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
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