE LAW - Rev. 4/17/87 28A.
96 ANGLE ON MEAT PLANT - DAY
Nothing happening.
ABOVE THE LAW - Rev. 4/17/87 29.
97 ANOTHER ANGLE
Dead as hell.
98 NICO, LUKICH AND JACKSON
Bored, pissed off, tired. Suddenly:
99 BATTERED VAN WITH TWO MEN
emerges from a corner, two blocks down. It starts slowly
this way.
1ST WALKIE-TALKIE (V.O.)
All right. Everyone get their
heads outa their ass.
The meat truck men duck down out of sight, the pickup men
back into the shadows. Nico and Lukich keep raking cow
guts. The van passes slowly, checking out the area.
JACKSON
(sarcastic)
'... And so I quit the police
department... got myself a steady
job -- '
The van accelerates slightly, turns a corner, vanishes.
Silence.
LUKICH *
They spotted me. I'm too good-
looking to be a meat slopper. *
1ST WALKIE-TALKIE (V.O.)
Will you hot dogs shut up?
The van returns. On a cross street. Heading behind the
packing plant.
NICO *
(to Lukich) *
You're too ugly.
Now a second car appears. The Lincoln. Behind it is an
ancient station wagon. Both vehicles take a different
cross street, but both heading behind the packing plant.
NICO
(into hidden mike)
Here we go, boys and girls --
(to Jackson)
You stay put. *
As soon as the two vehicles pass out of sight, Nico and
Lukich ditch their rakes, dart into the packing plant.
The meat truck men START their TRUCK.
30.
The pickup men board their vehicle -- Jackson follows Nico
and Luke -- but at a safe distance.
100 INT. PACKING PLANT - DAY
Nico and Lukich sprint in a crouch past the blood runoffs,
meat cutting tables --
101 NICO'S POV - RUNNING
THROUGH the windows at the rear of the plant, we see the
station wagon and the van, pulling up swiftly beside one
another, men getting out --
102 INT. PLANT
Nico and Lukich draw their guns, running full-tilt.
NICO
(into hidden miki)
It's going down now. Move!
103 EXT. REAR OF PACKING PLANT - DAY
The station wagon men heave their rear door open, the
van men start to open their side door. The Lincoln is
stopped at a distance. Suddenly --
104 NICO AND LUKICH
burst from the rear door of the packing plant, guns drawn.
LUKICH
Police!
105 QUICK CUTS - VAN AND STATION WAGON MEN
grab for their weapons --
106 COPS IN MEAT TRUCK AND PICKUP
come highballing around both sides of the packing plant --
107 VAN AND STATION WAGON MEN
OPEN FIRE. There is confusion and mayhem; it's not clear
who's a cop and who's a criminal.
108 NICO AND LUKICH
dive for cover, RETURNING FIRE. The DEA men in one truck
also OPEN UP. One of the van men is hit between the eyes.
MACHINE GUN FIRE rakes the DEA truck; it spins out of
control; flips. Lukich SHOOTS the machine-gunner.
LUKICH
(shouts; points)
Nico! The Lincoln!
31.
109 LINCOLN
starts to PEEL OUT. We glimpse Chi Chi in the driver's
seat, Salvano on the passenger side.
110 NICO
steps in front of the accelerating Lincoln, raises his .45.
111 INT. LINCOLN - DAY
Salvano and Chi Chi dive below the dash and continue
forward. Salvano, in the passenger seat, raises his GUN;
FIRES blindly -- trying to hit Nico.
112 EXT. LINCOLN - DAY
Nico UNLOADS his .45 into the windshield and the firewall.
The Lincoln keeps coming down the narrow alley.
113 NICO
brazenly steps up onto the hood and dives, grabbing onto
the roof.
114 INT. LINCOLN - DAY
Salvano can't believe it. He screams something in
Spanish. He FIRES again, this time through the roof.
115 EXT. LINCOLN - ROOF - DAY
Bullet holes appear. Nico narrowly misses being hit.
116 ANOTHER ANGLE - LINCOLN
Nico reaches over the side of the car and SMASHES the pas-
senger WINDOW with his fist.
117 CLOSEUP - NICO'S HAND
Salvano's face is bashed. Nico's huge hand grabs Salvano's
throat; he won't let go.
118 CLOSEUP - NICO
He hangs on with one hand.
119 CLOSEUP - SALVANO
Nico's fingers now dig into Salvano's larynx; he may never
talk again. He's gagging. Salvano now points the gun at
Chi Chi. Chi Chi makes the decision to stop the car in
order to save his boss.
ABOVE THE LAW - Rev. 4/17/87 32.
120 NICO
leaps off the roof pulling Salvano past the broken glass,
out of the window.
121 SEVERAL POLICE VEHICLES *
SCREECH into the lot. Officers pour out, guns drawn,
surrounding the Lincoln and the other vehicles. Jackson
joins them, weapon in hand.
122 NICO
drags Salvano by the neck across the lot to the van,
slamming the drug dealer up against the van's side.
Lukich, Jackson and Strozah are there, with the DEA cops, *
all covering the other men.
NICO
(to Salvano)
How many kilos you got in there,
Skivuzo?
Salvano couldn't answer if he wanted to. The other cops
look at Nico with awe. Lukich whips the van door open,
yanks a tarp off the cargo.
123 INT. VAN
The engine block sits in a wooden shipping frame, wrapped
with industrial plastic. Nico climbs into the van, rips
the plastic sheeting off, grabs the wood slats of the
shipping frame, tears them off. In the background,
ambulances are arriving to care for the wounded cops
and criminals.
124 CLOSEUP - ENGINE BLOCK
From the cylinder heads emerges a full load, not of drugs,
but of plastique tubes labeled U.S. ARMY C-4 HIGH EXPLOSIVE.
125 LUKICH, JACKSON AND OTHER COPS
react with surprise and shock.
126 NICO
rips open one of tubes and smells it.
127 CLOSE - NICO
Confused; frustrated.
NICO
What kinda fuckin' high is this?
CUT TO:
ABOVE THE LAW - Rev. 4/29/87 33.
128 INT. FBI OFFICE - NIGHT
OPENING ON SALVANO, in a chair, looking bruised and swollen,
and wearing an expression of fuming indignation.
SALVANO
-- I'll tell you what this cop is.
He's a fucking menace!
129 TWO FBI AGENTS (NEELEY AND HALLORAN) *
face Salvano, Chi Chi and the lawyer Abandano (apparently
representing Salvano and Chi Chi). Neeley is on the phone. *
Pictures of Reagan and Meese are prominent on the wall.
SALVANO
You see what he did to me?!
AGENT HALLORAN
Your problem is being handled right
now, Mr. Salv --
SALVANO
Yeah? Well, it shoulda been
handled twelve hours ago. I don't
know who's running this outfit, but
somebody better get his goddamn wires
straight!
AGENT NEELEY *
(into phone)
-- yes, sir... yes, sir, I understand --
SALVANO
That maniac should be wearing a
number, not a badge.
Salvano knows what the call is about. He straightens the
tie beneath his bruised neck, assuming the attitude of a
respectable citizen who has been unjustly wronged.
AGENT NEELEY *
(into phone)
-- count on it, sir. Right.
You'll have our full cooperation.
Neeley hangs up. Glances dubiously to Halloran. Then turns *
grimly to Salvano, Chi Chi and the lawyer Abandano.
AGENT NEELEY *
You're free to go.
130 OMITTED
131 INT. FEDERAL BUILDING - LOBBY - NIGHT *
The hoods and their lawyer smugly walk past a cleaning
woman.
ABOVE THE LAW - Rev. 4/29/87 33A.
132 INT. PRECINCT CAPTAIN'S OFFICE - MORNING
OPENING ON Agent Neeley's face. Composed, clean-cut, but *
intense, wearing a light-colored business suit. PAN TO
Agent Halloran -- the same upright, clean-shaven bureau look.
The two men are seated to one side of LIEUTENANT FRED STROZAH.
133 NICO, JACKSON, LUKICH AND DEA AND ATF MEN
sit and stand in various postures in front of the Lieutenant's
desk.
LIEUTENANT STROZAH
(to Nico, DEA & AIF)
-- This is no reflection on the
work you officers have done. I
feel, and the whole department
feels, extremely proud of your
initiative and gallantry.
That "spare me the horseshit" look on Nico's face. He's
fuming. Strozah sees Nico's bitter expression. It's on
the others' faces too.
LIEUTENANT STROZAH
As all of you are well aware,
possession of these explosives
is a federal offense and under
jurisdiction of the F.B.I.
Nico's eyes meet Lieutenant Strozah's. There's respect
between the two, but it's plainly under a helluva strain.
NICO
Sir. With all respect to our
brothers in the Bureau --
(biting sarcasm;
turns to Neeley) *
-- That's no answer. It's no
answer to why one of the biggest
dealers in the city is out on the
street now, free as a bird!
Agent Neeley stiffens. *
LIEUTENANT STROZAH
Keep it in your pants, Nico.
These men have a job to do, just
like us.
Nico stifles his outrage. The other cops exchange glances
-- upset and angry. Agent Neeley clears his throat. *
AGENT NEELEY *
Lieutenant, I think these officers
are entitled to a fuller
explanation.
(MORE)
ABOVE THE LAW - Rev. 4/29/87 34.
AGENT NEELEY (CONT'D)
They've risked their lives. I
understand one man is in the
hospital.
He speaks to the officers.
AGENT NEELEY *
What I'm about to say doesn't
leave this room. Is that clear?
Assent from everyone.
AGENT NEELEY *
Mr. Salvano has been working for
some time in cooperation with
certain federal agencies.
134 CLOSE - NICO'S FACE
Stunned and furious at this royal fuck-up.
AGENT NEELEY (O.S.) *
I'm not at liberty to divulge
the nature of Mr. Salvano's
involvement -- I just learned of
its existence myself a few hours
ago. But one thing I can tell you --
135 BACK TO AGENT NEELEY *
AGENT NEELEY *
Mr. Salvano's role is crucial to
an extremely sensitive ongoing
investigation. Any further
surveillance, harassment, or
unauthorized operations against
this individual are forbidden.
I must order you gentlemen --
(looking straight at
Nico)
-- with all respect for your work
and your courage, to stand down.
Lukich shakes his head; Nico is devastated. Jackson takes
it all in.
CUT TO:
136 INT. POLICE SQUAD ROOM - MORNING
OPENING CLOSE ON a desk drawer being opened. Aside from
rounds of ammo, notes and an aging eggplant parmigiana
sandwich, there are half a dozen hand-labeled audio-
cassettes and a small collection of miniaturized bugging
devices. Jackson and Lukich watch Nico take out the
notes, hand them to Lieutenant Strozah.
ABOVE THE LAW - Rev. 4/29/87 35.
LIEUTENANT STROZAH
The tapes too.
NICO
(mocking)
That's my Lawrence Welk
collection!
LIEUTENANT STROZAH
I want everything you got on this
one.
Reluctantly, Nico hands over the tapes. The Lieutenant eyes
the bugs and wires.
LIEUTENANT STROZAH
I know you don't give a shit
about yourself, Toscani.
(a glance to Jax)
But you're gonna put Jackson's
ass in a sling, too, with these
illegal wires.
ABOVE THE LAW - Rev. 4/17/87 35A. *
136A OTHER SIDE OF SQUAD ROOM
Agent Halloran edges up to Jackson, who's grabbing coffee
on the far side of the squad room, and watching from there
as Nico gives Strozah more of a hard time.
AGENT HALLORAN
What's the story on your partner,
Jackson? Did he learn this style
or was he born with a brick up his
ass?
Jackson checks Halloran out. He's black too and, despite
herself, there's a certain rapport.
JACKSON
He has ethics. Unlike certain
others on this case.
Halloran watches the illegal bugs and tapes come out of
Nico's drawer.
AGENT HALLORAN
His 'ethics' are gonna cost him
his badge and his gun.
This "white" talk gives Jackson a pain. She slips into
her jive mode.
JACKSON
You don't wanna catch him without
no gun.
Halloran's look asks why not?
JACKSON
'Cause what he do with his hands...
make bullet holes look pretty.
Across the room, Nico turns over the tapes.
AGENT HALLORAN
He bad?
JACKSON
Bad bad.
ABOVE THE LAW - Rev. 4/29/87 36.
137 INT. PRECINCT HOUSE - STAIRWAY - DAY
Nico and Jackson come down the stairs. Jackson has had
ample excitement for her last week on the force.
JACKSON
Is that enough? Can we do
something normal now -- like
eat lunch?
NICO
Anything you say, Jax. How
about Salvano's?
JACKSON
Let it be, Nico.
138 EXT. PRECINCT HOUSE - DAY
Nico and Jackson's car pulls out into traffic.
139 INT. UNMARKED CAR - PARKED (ALLEY BEHIND SALVANO'S)
Jackson and Nico are eating some fast good. Nico reaches
to his jacket pocket; takes out a cassette.
JACKSON
What... you kept his tape, too?
Nico already has it in the PLAYER. We hear FRAGMENTS
of the telephone tap from the body shop in Spanish and
English. Jackson looks frustrated. Nico listens care-
fully to what appears to be the taped PHONE CONVERSATION.
NICO
Poetry, ain't it?
140 EXT. REAR SALVANO'S RESTAURANT - DAY (POV FROM CAR)
The pimp (busboy) comes out and dumps a load of garbage.
141 INT. UNMARKED CAR - DAY
Nico and Jackson case the restaurant from down the alley.
142 EXT. REAR SALVANO'S - NICO'S POV - DAY
From the restaurant door, Salvano and Chi Chi emerge.
They get into a black Cadillac and pull out. *
NICO (O.S.)
And now for some dessert.
143 SERIES OF SHOTS
As Nico's car tails Salvano's through various streets.
ABOVE THE LAW - Rev. 4/29/87 37.
144 EXT. OAK STREET
Salvano comes out of a fancy flower shop with a bimbo on
his arm. He kisses her goodbye and puts her in a cab.
NICO (O.S.)
And that must be Mrs. Sal. So nice
to see married couples still in love.
144A NICO AND JACKSON
are hidden, waiting.
144B CHI CHI
emerges from a dry cleaner's with a suit on a hanger. *
145 EXT. ST. ELIZABETH'S PARISH CHURCH - DAY
Salvano's Caddy pulls up outside the same church where we *
saw Nico's son get baptized. Salvano and Chi Chi get out,
look both ways up and down the street. Salvano, holding *
flowers, makes eye contact with a car down the block. *
146 EXT. STREET UP BLOCK FROM CHURCH - DAY
Nico's car backs out of sight around the corner.
147 SIDEWALK IN FRONT OF CHURCH
Salvano and Chi Chi, seeing nothing, enter the church.
148 INT. CHURCH - DAY
A smattering of older women and men praying. Salvano and
Chi Chi stop at the head of the aisle, genuflect to the
altar, move in, take seats toward the front.
149 BACK OF CHURCH
Nico and Jackson slip in the front door, glide silently
into the shadows at the rear of the church.
JACKSON
This is your mother's church,
isn't it?
NICO
Yeah. But I bet she's never seen
these boys in the choir.
150 NICO'S POV
Salvano's head is bowed, but Chi Chi is looking around
quite carefully. Nico and Jackson fade into the shadows
behind the huge pillars.
ABOVE THE LAW - Rev. 4/29/87 37A.
151 SALVANO AND CHI CHI
After a few moments, the pair rises. They cross them-
selves, start out for the front door. As they walk, they
continue to look for something.
152 INT. CHURCH - DAY *
Nico and Jackson emerge into a courtyard which reveals a
day care center and a rectory. They head toward the front
of the building. Jackson, planning on picking up their
tail on Salvano, is stoped by Nico. He wants to stay and
look around.
38.
FATHER GENARRO (O.S.)
Nicola! That can't be you in
church without the family!
Nico turns to see Father Genarro, perspiring in a baggy
sweatshirt, a handball glove on his hand. The courtyard
alongside the church is marked off as an athletic area.
NICO
Father Genarro.
The priest seizes Nico's hand warmly, smiles at Jackson.
FATHER GENARRO
This must be your partner in
crime.
(shakes her hand)
I'm Father Genarro. I saw you at
the baptismal party.
(with a wink to Nico)
What a partner.
JACKSON
Dolores Jackson
(smiling, but
impatient)
Nico, we gotta go --
FATHER GENARRO
No, please --
(more serious now)
It's good you stopped by. I have
to show you something. Please.
The priest begins leading Nico and Jackson. Jackson keeps
glancing back out the alley to see Salvano's car slowly
driving by.
153 INT. CHURCH BASEMENT - DAY
This is an old building. The dark corridors resemble an
underground bunker. Old trophies and furniture are stored
along the walls. The two cops and the priest walk.
Another priest emerges from a door, nods, passes. Nico
and Jackson glance in through the door as they walk.
They reach a door with a broken handle. It looks like a
break-in has taken place.
FATHER GENARRO
The rats are getting bigger.
NICO
When did this happen?
FATHER GENARRO
Two nights ago. I didn't call
the police.
ABOVE THE LAW - Rev. 4/17/87 39. *
Father Genarro knocks on the door, pauses, then knocks
again. The door opens. A twelve-year-old who looks like
he's from Central America stands in the doorway.
FATHER GENARRO
(in Spanish)
It's all right, son. These are
friends.
The boy steps back and we MOVE INTO --
154 INT. CHURCH SANCTUARY - DAY
A largish room, no exposed windows, everything boarded up.
Newly-constructed makeshift toilet and shower in one corner,
various cots. A number of LATIN REFUGEES -- families mostly
-- react shyly as Father Genarro introduces Nico and Jackson.
Sister Bonifacia is there, and a youthful priest, FATHER
TOMASSINO. We will see both of them again.
FATHER GENARRO
(referring to the cops)
These are friends.
(to Nico)
This is Father Tomassino.
FATHER TOMASSINO
How do you do?
Nico shakes the young priest's hand. There is a moment
between them as Nico meets Tomassino's eyes, liking what
he sees. The refugees are relieved, however, when Father
Genarro, Nico and Jackson take their leave.
155 NICO, JACKSON AND FATHER GENARRO
continue down the hall.
JACKSON
I didn't know this church was a
sanctuary, Father.
FATHER GENARRO
Yes. But, perhaps not such a
safe one.
NICO
How long have they been here?
FATHER GENARRO
Too long. At least the kids can
go to our school.
NICO
Who did it, Father?
ABOVE THE LAW - Rev. 4/17/87 39A.
FATHER GENARRO
Kids, maybe.
(significantly)
Maybe worse. It's not the first
time.
JACKSON
We can have a car check by, every
hour.
FATHER GENARRO
No... please. Police frighten
these people.
ABOVE THE LAW - Rev. 4/29/87 40.
156 INT. CHURCH - MAIN AISLE - DAY *
The three are outside, taking their leave. A big smile
and a hand on Father Genarro's shoulder. The priest is
greatly relieved.
NICO
Really, I don't mind coming by.
FATHER GENARRO
Tell me, Nico... When was your
last confession?
NICO
I'm a married man, Father. I've
got no sins to confess.
FATHER GENARRO
You're a police officer, you have
many sins to confess.
JACKSON
Amen.
Nico and Jackson start off.
FATHER GENARRO
(calls after Nico)
You come back Sunday. I feel
better when I see Nicola in
church.
(calls louder)
You don't show, I'm phoning your
mother!
DISSOLVE TO:
157 SAME CHURCH - POV FROM WINDOW - EARLY MORNING (SUNDAY)
HIGH ANGLE FROM ACROSS the street: neighborhood people
dressed in their Sunday best fill the sidewalk, filing in
for Mass. We hear an ORGAN from inside the church.
158 VARIOUS ANGLES - CONGREGATION
An Italian neighborhood becoming more Hispanic. As the
churchgoers file in, we see families -- women, kids,
babies.
159 NICO, SARA, ROSA AND JULIAN *
are among the crowd, exchanging pleasantries with friends
and neighbors -- in English, Italian and Spanish.
160 INT. CHURCH - SIDE AISLE
Sara, holding Julian, slips into a pew. As Nico and Rosa *
follow, Father Genarro passes, heading for the front.
ABOVE THE LAW - Rev. 4/29/87 41.
ROSA
Father Genarro! I have you to thank
for getting my son back into church!
FATHER GENARRO
It's amazing what shame can
accomplish.
Father Genarro smiles and continues on toward the pulpit.
QUICK DISSOLVE TO:
161 VARIOUS SHOTS
A) THE CHOIR
building to the finish of a hymn.
B) NICO'S WIFE (SARA) *
also singing, balancing baby Julian and a hymnbook.
C) NICO AND HIS MOTHER ROSA
sing with full gusto.
D) THE CHOIR MASTER
makes the sign to be seated.
E) CONGREGATION
sits. We notice a young, intellectual-looking man
(Alan Singletary) wearing wire-rim glasses, sitting in
the front row. We will see his face again later. He
looks out of place and glances around, surprised as...
F) FATHER GENARRO
moves into the pulpit, opens his Bible.
FATHER GENARRO
In nomine patris, filius et
spiritu sancti... (etc)
162 SARA AND JULIAN *
The little one starts to CRY; she comforts him. Nico
reaches over to try to help. The BABY continues FUSSING.
Nico looks toward the priest and the front of the church.
He notices a woman in a black shawl rise from the front
of the church and turn, heading down one of the side
aisles.
SARA *
(examines Julian's
diaper)
Way to go, Julian -- perfect timing.
ABOVE THE LAW - Rev. 4/29/87 42.
She cynically smiles at Nico. Nico sees the woman in
black pass toward the exit of the church.
163 CLOSEUP - WOMAN
It is the same woman Nico and Jackson were following with
Abandano, the lawyer!
164 CLOSEUP - LARGE SHOPPING BAG
The woman has left it in front of the votive candles
directly before the priest's pulpit.
165 CLOSEUP - NICO
His head spins from the shopping bag to the doorway --
166 NICO'S POV - DOORWAY
The woman is hastily sneaking out.
167 BACK TO NICO
Instantly he pushes his family to the floor, covering
them with his body.
168 CLOSEUP - NICO - SECOND LATER
BOOM!!! A POWERFUL EXPLOSION erupts between the priest
and his congregation. Fragments of plaster, wood, and
marble come blasting past Nico and his family! Churchgoers
in the first rows are blown off their feet by the shock
wave of the blast. Pews overturn, smoke everywhere --
169 CHOIR
is shrieking hysterically. Stone and plaster dust rain
down on them from the ceiling.
170 CONGREGATION
is in total pandemonium. Screams, cries, panic --
171 PULPIT
has been blown to oblivion. Where Father Genarro had
been standing is now nothing but smoke and rubble.
172 NICO
Prone, covering Sara and the baby, groping frantically *
to protect his mother as well.
SARA *
(clutching baby)
We're okay! We're okay!
Nico checks them and his mother swiftly.
ABOVE THE LAW - Rev. 4/29/87 43.
ROSA
(in Italian)
Help the others! Help them, Nico!
CUT TO:
173 STATUE OF JESUS
Splattered with real blood.
CUT BACK TO:
174 ANGLE ON CONGREGATION
Everyone is down, reeling from the concussion, dust and
smoke. Nico rises alone from this scene.
NICO
(forcefully)
Help each other move outside. Be
calm.
175 EXT. SIDE OF CHURCH - MORNING
From a doorway and a shattered window smoke pours forth.
We hear SCREAMS from inside.
176 INT. CHURCH
Nico on his feet, plainly the leader in this moment of
terror. Worshippers, shattered and bleeding, pour past
him toward the door. Nico grabs a stout-looking church-
goer.
NICO
Call 911. Tell 'em to send
everything they got!
(turns to his wife)
Sara, get the baby and Mama *
outside.
Nico starts for the altar where the damage is worst.
177 EXT. FRONT OF CHURCH - MORNING
The congregation streams out in terror-stricken disarray.
We see Nico's family -- they're all right.
178 NICO
appears from the church, carrying a young choir girl. He
hands the child over to two older women, races back into
the church.
179 LONG SHOT - STREET OUTSIDE CHURCH
The first paramedic van comes speeding around the corner,
SIREN BLARING. Police cars appear right behind --
ABOVE THE LAW - Rev. 4/29/87 44.
180 INT. CHURCH
Nico appears through the backlit smoke and kneels over
the bloodied body of Father Genarro. He desperately tries
to maintain the priest's life.
CUT TO:
181 INT. HOSPITAL/ICU WARD - AFTERNOON
The aftermath of the blast. Doctors and nurses have the
scene more of less under control, but there's still plenty
of pain and misery.
182 INT. HOSPITAL ROOM - AFTERNOON
Nico stands, his back to the wall -- a scary, blank look
on his face. A doctor and several nurses are pulling the
plugs on the terribly mutilated body of Father Genarro.
A nun is crying; a fellow priest is blessing the Father.
183 JACKSON
arrives. Nico talks to her, aside.
NICO
I want a list of everyone that's
been treated here today. Everyone.
JACKSON
Right.
NICO
Then find those sanctuary people,
the ones we saw in the church
basement --
As Jackson makes notes.
NICO
Find out where they're from, why
anyone would want to harm them.
Jackson flips her notepad shut, ready to go.
JACKSON
Where are you gonna be?
NICO
Just stay near a radio. I'll find
you.
184 INT. HOSPITAL CORRIDOR - NICO'S MOTHER (ROSA) - AFTERNOON
Sits on a bench with a bandage over one eye. Sara *
and Julian are sleeping beside her. Nico kneels beside
his mother, deeply concerned. Nico takes his mother's
arm, helps her to her feet.
ABOVE THE LAW - Rev. 4/29/87 45.
Sara wakes and picks up Julian. Mama knows Father Genarro *
has died. She begins sobbing softly. Other members of
the congregation are in the hallway, mourning. Nico, with
his family, takes several steps toward the exit. Suddenly,
Nico stops. He sees Agent Neeley entering (the FBI man who *
ordered him off the case) accompanied by Lieutenant Strozah *
and two uniformed officers.
NICO
Sara... go down to the car; I'll *
be with you in a minute.
He hails Neeley. *
NICO
I need to talk to you.
(a glance to Strozah
and others)
... Alone.
Neeley nods. Nico leads him off the corridor, through a *
fire exit door --
185 STAIRWELL LANDING
The door closes behind them. Nico and the FBI man are
alone on the stairway landing.
AGENT NEELEY *
(impatient)
What the hell is it, Toscani?
Without warning, Nico grabs Neeley by both lapels, slams *
him furiously into the wall!
NICO
You. That's what the hell it is!
AGENT NEELEY *
Get your goddam hands off me!
Neeley tries to shake free; Nico won't let him. *
NICO
You let Salvano walk.
AGENT NEELEY *
Salvano?! Are you crazy?
(rips himself free)
What does he have to do with this?
NICO
That was no cherry bomb in there.
That was C-fucking-4!
(struggles to master
his rage)
I've used that shit.
(MORE)
ABOVE THE LAW - Rev. 4/29/87 46.
NICO (CONT'D)
I know what it smells like, I know
what it blows like --
Neeley glares at Nico. *
AGENT NEELEY *
Salvano never came near that C-4.
It's in federal holding now!
Besides, why would he blow up a
church?
NICO
I tailed Salvano. Two days ago.
Him and one of his apes were in
that church -- and they weren't
taking communion. I saw some broad
saw who was with his lawyer plant
the bomb. Now I want some goddamn
answers.
AGENT NEELEY *
You tailed him? After I ordered
you off?
NICO
Where is he? Where's Salvano?
AGENT NEELEY *
My orders were release him. Not
babysit him.
Neeley brushes Nico's fingermarks off his lapels. *
AGENT NEELEY *
You think you're rough stuff,
Toscani -- martial arts hero, chop
suey crap. Well I'll tell you
something: you're not bullet-
proof. You're not even a good
cop.
(composes himself;
reclaims his dignity)
You sneak around, playing your
street dick games. But all you
come up with is conjecture, wild
coincidence and bullshit.
NICO
I want the agent who signed for
the explosives.
AGENT NEELEY *
I'll do my job. You do yours.
NICO
Bank on it, pal.
ABOVE THE LAW - Rev. 4/17/87 47.
Nico stalks off. The door slams.
CUT TO:
186 MONTAGE WITH SCORE
A) EXT. "BOGOTA" (SALVANO'S RESTAURANT) - LATE AFTERNOON *
Nico's unmarked car whips in front. Nico storms toward
the front door of the restaurant.
B) INT. RESTAURANT - LATE AFTERNOON *
Nico storms through toward the restaurant rear. The
employees are getting ready for the evening crowd. He
flashes his badge, checks the kitchen, Salvano's
office. The man is gone.
C) INT. MORGUE - LATE AFTERNOON
Jackson has her list from the hospital. A coroner and
his assitant show her a body on a slab. The body is
that of Alan Singletary, the man we saw in the front *
row of the church. Jackson takes notes. The dead man *
is definitely not the ethnic type you'd expect in St.
Mary's congregation.
D) EXT. BODY AND FENDER SHOP - LATE AFTERNOON
The same place where Nico and Jackson wire-tapped Chi
Chi. Nico interrogates the shop boss, several workers.
All shake their head, gesture emphatically. Salvano
not here.
E) CUT BACK TO MORGUE - JACKSON
takes Polaroids of the dead man's I.D. and personal
effects.
187 CLOSEUP OF DEAD MAN'S EFFECTS
as Jackson's flash pops. We see clearly a U.S. Senate
staff ID, a U.S. Senate office building parking pass and
an Illinois driver's license with address.
188 EXT. AFFLUENT BROWNSTONE - LATE AFTERNOON
Nico comes storming out. A Maid and a bodyguard follow
after him screaming. The door slams. We see it is
missing a panel.
MAID
You gonna be in real trouble,
mister, when El Senor Salvano
find out about dis.
ABOVE THE LAW - Rev. 4/29/87 48.
189 EXT. ST. ELIZABETH'S CHURCH - LATE AFTERNOON
Jackson at the blast scene. Police tapes rope the area
off while a TV news crew photographs the damage. Jackson *
talks with neighborhood people, asking questions.
190 EXT. BICEK'S BAR - LATE AFTERNOON
Nico in the alley, grilling several tough guys we saw be-
fore when he raided this bar. The answers are all zero;
Nico's disgusted, worn out, frustrated. He starts out
the alley -- At the edge of the street, a battered van pulls
in. A jacketed LATINO MAN leans against it, an unlit ciga-
rette in his mouth. As Nico approaches, turning toward
his car --
FIRST LATINO
(polite, casual)
'Cuse me, sir. Can I bum a light?
Nico slows, eyeing the guy dubiously. As he reaches to
his jacket -- The side door of the van flashes open. A
.38 is leveled straight at Nico's head. Instantly three
other Latino hoods leap to the sidewalk.
FIRST LATINO
(machete under jacket)
Don't even think about it,
motherfucker.
Machete Man (First Latino) snatches Nico's gun from its
shoulder holster. Two hoods shove Nico back into the
alley. Nico checks out his assailants quickly. Four of
them. Machete, CROWBAR, BALL BAT, GUN.
MACHETE MAN (FIRST LATINO)
You come to our streets... fuck
with our people. Now our people
gonna fuck with you.
The five advance on Nico.
PIPE MAN
We ain't gonna shoot you, man.
We gonna beat you to death. You
gonna learn what it means to 'get
down.'
191 QUICK CUTS
A) Nico is trapped. The hoods advancing. Nico has a
moment of stillness, as if all senses are clicking
out of normal gear and into some hyper-combat readi-
ness. Then:
49.
B) Gun and Machete Man are side by side. As Machete Man
starts to move, Nico spins in beside him, seizes his
wrist, twists it violently, wrenching the machete away,
keeping Machete Man between him and Gun Man so Gun
Man can't shoot. In a flash, Nico swings the machete,
slicing over the top of Machete Man, half-severing
the wrist of Gun Man. Gun Man falls, clutching his
wrist in agony; the gun skitters away beneath a chain
link fence, out of reach. Nico flips Machete Man
(who has Nico's gun in his pocket) sending him crash-
ing, half-unconscious.
C) Instantly, Pipe Man aims a home run shot at Nico's
head. Nico uses the machete, matches the angle of
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