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Above The Law Movie Script

Writer(s) : Steven Pressfield, Ronald Shusett, Andrew Davis, Steven Seagal

Genres : Action

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                                        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
           the oncoming blow, slides under and, in the same arc,
           blocks the blow and turns it into a strike, slashing
           Pipe Man's tendons behind the knee. Pipe Man goes
           down on one knee, writhing, hamstrung, crying out in
           pain.
      D)   Now Ball Bat attacks. Nico intercepts the blow,
           flips Bat Man ass over teakettle, sending him sail-
           ing -- feet first -- through the side window of the
           van. Bat Man CRASHES THROUGH the GLASS, hung up with
           just his head and shoulders dangling free.

      E)   Nico is spread out, feet wide, in a crouch. Crowbar
           Man sees his chance. He is the fiercest of the four,
           and the savviest fighter. He throws three consecu-
           tive vicious blows at Nico's head; Nico drops to one
           knee, dodges the blows, then intercepts the third,
           machete in hand, matches the arc of interception and
           whips the blade up -- straight into the crotch of
           Crowbar Man. Crowbar Man can't believe it. He re-
           mains frozen a moment, staring at Nico, then down at
           his own groin.
      F)   Machete Man, the first to be flipped, struggles des-
           perately to regain his senses. He tries to get
           Nico's gun from his own pocket, but Nico bats it a-
           way. Machete Man scrambles to his feet, in terror,
           bolts.

      G)   Nico snatches his gun from the sidewalk, glances to
           Bat Man who is still half-dangling from the van
           window. Nico gives Bat Man one parting punch to the
           head, then tears off after Machete Man --

192   EXT. STREET - DAY
      Shrieks from passersby as Machete Man hurtles past,
      straight into the street. A car nearly hits him, he
      vaults its hood. Here comes Nico, in hot pursuit. He
      too leaps the car, whose owner is staring, cursing --
193   ANGLE DOWN BLOCK

      An all-out foot face.

                                                             50.

      Machete Man is a speedster; he hurdles a row of trash cans.
      TWO YOUNG GIRLS, on a stoop, whistle as he passes.

                             FIRST GIRL
                Fly, baby!
194   NICO

      tears after this human cannonball.   Amazingly, he's
      gaining --
195   INT. BODEGA - DAY

      Machete Man highballs off the sidewalk, straight into a
      Mom and Pop groceria. Customers scatter in shock as the
      hood blasts past them, out the back door. Here comes
      Nico. Patrons curse in Spanish as he barrels past --

196   EXT. YARD BEHIND BODEGA - DAY
      Machete Man bolts from the bodega into a small patio with
      tables and chairs. He leaps the fence into the next yard,
      which belongs to a funeral home. He hurdles the headstone
      inventory, clambers up the fence on the far side --
197   BACK TO NICCO
      pursuing along the same route.
198   MACHETE MAN

      claws his way to the top of the fence and onto a frame-
      work of two-by-fours which form an arbor-like canopy a-
      bove the third back yard. Plastic sheeting is tacked
      between the beams. Machete Man glances back at Nico,
      starts out -- tightrope-style -- across the two-by-fours.
      Nico reaches the fence behind the hood, starts also onto
      the two-by-fours. We hear FEMALE SCREAMS from below as
      the rickety structure starts to wobble precariously.
      Machete Man reaches the far side. A fire escape is ad-
      jacent; he grabs for it, starts up. Nico catches him by
      the ankle. The two crash together back onto the two-by-
      fours, which give way, sending them plunging into --

199   BACKYARD OF FLOWER SHOP - DAY
      Four young Oriental women, potting plants, react with
      terror as the two bodies CRASH through. Machete Man
      scrambles away from Nico but is trapped in the corner
      next to the rear shop door. The flower girls can't move
      either; Nico and the hood are too near the door. The
      girls retreat to the far corner, squealing in fright.

                              MACHETE MAN
                       (to Nico, in terror)
                No, hermano. Please --

                                                      51.

Nico starts menacingly toward the hood, breathing hard
from the chase.

                           NICO
             Who put up the money?
                            MACHETE MAN
             What money?

Nico grabs him by the hair.
                           NICO
             You didn't come after me for a
             piece of ass.
                    (twists the youth's
                     neck)
             Who paid you?

                             MACHETE MAN
             I told ya!    No one!
Nico slams him with a fierce shot to the ribs. The hood
doubles over, gasping. The flower girls shriek even
louder. Nico turns to the girls with a ferocious glare.
                           NICO
                    (shouting)
             Shut up!
The girls instantly go silent in terror. Nico turns back
to Machete Man, spins him violently face-down, jacking
the punk's right arm straight out behind him. We see
that Nico can break his elbow with one blow.
                          NICO
                   Give it to me!
Nico raises his fist to strike.

                           MACHETE MAN
             Jimmy Constanza!
Nico shoves the hood into the ground, tearing the hood's
wallet from his trouser pocket. Nico rips the wallet a-
part, seizes the kid's identification and holds it up. He
grabs the punk by the hair with his free hand. Machete
Man is staring up in terror, wondering what this means.

                           NICO
             If you're lying to me, I'll come
             and kill you right in your own
             fucking kitchen.

Nico dumps him on the ground and walks away.    Instantly
Machete Man changes his tune.
                            MACHETE MAN
             Salvano!   Bautista Salvano!

      ABOVE THE LAW - Rev. 4/29/87                            52.

      Nico walks back, his foot smashes into the punk's face.
      He hits the ground with a thud.

                               NICO
                 Gracias, muchacho.
      Nico walks away.

200   MONTAGE WITH SCORE

      A)   INT. NICO'S HOUSE - KITCHEN - NIGHT
           Nico at the kitchen table spread with notepads, old add-
           ress books, 3X5 cards. He's on the phone, impatient,
           apparently getting nowhere. He slams the phone down.
      B)   INT. LIVING ROOM - EVENING

           Nico paces, phone cradled to ear, talking urgently.
           CLICK: he's been hung up on; he looks at the receiver
           in frustration and disgust.
      C)   CLOSE - CORKBOARD ON KITCHEN WALL
           Nico's hands pushpin a 3X5 card into the wall.

      D)   INSERT - 3X5 CARD
           We read: "FBI / Agent Smith / 11:53 / B.S. / Covering
           for who?"

      E)   KITCHEN - NIGHT
           Nico back at the table, listening to the wiretap
           tape, transcribing it.

      F)   ANOTHER ANGLE - KITCHEN - NIGHT (LATER)
           Nico holds Julian, goes over notes.

      G)   CLOSE - YELLOW LEGAL PAD
           The page is headed: "FATHER GENARRO." Below in
           doodle formation, are a series of boxes, each one
           containing a phrase. We read: "Father G had some-
           thing on Salvano?" "Church break-in?" "Drug infor-
           mation?" "Father G connected to FBI?" Irritably,
           Nico's pencil crosses everything out.

201   SARA                                                            *
      Appears in a nightgown at the kitchen doorway.   She looks
      frail, frightened. MUSIC ENDS.

                               SARA                                   *
                        (softly)
                 I can't sleep. Will you come and
                 hold me?

      ABOVE THE LAW - Rev. 4/29/87                         53.        *

                              NICO
                Of course I will. I've been waiting
                to hear from Jax. She was supposed
                to get back to me by now.

202   INT. NICO'S BEDROOM - LATE NIGHT
      Nico comes in with his arms around Sara. She stops
      near the bed, holds him tight. They look to little
      Julian sleeping in the crib nearby.
                              SARA
                Thank God you couldn't find your
                shoes. We would of have been
                sitting in the front row.
                       (beat)
                Alright, I know the rules -- I
                don't ask you don't tell. But
                could've died today and I deserve
                to know.
                       (beat)
                Why did we go to church this
                morning?
                              NICO
                I'm willing to break   the rules;
                I'm willing to tell   you whatever
                I know. But I need    some time.
                Could you just give   me some time?
      Nico leans to kiss her, but is cut off by the HARSH RING
      of a PHONE. Sara starts at the sound. She and Nico
      glance at each other --
                              SARA
                I'll bet that's her.
      Nico picks up the phone.

                              NICO
                       (into phone)
                This better be good, Jax.

                              MAN (V.O.)
                       (filtered)
                It's bad, Nico.

      Nico glances to Sara. The voice on the   phone is not
      Jackson. Nico is chilled. He glances    to Sara, finger to
      his lips. He points to his bare wrist   as if wanting to know
      the exact time. Sara, not sure what's   going on, mouths:
      "Two-fifteen."

                              NICO
                       (into phone)
                Long time, Nelson.

      ABOVE THE LAW - Rev. 4/29/87                         54.

203   EXT. STREET - PHONE BOOTH - LATE NIGHT
      We recognize Fox, Nico's buddy  from SE Asia whom we met
      in the opening sequence.  Fox,  too, of course, looks 15
      years older. He wears a  suit  and seems quite prosperous.
      We are unable to identify from  where Fox calls.
                              FOX
                You should know not to use a name
                on an open line.
                       (beat)
                I'm gonna talk for fifteen
                seconds, then I'm getting off.
                You're in trouble, Nico.
204   BACK TO NICO'S BEDROOM - LATE NIGHT

                              FOX (V.O.)
                       (filtered)
                Serious, serious trouble. Take
                your wife and family and get them
                someplace safe now.
205   BACK TO STREET - PHONE BOOTH - LATE NIGHT
                              FOX
                You hear me? Now. I'm risking my
                ass by telling you this. Good
                luck, kid.
206   BACK TO NICO'S BEDROOM - LATE NIGHT
      The PHONE CLICKS DEAD. Nico tries to keep a casual ex-
      pression. Sara sees through it -- she knows he's shaken.     *
                              SARA                                 *
                       (grim)
                That was Fox, wasn't it?

      Nico doesn't answer.
                              SARA                                 *
                       (very concerned)
                Why is the C.I.A. calling you at
                two in the morning?
                              NICO
                It's okay, sweetheart --
                       (crosses to her, puts
                        his arms around her)
                -- You know what a crazy bastard
                Fox is. He gets drunk and forgets
                he's halfway around the world. He
                calls me.
      Nico gives her a squeeze and a smile.

      ABOVE THE LAW - Rev. 4/29/87                        55.

                              NICO
                He just wanted to make sure we got
                his Christmas card.

207   INT. BEDROOM - LATER
      Sara is sleeping next to Nico. Julian next to her. A         *
      LOUD POUNDING comes O.S. from the front door. Nico jumps
      out of bed. His gun appears in his hand, as if from nowhere,
      he steps quickly to the front window, looks out --
208   NICO'S POV - STREET BELOW

      Two unmarked cars pull in.
209   BACK TO NICO

      He moves swiftly to the rear window and spots another un-      *
      marked car.                                                    *
210   INT. DOWNSTAIRS - FRONT DOOR
      Nico enters the vestibule in his pajama bottoms with his gun
      in his hand.
                              VOICE THROUGH DOOR (O.S.)
                F.B.I., Toscani. Open up.
      Nico pulls aside a curtained glass panel; he recognizes
      two uniformed police officers, plus Neeley and Halloran,       *
      the FBI agents who authorized the release of Salvano. He
      lowers his gun, opens the door. The cops surge in.
                               NICO
                        (to one of cops)
                It's a little early for breakfast,
                O'Hara.
                              O'HARA
                Sorry, Nico.
                       (displays warrant)
                You're under arrest.

                              AGENT NEELEY                           *
                       (reaches for Nico's
                        gun)
                I'll take this, thank you.

      Before Neeley can get his hand on the gun, Nico, without       *
      pausing, hands it over to another agent.
                              NICO
                No, you won't. I'm gonna give it
                to you.

      ABOVE THE LAW - Rev. 4/29/87                         56.

211   INT. NICO'S BEDROOM - NIGHT
      JULIAN BAWLS fearfully; Sara holds him, trembling. Nico         *
      is hurriedly getting dressed. A cop and the FBI agents
      stand at the door.
                              SARA                                    *
                       (to cops; distraught)
                This is ridiculous -- there's
                no need for this!
                              NICO
                It's all right, darling.

      Two agents enter the room carrying Nico's confiscated
      papers and tapes and begin rummaging through dressers,
      jewelry boxes and closets. Rosa crosses swiftly to calm
      Sara.                                                           *

                              ROSA
                       (to cops)
                Who do you think you are --
                coming in here like this,
                treating my son like a criminal?
                              SARA                                    *
                Why are you terrifying us?
                There's an infant here!
      Nico pulls on a jacket. He looks like he could kill.    He
      restrains himself for his family's sake.
                              AGENT HALLORAN
                       (to cops)
                Check that coat.

      The cops cross to frisk Nico.   Sara, still holding the baby,   *
      starts slapping at them.

                              SARA                                    *
                Get your hands off him!
      Rosa grabs Sara --                                              *

                              NICO
                       (to Sara,                                      *
                        allowing himself
                        to be frisked)
                It's all a mistake, Sara -- It's                      *
                gonna be all right.
      The cops steer Nico toward the door.

                              SARA                                    *
                       (calls after them)
                The Police Association's got lawyers
                for this, you bastards!

      ABOVE THE LAW - Rev. 4/29/87                            57.

      Sara grabs for the phone; Nico is manhandled out the            *
      door --

212   EXT. NICO'S HOUSE - LATE NIGHT

      The neighbors are now on their porches.   Nico is led to a
      waiting unmarked car.

                                                  CUT TO:

213   INT. POLICE HEADQUARTERS - LATE NIGHT
      Bad Dude, the bartender we remember from Nico's first
      visit to the Polish bar, finishes signing a deposition.
      A cop takes the paper. Bad Dude stands, glances half-
      fearfully, half-defiantly to Nico, who is led down a hall-
      way flanked by two uniformed officers. Agent Halloran
      opens the door for Bad Dude, who exits.

214   INT. INTERROGATION ROOM - LATE NIGHT
      Neeley, Halloran, Lieutenant Strozah and Deputy Superinten-     *
      dent JACK CROWDER. Halloran indicates a stack of                *
      depositions, tapes and notes on the table before Nico.
                             AGENT HALLORAN
               Illegal wiretaps. Unauthorized
               surveillance.
                             NICO
               When were you born, asshole?
                             AGENT NEELEY                             *
               Associating with known felons.
               Disobeying direct orders --

                             NICO
               Where's Jackson?

                             CROWDER                                  *
               She's outa this.
                             AGENT HALLORAN
               You're the rotten apple in this
               barrel, Toscani. We don't have
               to look any farther than you and
               your 'family.'

      Nico comes out of his chair, going for Halloran.      Strozah
      tries to block him, but it's useless.
                             LIEUTENANT STROZAH                       *
               Nico! You damn fool! You wanna
               go to prison?!
      Nico stops. He's speechless with rage.    His finger points
      toward Halloran like a loaded gun.

      ABOVE THE LAW - Rev. 4/29/87                           58.

                             CROWDER                               *
                      (indicates more
                       depositions)
               Unlawful entry. Illegal search
               and seizure --
                             NICO
                      (spits on papers)
               You'll never build a frame on this
               chickenshit.
                             AGENT NEELEY                          *
                      (angrily)
               You were ordered to back off on
               Salvano. But you had too big a
               hard-on for that, didn't you--

      Nico contains his fury. He steps away from Strozah, with
      a gesture that says "I won't hurt you."
                              NICO
                       (to Strozah)
               Fred.   You can't be in on this.
      Nico faces his lieutenant -- a look that calls on long       *
      years of comradeship and loyalty. Strozah is torn. He's
      a good man, over his head in a situation he doesn't com-
      pletely understand.
                             LIEUTENANT STROZAH                    *
               You're officially suspended, Toscani.
               I want your tin... and your iron.
      Neeley leans past Nico; drops Nico's gun (with an evidence   *
      tag on it) onto the table. Nico looks to Strozah, who
      averts his eyes. Nico flips his badge onto the table.
                             NICO
               You holding me?

                             AGENT NEELEY                          *
               You can walk for now. But don't
               walk far.

                                                   CUT TO:
215   EXT. PHONE BOOTH ON DOWNTOWN STREET - DAWN

      We are outside of a cop breakfast hangout. Several police
      cars are parked in the lot. Nico is on the phone.
                             NICO
               Sara, I'm okay. I love you.                         *

                                                   CUT TO:         *

       ABOVE THE LAW - Rev. 4/29/87                           58A.

215A   INT. NICO'S KITCHEN                                           *
       Sara on the phone.                                            *

                               SARA                                  *
                 Where are you? Why aren't you                       *
                 coming home?                                        *

                                                    CUT TO:          *

215B   EXT. PHONE BOOTH                                              *
                               NICO
                 I'll be home later. Lukich will                     *
                 be there. Tell mama not to worry.
       Jackson and Lukich are waiting by Nico's car.    They see
       Nico emerge from the phone booth.

                                                    CUT TO:
216    EXT. STREET - NICO, JACKSON AND LUKICH - DAWN
       A mood of urgency.
                               JACKSON
                 -- I found the sanctuary people.
                               (MORE)

ABOVE THE LAW - Rev. 4/17/87                        59.

                        JACKSON (CONT'D)
          They're refugees from El Salvador,
          Guatemala, Chile. They won't talk                  *
          to me, they're terrified of cops.

Jackson has an armload of notes, including photocopies of
news clippings.

                        JACKSON
          Ready for this? One of the people
          killed at the church was definitely
          not a congregation member.

She shows Nico and Lukich the Polaroids we saw her take in
the morgue.
                        JACKSON
          Alan Singletary. He's an aide to
          Senator Harrison.
Nico is electrified.
                        JACKSON
          That's right. Harrison. Foreign
          relations committee. The guy who's
          been crawling all over the Central
          American drug connections.
                        NICO
                 (impressed)
          You're gonna make a helluva D.A.,
          Jax.
                         LUKICH
          God help us.

                        JACKSON
                 (savors the com-
                  pliment)
          I've been at the Tribune all night,
          wearing out their Xerox machine.
          Harrison's staff has been
          compiling some kind of white
          paper. He's due to release it
          next week.
Nico's mind races.

                        NICO
          That's how Fox knew.
                         JACKSON
          What?

Nico turns to Lukich, dead earnest.

      ABOVE THE LAW - Rev. 4/29/87                           60.

                              NICO
                Luke. I  want you to go to my
                house.  Call Branca... my mother
                has the number. Get my family
                ready to move out.
                              LUKICH
                You got it, buddy.

                              NICO
                Stay with 'em. We'll be there.
                              LUKICH
                What's going on, Nico?   What
                happened?
                              NICO
                I got a call last night. An old
                agency friend. He told me my
                family was in danger.
      Jax and Lukich can't put all the pieces together yet.    But
      if it's drugs-CIA-Senate, it's got to be heavy.
                              LUKICH
                You got a weapon?
      Lukich knows he doesn't. He glances up and down the
      street, makes sure no one's watching -- then cracks the
      driver's door of his car. There's a bulge in the map
      pocket. Nico  pulls out a Sig Saur .45.
                               LUKICH
                Try this on.
      Jackson watches Luke slip Nico a clip.                         *
                                                   CUT TO:

217   INT. DAY CARE CENTER (BEHIND CHURCH) - MORNING
      OPENING CLOSE ON the faces of the sanctuary refugees.
      They are faces that have known fear and tragedy. The kind
      of faces we see on newsreels after villages have been
      burned and family members murdered. The refugees have
      been moved from church basement to a back room in the day
      care center. Nico kneels, facing them. Jackson in the
      background. A nun (SISTER BONIFACIA) and a priest (whom
      we saw in Genarro's hospital room) watch over the people.
      Nico is frustrated; he can't crack the refugees' fear.
                              NICO
                       (to nun)
                Sister... you know me. Tell them
                there's no need for fear.

                                                        61.

                        SISTER BONIFACIA
          There is rubble all over the yard,
          Nicola.

(THE REST OF THE SCENE MAY BE IN ENGLISH, OR SPANISH WITH
SUBTITLES, AT THE DIRECTOR'S DISCRETION.)
                        NICO
                 (to refugees)
          I was there... in the church.
          They tried to kill my family, too.
Several of the refugees look like they want to speak, but
they are terrified.
                        NICO
          I know there was a man here, from
          an American senator's office. Who
          was he going to speak to?
The refugees become increasingly anxious.
                        NICO
                 (to one woman)
          Was it you, senora?
                 (to a man)
          Was it you?
More silence.    Glances among the people.   Finally:
                          REFUGEE WOMAN
          The priest.
The others shrink.   The Woman glances to them.
                          NICO
          Who?
                 (gently)
          Father Genarro?

                        REFUGEE WOMAN
          The other one.

Nico looks to the American priest standing there.
                       REFUGEE WOMAN
          No. The young one. From Costa
          Rica.

Sister Bonifacia sighs.
                        SISTER BONIFACIA
          Father Tomassino.

Jackson has her pad out, taking notes. Bonifacia knows
too much has already been revealed; she must speak.

                                                               62.

                              SISTER BONIFACIA
                He came alone... two weeks ago.
                He had papers. Papers to give to
                the senator.

      Nico tries to contain his excitement; not scare anyone by
      losing his calm.

                              NICO
                But the bomb... The bomb was
                planted to destroy the pulpit.
                              SISTER BONIFACIA
                Father Tomassino was going to
                give the Mass that day.
                       (shaken)
                Father Genarro talked him out of
                it.

      The refugees' faces confirm this.
                              NICO
                       (understands)
                It was Father Tomassino they were
                trying to kill.

      Bonifacia starts softly to cry.    Nico puts his hand on her
      shoulder, comforting her.
                              NICO
                Where is Tomassino?   Where is he
                now?
      The nun shakes her head.   Nico looks to the refugees.
      They don't know, either.

                              REFUGEE MAN
                He run, mister. He go --

      He gestures: "who knows where?"
                              NICO
                If you know where he is, you've
                got to tell me. I want to help
                him. I can help him.
      The refugees lower their eyes. Bonifacia continues her
      soft weeping. Nico glances to Jackson; her look says
      "Enough, let's leave these poor people alone." Nico
      stands, touches Bonifacia one more time on the shoulder --
218   EXT. CHURCH DAY CARE BUILDING - DAY

      Nico and Jackson come out.   Nico has made a decision.
                              NICO
                You're outa this, Jax.    Go home.

      ABOVE THE LAW - Rev. 4/29/87                             63.

                                 JACKSON
                          (displays her notes)
                   You see this list? Well, I'm not
                   done.

      Nico admires his partner's guts, but he's worried.
                              JACKSON
                I'm not a rookie, Toscani. Now,
                go home. Get your family out of
                here.
      Nico agrees.    The pair starts to split.

                                 NICO
                          (calls after
                           Jackson)
                   Just paperwork, you understand?

                                                     CUT TO:
219   INT. NICO'S CAR - MOVING - MORNING
      Nico drives, a jumble of emotions on his face.      Urgency
      fear, exhaustion. He's deep in thought --

220   EXT. INTERSECTION - MORNING
      Nico's car pulls up at a stop light. He looks around
      without really seeing. An old lady pulls a shopping cart       *
      while a crossing guard takes some kids across the street.      *
221   ANOTHER CAR
      ROARS up out of nowhere, without two men inside, SCREECH-
      ING to a stop head-on to Nico's door. Its doors spring
      open --
222   NICO

      dives toward his own passenger door --
223   SECOND CAR - TWO MORE ARMED MEN

      leap out, OPEN FIRE with pistols and automatic weapons.
224   QUICK CUTS

      Nico's car riddled with a furious FUSILLADE.      WINDOWS
      BLOW OUT; the driver's door is shredded --

      ABOVE THE LAW - Rev. 4/29/87                          64.

225   NICO - ON FLOORBOARD
      crawling frantically; shoving the passenger door open as
      a FIRESTORM of lead and FLYING GLASS BLAZES all around
      him.
226   FOUR MEN

      FIRING point blank (6 to ten feet) into Nico's car.   The
      men are cool, professional.
227   NICO

      spills from the passenger door onto the ground, scrambles
      like mad under his own car toward one of the attackers' cars.
228   PEDESTRIANS AROUND INTERSECTION

      scream and scatter in terror.
229   FOUR MEN
      FIRING as shells spew from the ejection ports of their
      weapons.
230   NICO'S CAR
      being chewed to pieces --
231   NICO - UNDER MEN'S CAR                                          *

      crawling at full speed from the car's front to its back.
      On the ground, alongside the car, spent CARTRIDGE CASES
      RAIN like hailstones.
232   FOUR MEN
      As their magazines empty. The last shells spring free,
      GUN BARRELS SIZZLE, blue smoke fills the air. The leader
      waves two men forward to check their kill. At that
      instant:
233   NICO

      springs to his feet behind the men, the Sig Saur .45            *
      clutched in both hands. (He has crawled under both cars
      to envelop his attackers.)

                                 NICO
                   Over here, you sons-a-bitches!
      Nico's rage is superhuman. The men stare in conster-
      nation. One of the men has a fresh magazine half into
      his weapon --

      ABOVE THE LAW - Rev. 4/29/87                        65.

                              NICO
                       (eyes like an
                        animal)
                Try it. Be my guest.

      The man lets the magazine clatter to the street. The
      others raise their hands. It takes all Nico's strength
      to keep from wasting all four of them on the spot. His
      gaze swings wildly around the intersection. He spots a
      corner grocery store. A phone inside.
                              NICO
                       (gestures with gun)
                Over there! Move it! -- Now!!
      The men are scared shitless. They put their hands in
      back of their heads; trot jelly-legged --

234   INT. CORNER GROCERY STORE - DAY
      A Pakistani counter clerk takes one look at the mob enter-
      ing his store and bolts for the rear. A customer exits
      as Nico herds his captives in.
                             NICO
               Hands on the counter!
      Three men do it; the fourth is slow.
                             NICO
               Don't tempt me, ASSHOLE --
      The fourth obeys. Nico moves to the pay phone on the
      wall, covering the men with his .45. He grabs the re-         *
      ceiver in his free hand; tries to dial. Adrenaline makes
      his hand shake; the dials spin wrong -- One of the men
      sees Nico's dilemma. To hit 911, Nico has to take his
      eye momentarily off his captives. As Nico turns again
      to the dial -- A free-standing sales display hurtles
      toward him, crashing into his gun hand. One of the men
      has lunged into the display; now he dives atop Nico a
      second later. The whole human pile crashes, thundering
      into a glass freezer. Somehow Nico gets to his feet.
      One of the men grabs Nico's gun; Nico swings one of the
      freezer doors -- Wham! -- smack into the man's face. The
      GLASS SHATTERS; the man drops like a rock. Now it's
      three against one -- prime odds for Nico. He wades into
      his attackers. A coffee stand goes flying. A body sails
      into a makeup display. One fool is lucky enough to land
      a blow that bloodies Nico's nose; he pays with a shattered
      forearm and a head-first heave into an ice cream locker --

235   POV FROM OUTSIDE STORE

      It looks like a tornado has hit the interior. Magazine
      RACKS CRASH, mayo jars fly through the air, the ICE
      MACHINE seems to EXPLODE as a man's back careens into it --

      ABOVE THE LAW - Rev. 4/29/87                            66.

236   STREET CORNER UP BLOCK
      Two police cars heave into view, SIRENS WAILING --

237   FRONT DOORS OF STORE
      Nico takes the last man, lifts him up, and drives him like
      a battering ram straight through the glass.

238   NICO
      Wild-eyed and bloody, sees the cop cars whipping into the
      corner. He spins to see his .45 on the floor -- too far
      away to race for. He bolts down a gangway.
                                                    CUT TO:

239   INT. NICO'S HOUSE - DAY

      The PHONE RINGS next to Lukich. Sara starts towards              *
      it. Lukich stops her with a look; he picks up the phone.
                               LUKICH
                        (into phone)
                Yeah?

240   INTERCUT NICO ON STREET - PHONE BOOTH - DAY
                              NICO
                       (into phone)
                Get their stuff into the car now.
                Do it in the alley, not the
                driveway. I'll be there in five
                minutes.
                                                    CUT TO:
241   TWO MORE POLICE CARS

      SQUEALING around a corner, entering the block where Nico
      is.
242   NICO - ON SIDEWALK

      Lets them pass, keeping low.      He sprints across the street
      and down the alley.

243   OMITTED
&
244
                                                    CUT TO:

245   INT. NICO'S BEDROOM - DAY

      Sara grabs a handful of dresses from the closet and angrily      *
      throws them into an open suitcase on the bed. Nico watches,
      hoping to ride the storm.

      ABOVE THE LAW - Rev. 4/29/87                          67.

                             SARA                                    *
               Your job and your family in one day,
               Nico. You're batting a thousand.

                             NICO
                      (softly)
               Sara...                                               *

      Sara is at the dresser, pulling open drawers, dumping her      *
      clothes haphazardly into the suitcase. She stops suddenly.
      She pulls out a handgun and ammo from her panty drawer. She
      starts to weep. Nico steps up behind her, puts his arms
      around her.

                             NICO
               You'll be safe with Uncle Branca.
               It's gotta be this way... I'm sorry.

      He turns her around to face him.
                             NICO
               Don't you think I'd rather be with
               you?
      He holds her passionately.    Rosa coughs loudly in the doorway.

                             SARA                                    *
                      (no longer angry)
               -- Mama... you got your medicine?
               Don't forget the baby's sweater --

                             ROSA
               I know about babies.
      We glimpse other relatives in the hallway; Nico hands them
      a pair of suitcases; they hurry off --
                             SARA                                    *
                      (of Nico's bloodied
                       shirt)
               You sure you're all right?
                             NICO
               I am if you are.
                             SARA                                    *
                      (trying to lighten up)
               Don't worry --
                      (touches him)
               We needed a vacation, anyway.
      Sara takes her suitcase, hurries out --                        *

246   EXT. ALLEY BEHIND NICO'S HOUSE - DAY
      Branca's sedan is half-loaded; Branca adds a few more bags.
      Lukich's car is parked behind it.

      ABOVE THE LAW - Rev. 4/29/87                          67A.

                              NICO
                       (crossing yard with
                        Sara)                                      *
                I'll give you five minutes start.    We
                have to do it this way.
      They get their suitcases into the sedan. Mama and the baby
      are already aboard. Sara gets into the passenger seat.       *
      Lukich comes around from the front, glancing around like a
      lookout.
                               NICO
                Where's Jax?

                              LUKICH
                She thinks there may be documents at
                some guy's apartment.

      Nico starts toward the rear basement door.    Lukich falls
      in with him.
247   INT. BASEMENT - DAY
      Nico and Lukich enter, start down the steps.
                              NICO
                They killed the wrong priest.
      Lukich doesn't understand.
                              NICO
                There was a second priest... from
                Costa Rica... hiding at the church.
                He was the one they meant to kill.
      Nico starts to remove a large piece of ducting from the
      basement heater.
                              LUKICH
                And you know where to find him?
                               NICO
                No.

      The hole in the foundation holds several shotguns and a
      couple of pistols, some passports and some cash.

                              LUKICH
                You're gonna need help.
      Nico grabs the pistols, starts to strap them on.

                              NICO
                Just stay with my family
      Nico replaces the piece of foundation, starts back up the
      steps.

       ABOVE THE LAW - Rev. 4/29/87                             68.

                               LUKICH
                 What are you gonna do?

                               NICO
                 You don't want to know.
248    EXT. ALLEY BEHIND NICO'S HOUSE

       Branca STARTS the SEDAN. Sara looks back, pained.              *
       Rosa, Lukich and Julian are also in the car. Nico grabs
       another hand-carried case from the basement, hurries into
       Lukich's car.

249    NICO'S POV - LOOKING DOWN DRIVEWAY
       Two police cars pull up to the front of the house.

250    HIGH ANGLE SHOT - ALLEY BEHIND HOUSE

       Lukich's car continues off.
                                                   CUT TO:
250A   EXT. SUBURBAN HOUSE - DAY
       We see Uncle Branca's car and Lukich's car out front.
251    INT. SAFE HOUSE - DAY
       Branca leads Nico, Sara, Rosa, Julian and Lukich down a        *
       corridor. Two older Italian women open a door leading to a
       basement rec room.
                               BRANCA
                 My sister's cousin's place. You're
                 safe -- not even I can find this joint.
       The family enters the back room.    They take in their
       sanctuary.

                                                   CUT TO:
252    EXT. PARKING LOT - DAY

       Agent Neeley hurries across the lot toward his car. He gets    *
       in, STARTS the ENGINE. As he puts the car in gear --

253    BARREL OF .45 AUTOMATIC

       nestles behind his right ear.
                               NICO
                        (rising from rear seat)
                 Don't forget your seat belt.

      ABOVE THE LAW - Rev. 4/29/87                        69.

254   INT. FEDERAL WAREHOUSE - DAY
      Nico walks casually beside Agent Neeley, holding his gun out   *
      of sight in his pocket. They proceed down a corridor. Be-
      hind them we glimpse a security checkpoint, manned by two
      uniformed guards, through which they apparently have already
      passed.

255   ANGLE - CORRIDOR

      The two walk past floor-to-ceiling warehouse shelves, packed
      with labeled boxes, film cans, etc. which are visible
      through a heavy wire-mesh screen.

                              AGENT NEELEY                           *
                Congratulations, Toscani. You just
                made number four on the most wanted
                list.

ABOVE THE LAW - Rev. 4/17/87              69A.

                       NICO
         Keep walking --
                (another nudge)
         -- I'm bucking for number one.

      ABOVE THE LAW - Rev. 4/29/87                        70.

256   ADMINISTRATIVE WINDOW
      A pot-bellied, Naval-retired-type CLERK looks up from his
      desk as Nico and Neeley come up to the counter. We see a      *
      sign: "EVIDENCE HOLDING DEPOT -- You MUST Have Your Requi-
      sition Number!!!" The Clerk stands, chomping a cigar, wad-
      dles to the counter. We see his arms covered with tattoos.

                              CLERK
                What can I do for you, lads?
      Neeley presents his ID.                                       *

                              AGENT NEELEY                          *
                There was a quantity of C-4 explosive
                brought in four days ago --

                              CLERK
                Hell, that's gone.
                                NICO
                When?
                              CLERK
                Right away, pardner. They scooped
                that stuff outa here before we even got
                it tagged.
                                NICO
                Who?    Who took it?

                                CLERK
                         (casual)
                C.I.A.
      Nico reacts, nudges Neeley once more.                         *
                              AGENT NEELEY                          *
                       (to Clerk)
                We'd like to see the paperwork.
      The Clerk has an accordion file right under the counter.
      He indicates a sign-in book.

                             CLERK
               You gotta sign.

      Neeley signs the book. The Clerk starts leafing through his   *
      files, searching for the release form.
                             CLERK
               Yeah... I remember that guy. Flew in
               special from Langley. Bomb tech.
               Real nice fella --
                      (finds the form,
                       lifts it from
                       file)
               -- Here it is. Fox. Nelson Fox.

      ABOVE THE LAW - Rev. 4/29/87                           71.

257   NICO
      snatches the release form.     Stares at the signature, stunned.

258   EXT. LAKEFRONT - DESERTED SECTION - DAY
      Neeley's car parked in the boondocks along the lake.               *

                               FEMALE (V.O.)
                        (from car radio)
                 -- Here it is, sir. Coming in from
                 Langley now --

259   INT. CAR
      Neeley holds the radio mike, as if about to say something.         *
      Nico shoves his gun against the guy's temple.

                               FEMALE (V.O.)
                        (from car radio)
                 -- That agent has been with the Central
                 American desk, uh, since '84 --
                               AGENT NEELEY                              *
                        (into mike)
                 Thank you. That's what I wanted.
      Nico takes the mike, clicks it back into its cradle.     Neeley    *
      freezes, unsure what Nico's going to do with him.
                               NICO
                        (motions with gun)
                 Dump your shoes. Ditch your I.D. on
                 the floor.
      Nico watches the FBI man obey.
                               NICO
                 So you think I'm a lousy cop, huh,
                 Neeley? Maybe I am. But I haven't got                   *
                 my face buried up Washington's ass.
                               AGENT NEELEY                              *
                 Nobody buys me, Toscani.
                               NICO
                 Yeah? Then somebody pulled the plug
                 on your brain, pal. You didn't come
                 up with the second priest, did you?
                 Or Harrison's dead aide.
                        (as Neeley fumbles with                          *
                         his laces)
                 Hurry up!
                        (as Neeley obeys)                                *
                 You heard the radio. The Agency's
                 pushing buttons and bodies are dropping
                 like flies. You assholes are missing
                 half the case!

      ABOVE THE LAW - Rev. 4/29/87                         72.

      Despite his animosity toward Nico, Neeley is beginning to     *
      realize this cop is onto something.

                                 AGENT NEELEY                       *
                Listen.     Toscani --
      Nico grabs Neeley's shoes, heaves them into the back seat.    *
      He shoves the agent out the door, swings himself behind the
      wheel.

                              NICO
                Watch your step.

260   EXT. DESERTED LAKEFRONT - DAY
      Nico drives off, leaving the FBI man miles from nowhere.

                                                 CUT TO:

261   MONTAGE
      with SCORE and V.O.
      A)   INT. POLICE HEADQUARTERS - DAY
           From out of an elevator and down a busy corridor march
           the brass, Deputy Superintendent Crowder included.       *
           Lieutenant Strozah lags slightly behind. They enter      *
           an auditorium where a large contingent of press,
           cameras ready, wait.

      B)   INT. CONDO COMPLEX - HALLWAY - DAY
           Jackson outside an apartment door in a Yuppie-esque
           condo complex. She looks both ways to be safe, then
           slides a credit card behind the lock. The door opens.
      C)   EXT. CONVENTION CENTER - DAY

           Nico parks Neeley's car in a huge packed lot. A towering *
           marquee sign reads: "COMPUTER EXPO '87." Nico starts on
           foot toward the convention center entrance.

      D)   INT. CONDO APARTMENT - DAY
           Jackson enters, looking guilty as hell. She picks up
           a framed photo from a piano: the dead Senator's aide
           posed smiling beside a distinguished-looking man
           (Senator Harrison) in front of the capitol building.
           Jackson sets the photo down, starts rummaging through
           desk drawers.

      E)   INT. POLICE HEADQUARTERS - DAY

                              CROWDER                               *
                The officer is alleged to be involved in
                illicit drug trafficking, racketeering
                and kidnapping --

ABOVE THE LAW - Rev. 4/17/87                          73.       *

F)   INT. CONVENTION CENTER
     Nico, in the crush of convention-goers, pauses before a
     booth promoting a TV manufacturer. The latest model TV's
     are set up in a sales display, with visitors gawking at
     the pictures of the church bombing aftermath.
                         NEWSWOMAN (V.O.)
                  (on TV's)
           Police sources also speculate that
           Toscani may be connected to the suspect
           in the bombing of St. Elizabeth's
           parish church --

     A police composite rendering of the woman who placed the
     bomb at the church is shown on the television.

                         NEWSWOMAN (V.O.)
                  (on TV's)
           -- the suspect is likely to be armed
           and considered to be extremely
           dangerous --
     Nico's police ID photo appears on the news.   He blends
     back into the crowd.

                         NEWSWOMAN (V.O.)
           In other news, Senator Ernest
           Harrison's presidential bid has...
     Nico moves swiftly through the convention center floor
     (which is packed for thousands of square feet with sales
     booths, each manned by technicians and pitchmen, all
     displaying the latest in high-tech data processing
     equipment, telecommunications, etc.)

G)   INT. CONDO APARTMENT - DAY
     Jax stuffs a wad of offical papers -- including appoint-
     ment books, notes and tapes -- into her briefcase. At
     the apartment door, she looks both ways, then emerges,
     starts away down the hallway.

H)   INT. CONVENTION CENTER - COMPUTER BOOTH - DAY
     Nico in the crowd in front of the booth of a Japanese
     computer manufacturer. Dr. Watanabe (Nico's friend whom
     we remember from the baptism/picnic scene) is the chief
     engineer at the booth, showing off some high-tech
     equipment to several brainy looking executives.
     Watanabe glances up, spots Nico. Nico makes a subtle
     sign to indicate he must speak to Watanabe. Watanabe
     crosses at once to Nico.

      ABOVE THE LAW - Rev. 4/29/87                           73A.

                               WATANABE
                 So good to see you again, sir!
                        (shakes Nico's hand)
                 Come back near closing... five-
                 thirty... we'll place your order
                 then.
          Nico nods, fades like a shadow into the throng.     MUSIC
          DOWN, SEQUENCE ENDS --

                                                    DISSOLVE TO:
262   INT. CONVENTION CENTER - NIGHT

      All customers gone, lights being turned off. Janitors
      sweep up, the last booth people shut down for the night.

      WATANABE

      emerges with Nico from behind a booth divider, leads her        *
      old friend at a brisk pace across the deserted floor.
                               NICO
                 Listen, Wat... you know I wouldn't
                 call in a favor --

      ABOVE THE LAW - Rev. 4/17/87                        74.        *

                              WATANABE
                Of course not. Just because you
                kept a few 'friendly' tribesmen
                from cutting my heart out and serving
                it up as Pad Thai?
      With a wink, Watanabe escorts Nico into a back area off the
      floor. Carpeted office dividers set off a small area,
      packed with super sophisticated computer equipment.

      Watanabe "boots up" a terminal, sits down with relish.
                              WATANABE
                The last six years I've been risking
                nothing but money. It's a kick to
                risk my ass again.

      Nico eyes the equipment and Watanabe, impressed.

                              NICO
                The old Spook.
                                                CUT AWAY TO:
263   OMITTED
&
264
265   INT. JACKSON'S APARTMENT - NIGHT
      Jackson has the Senator's aide's papers spread before her,
      cataloging them with interest. The PHONE RINGS. Jackson
      picks it up.
                              JACKSON
                       (into phone)
                Jackson.
      Whoever the voice is (which we can't hear), it makes Jackson
      forget the documents.
                              JACKSON
                       (into phone)
                -- Yes... yes, of course, sister, I
                know who you are.
                       (listens)
                -- where... where are you?

                                                CUT BACK TO:
266   INT. WATANABE'S COMPUTER AREA - NIGHT

      Watanabe working two computers simultaneously, with the
      gusto of a rock keyboard player.

      ABOVE THE LAW - Rev. 4/17/87                          75.         *

                              WATANABE
                -- No way to access Covert Ops
                directly. But Ornstein's at
                Princeton, he's got a database
                bigger than Langley --
                       (works keyboard
                        lovingly)
                If I can't crack that turkey's
                code, it's time to hang up my
                rock and roll shoes --
      Nico watches Watanabe work.

                               WATANABE
                -- ah, here! Here's a little trap
                door. Let's see if we can wriggle up
                into --
                        (watches the screen
                         with anticipation)
                Personnel files! Operative dossiers.
                Will that do?
                                NICO
                It's a start.
      Nico sits down beside Watanabe.
                                                   DISSOLVE TO:
267   FULL ASHTRAY
      Watanabe stubs out a cigarette. Empty coffee cups all
      around. Nico paces, reading a hard-copy printout.
                              NICO
                Fox has had a helluva career.
                       (reads down page)
                '69 to '76, Cambodia, Laos. Operation
                Phoenix. Operation Green Mountain.
                Operaton Northstar. This is all Vang
                Pao, it's all heroin --
                              WATANABE
                You friend has found his metier.

      Nico circles the "operations" on the page, hands it to
      Watanabe.

                              NICO
                Run personnel retrievals on all these
                operations. I want the names of every
                company man who was on them.

                                                   QUICK DISSOLVE TO:

268   CLOSE - COMPUTER SCREEN
      A list of about thirty names -- mostly civilian, but some
      with military rank attached.

ABOVE THE LAW - Rev. 4/17/87                      75A.

                       NICO (O.S.)
         Altshuler. Cosgrove. I know half
         these guys --
                (thinking)
         Okay... now run me an update. Where
         are these fuckers now?
                                         QUICK DISSOLVE TO:

      ABOVE THE LAW - Rev. 4/29/87                           76.

269   NICO - LATER
      Pouring a fresh coffee, studying the screen with Watanabe.

                              WATANABE
                       (finger tracks down
                        screen)
                Central American desk. Central
                American desk. Central --

                              NICO
                Thirty names from secret drug
                operations... and two-thirds of 'em
                are in Central America.
                       (beat)
                All right. Run these two names:
                Bautista Salvano and Ramon 'Chi Chi'
                Testamente.

                              WATANABE
                Those street dealers you were talking
                about? They're not gonna be in here.
      Nico gives her a look.    Watanabe starts punching keys.     *
270   CLOSE - COMPUTER SCREEN
      Official biographies of Salvano and Chi Chi come up.
                              WATANABE (O.S.)
                Well, kiss my ass.
                       (reads)
                Both former Somoza secret police.
                       (whistles, impressed)
                Recruited by agency, 1975. Trained
                Fort Benning, counter insurgency...

       ABOVE THE LAW - Rev. 4/17/87                          76A.

                              NICO (O.S.)
                Where's Fox's printout?
                       (finds it, reads)
                1976... Fort Benning. He recruited
                these pricks!
                                                   DISSOLVE TO:

270A   EXT. CONVENTION HALL - NIGHT                                   *

       It's even later. The last of    the janitorial crew is         *
       finishing up the huge floor.    A few display lights remain    *
       on, otherwise it's dark. Nico    stands above, observing,      *
       contemplating the information   he has received.               *
271    INT. WATANABE'S COMPUTER AREA                                  *

       Watanabe crapped out in a chair; Nico looking weary, pacing,   *
       wracking his brain.
                              WATANABE
                There's nothing left, Nico.     We've
                wrung these files dry.

      ABOVE THE LAW - Rev. 4/29/87                           77.

                               NICO
                        (muttering to
                         himself; thinking)
                Fox is here, in Chicago... or was
                here...
                        (has an idea)
                ... Listen. Can this thing tap into
                airlines? Reservations records --

                              WATANABE
                I can get you the ball scores, too.
                                                   DISSOLVE TO:

272   NICO
      As he finishes viewing the screen, stands.

                                NICO
                Five agents   from Central American desk.
                All trained   assassins. All arrived in
                Chicago in   the last week -- and none
                of them has   left.
      Nico grabs his coat, gulps a last swallow of coffee --

                              NICO
                Thanks, Wat. You finally may have
                done some good for your country.
                              WATANABE
                Where are you going?
                              NICO
                To find a priest.

                                                   CUT TO:
273   EXT. CONVENTION CENTER - NIGHT

      Jackson's unmarked car whips into the curb. Aboard:          *
      Jackson and Lukich. Nico steps from the shadows, ducks
      into the back seat. The car takes off.

274   INT. UNMARKED CAR - MOVING - NIGHT
                              NICO
                How did ya find him?

                              JACKSON
                The nun phoned me. She said two men
                had been sneaking around the church.
                She sounded scared --

      Nico checks his .45.    Two spare clips.

                                                            78.

                              JACKSON
                There's more. I got the papers
                from that senator's aide's apartment.
                Everything Harrison's been working on.
                It's all at my place.
                                                CUT TO:

275   ELEVATED SUBWAY TRAIN - NIGHT

      BOOMS PAST CAMERA, only a few feet away from a row of
      tenement apartment buildings. As TRAIN sound RECEDES,
      CAMERA MOVES IN ON one building. We hear LOUD UPBEAT
      ROCK AND ROLL coming from a third-floor apartment --
276   EXT. TENEMENT - POV FROM CAR ON STREET - NIGHT

                              VOICE (O.S.)
                       (from within car)
                Once you're inside, you'll signal us.
277   INT. CAR - CLOSEUP ON TREMBLING WOMAN (SAME STREET)
      It is the Middle-aged Woman who left the bomb, seen in Father
      Genarro's church. A police sketch of her was seen on tele-
      vision. She is looking up at the third-floor window, getting
      instructions. She turns around occasionally to see who's
      talking to her.
                              SALVANO (O.S.)
                Don't be scared. Your life depends on
                this.
278   CLOSE ON DRIVER
      It is one of Salvano's goons we've seen before.    He is
      checking his gun.
279   INT. TENEMENT HALLWAY - NIGHT

      The Woman walks slowly down the hall. She carries a small
      donation can. She knocks on a door. We hear FOOTSTEPS from
      within the apartment. The door opens. It's Bonifacia, the
      nun from the church (though now in civvies). The Middle-Aged
      Woman with the donation can raises it as if asking for a
      contribution. Bonificia looks flustered, impatient. She
      really doesn't want to leave the door open.

                              MIDDLE-AGED WOMAN
                Exusame, por favor. Tiene dinero
                para...

280   FROM NOWHERE

      Three of Salvano's armed goons appear on both sides of the
      doorway. They push both women violently into the apartment.

                                                           79.

281   CLOSEUP - GOON
      He steps quickly, surely into the apartment.

282   CLOSEUP - BEDROOM DOOR
      It flies open.   The goon points his gun AT the CAMERA.

283   GUNMEN'S POV

      Father Tomassino, the Costa Rican priest, stands at the
      window, he has been trying to open it. He turns. He knows
      he can't escape.

284   EXT. APARTMENT - POV FROM SALVANO'S CAR
      The light in the apartment window blinks twice.

285   EXT. TENEMENT - STREET - NIGHT
      From two cars emerge the shapes of several men.
286   EXT. CHICAGO STREET - NIGHT
      Jackson's car -- with Jackson, Nico and Lukich aboard --
      swings around a corner into a traffic jam. The HORN BLARES.
287   INT. TENEMENT APARTMENT - THIRD FLOOR - NIGHT
      A STEREO SPEAKER BLASTS MUSIC from the front room. CAMERA
      PANS ACROSS Bonifacia's bedroom dresser. We see mementos
      of her life and a photo of herself with Father Genarro with
      a group of children. CAMERA CONTINUES TO PAN PAST Bonifacia's
      bed, PAST Bonifacia's body! CAMERA CONTINUES DOWN TO the
      floor, where lies the lady who planted the bomb. They both
      appear dead.
288   CLOSE - FATHER TOMASSINO

      He is in a chair, his wrists strapped to the chair arms.    He
      is sweating, fearful but clinging to his courage.
289   ANOTHER ANGLE

      Behind Father Tomassino, we see Salvano, Chi Chi and two
      other goons, armed with pistols. Salvano moves toward the
      priest, sets a small TV table down beside him. The priest
      glances toward it --

290   PRIEST'S POV - TV TABLE
      Atop its rickety surface:   a fearsome array of syringes and
      drug vials.

291   BACK TO FATHER TOMASSINO
      He glances up from the hypodermics --

      ABOVE THE LAW - Rev. 4/17/87                           80.

292   PRIEST'S POV
      INTO FRAME moves Kurt Zagon! We see clearly the 15 years of   *
      aging since SE Asia. His face is even scarier than when he
      performed similar atrocities in those days. Zagon prepares
      a syringe, tests it, shooting a clear liquid skyward.
                              ZAGON
                You'll be in heaven in a few minutes,
                padre. But first I'm going to put
                you through hell.
293   EXT. CHICAGO STREET - NIGHT

      Nico, Lukich and Jackson are speeding through the infamous
      Southside. We want to scream at them to get there already.

294   BACK TO APARTMENT

      Salvano holds the priest's arm steady, Zagon moves in with
      the needle.
                              ZAGON
                You came here to talk to the                        *
                Senator's aide, didn't you?                         *

                               FATHER TOMASSINO
                I tried.   But you killed him first.                *
                              ZAGON
                Who told you about our plans?                       *
                              FATHER TOMASSINO
                This is from confession. I tell no
                one.

                              ZAGON
                You wouldn't lie to me, Father?   It's
                a sin.

      Father Tomassino says nothing, he begins to cry.
                              ZAGON
                       (almost with kindness)
                If you spoke to anyone, tell me now --
                       (indicates hypo)
                -- and I won't have to use this.

295   EXT. TENEMENT - NIGHT
      The unmarked police car pulls up, across the street.

296   INT. CAR - NIGHT

      Nico, Jackson, and Lukich gaze at the building.

       ABOVE THE LAW - Rev. 4/17/87                          80A.

296A   POV FROM CAR                                                   *
       In the shadows by the corner, a hulking Latino man loiters.    *

                               JACKSON (O.S.)                         *
                 That's an eyeball if I ever saw one.                 *
296B   BACK TO CAR                                                    *

       Nico starts to open the car door.   Jackson moves to join him. *
                               NICO
                 You're our backup. If we come out
                 running, then you can shoot.
       Nico's eyes meet his partner's. It's plain he'll break her
       leg if he has to, to keep her safe by the car. Jackson
       accepts this reluctantly.

                                                             81.

297   EXT. TENEMENT - NIGHT
      Nico and Lukich exit the vehicle. Nico indicates an adjacent
      building; he and Lukich start for it.

298   INT. APARTMENT
      Father Tomassino is beginning to come under the influence of
      Zagon's chemicals. In spite of this the priest's spirit to
      resist is astounding...
                              ZAGON
                Speak to me, Father -- who did you tell?

                              FATHER TOMASSINO
                I know what you are. I know what
                beasts you are.

299   EXT. ADJACENT BUILDING - ROOF OF TENEMENT
      Nico and Lukich emerge from the roof door, guns drawn. The
      roof is empty. Antennas, skylights, clotheslines. The pair
      creep soundlessly onto the next roof. They cross toward the
      roof door like infantrymen, moving one at a time from cover
      to cover, covering each other. They reach the door that
      leads down into the building. Nico checks the far side of
      the enclosure, nods to Lukich. Lukich cracks the roof door
      open --
300   STAIRWELL FROM ROOF - NICO AND LUKICH

      Nico and Lukich creep down the stairs from the roof.    Nico
      opens the door leading to the top (third) floor.
301   INT. APARTMENT

      The drugs have taken hold. The priest's brain is an open
      memory bank for Zagon to probe.

                              ZAGON
                I want to know who you told.
                              FATHER TOMASSINO
                       (barely coherent)
                I told them... you make the ninos...
                see... castrating their fathers --
                raping... mutilating their mothers
                ... And...
                       (breaks down crying)
                ... and sometimes... to the ninos...
302   NICO'S POV - HALLWAY

      As he slowly pushes the door open.   The hallway is empty.
303   INT. HALLWAY

      Nico and Lukich pad in.

      ABOVE THE LAW - Rev. 4/17/87                           82.

      Quickly Lukich checks the stairs leading down. Nico crosses
      silently past the first apartment door, checks the far end of
      the hallway. Nico comes back toward the apartment door.
      Lukich approaches from the opposite side. They take up
      positions flanking the door, guns drawn. The LOUD MUSIC
      CONTINUES from inside.
304   INSIDE APARTMENT

      Salvano and Chi Chi look on, revulsed. Whatever is happening
      to Father Tomassino is enough to make even cruel men ill.
                                 ZAGON (O.S.)
                   -- Tell me the truth, Father --
      The priest's eyes roll grotesquely; he convulses, sweat
      beading on his forehead. He looks like a man in the agonies
      of some narcotic hell.

                                 ZAGON
                          (close to priest)
                   -- Can we kill him? If you told anyone,
                   about our plans to kill the senator,
                   we cannot do it.
                                  FATHER TOMASSINO
                   Nadie.   Nadie. Nadie.                             *
305   NICO AND LUKICH IN HALLWAY
      O.S. we hear another ELEVATED TRAIN APPROACHING outside.
      Nico kicks the apartment door in! He and Lukich burst in,
      guns clutched two-handed.
306   QUICK CUTS

      The first goon reacts, raises his pistol. Lukich SHOOTS him.
      Nico NAILS the second goon, just as Chi Chi aims his sawed-
      off pistol-grip shotgun at Nico. Nico has a split second to
      dive behind a heavy upholstered chair. Chi Chi's DOUBLE-
      BARREL BLAST blows the chair into powder. Almost instan-
      taneously Nico sees the priest -- just as Zagon slashes the
      priest's throat! Salvano SHOOTS Lukich point blank, in the
      shoulder, sending Lukich's gun sailing. Nico, FIRING, grabs
      Lukich, dives out the door with him --
307   HALLWAY

      Zagon and Salvano OPEN FIRE from the apartment full-tilt.
      BULLETS RIP through the WALL, BLASTING WOOD and PLASTER
      everywhere. Nico shoves Lukich toward the stairwell --

                                 NICO
                   Go!   Go!
      -- Simultaneously FIRING back through the kicked-in door,
      EMPTYING his GUN.

      ABOVE THE LAW - Rev. 4/17/87                         83.

                              ZAGON
                       (in Spanish, from
                        apartment)
                Get him! Finish him!

      Nico is slamming a fresh clip in, Lukich is stumbling away
      toward the stairwell. Salvano and Chi Chi appear in the
      apartment doorway. Chi Chi levels his fierce "hogleg" at
      Nico's head. At that instant -- A broadside of BULLETS slam
      into the wall around Chi Chi. It's Jackson -- on the stairs!
      Chi Chi is hit, but spins, FIRES. His shotgun blast catches
      Jackson square in the chest, blowing her back like a doll,
      down the stairwell, out of sight. Nico reacts with agony,     *
      twists on the floor, SHOOTS Chi Chi in the face. Nico pulls
      the trigger as fast as he can, sending a HAIL of FIRE through
      the doorway, through the walls. Salvano clutches his hench-
      man, using his dead body as a shield; Nico's BULLETS blow Chi
      Chi apart. Zagon FIRES back, hits Nico in the side by the
      ribs! Nico tries to fire back; he's empty!
                              ZAGON
                Now!
      Nico bolts for the stairwell to the roof, clawing for a new
      clip as he goes. Salvano and Zagon burst into the hallway,
      SHOOTING at Nico.
308   INTERCUT - ELEVATED TRAIN
      THUNDERING along the tracks adjacent to the building.

309   EXT. ROOF - NIGHT
      Nico highballs from the stairwell as the tarpaper roof erupts
      all around him with GUNFIRE from the floor below! He dives
      sideways, rolling to avoid the fire -- He recovers his
      footing in time to see Salvano and Zagon burst onto the roof
      from the stairwell. Nico's BULLETS miss them; they separate,
      taking cover behind two walls at the roof's margins. Nico
      is trapped -- in the open.
310   ZAGON AND SALVANO

      pop back out, aiming at Nico --
311   NICO

      leaps off the roof!

312   ANGLE - ELEVATED TRAIN - MOVING
      Nico lands on the roof of the speeding "el" train, his
      momentum nearly carrying him off the far side --

313   NICO - ATOP TRAIN
      catches a railing, claws at it.   BULLETS rip into the train
      roof all around him --

       ABOVE THE LAW - Rev. 4/29/87                          84.

314    ATOP TENEMENT ROOF - SALVANO AND ZAGON
       FIRE for all they're worth at Nico's receding form.

315    ATOP TRAIN - NICO
       crawls to the space between cars, lowers himself down.      He
       clings to the swaying chains.

315A   INT. TRAIN CAR
       Nico staggers through the almost empty car and collapses on
       a bench.

316    AROUND CORNER - TWO POLICE CARS
       hurtle INTO VIEW under the El, SIRENS BLARING.                   *

317    BACK ON TENEMENT ROOF
       Zagon and Salvano scramble away.
318    OMITTED
                                                 CUT TO:

319    EXT. EL STATION - STAIRWAY TO STREET - NIGHT
       A cleaner, more upscale neighborhood. Nico labors down the
       steps, clutching his jacket to his ribs. Several affluent
       people look at him oddly, he ignores them, keeps going -- He
       makes his way up the street, weakening, to a tasteful brown-
       stone. Nico climbs the steps in pain --
                                                 QUICK DISSOLVE TO:

320    INT. JACKSON'S APARTMENT - BATHROOM - NIGHT
       Nico over the sink, shirt off, WATER RUNNING -- applying a
       makeshift bandage to his bloody ribs. We see Jackson's make-
       up stuff along the counter, feminine robes hanging on the
       door, law books around a reading stand. Nico is in real
       pain, exhausted, weakening --

321    LIVING ROOM - NIGHT
       Nico at Jackson's desk, its surface spread with the notes
       and papers she got from Senator Harrison's aide's place. We
       glimpse them: photos of Central American atrocities, dead
       bodies, etc. He tries to study them, quickly, but his
       attention shifts --

       Nico glances around the apartment: more law books, Jackson's
       degree on the wall, her rowing machine on the floor, several
       framed photos beside him on her desk. Nico turns several
       toward him.

       ABOVE THE LAW - Rev. 4/29/87                          85.

322    INSERT - FRAMED PHOTOS
       Jackson with her sisters and their kids, Jackson in law
       class, Jackson and Nico posing, smiling, at the police shoot-
       ing range --
323    BACK TO NICO

       He starts to cry.

                                  NICO
                           (to Jackson's photo)
                    -- Had to be a hero... another fucking
                    hero. I'm sorry Jax.
       He reaches for a small calendar, looks at it.

324    CLOSEUP - CALENDAR

       Nico circles "meet with Father Tomassino." Nico circles
       another date, "Senator delivers foreign policy position
       paper/Committee for Democratic Policy fund raiser."             *
325    OMITTED
&
326
327    BACK TO NICO
       Nico scoops up the aide's papers, stands, wobbly --

                               NICO
                 -- Senator... --
                        (of papers, with scorn)
                 -- dumb fuck... think they're gonna
                 let you put 'em outta business --
327A   INT. EMERGENCY ROOM CORRIDOR - NIGHT

       Several cops frantically clear the way to the emergency room.
       A gurney is wheeled down the corridor. Lukich, a shoulder
       bandaged, walks beside the gurney, holding the hand of Jackson.

327B   CLOSEUP ON
       a bloody flak jacket rests upon the gurney.

327C   CLOSEUP - JACKSON

       She's been sedated. She has buckshot wounds on her neck and
       shoulder, but she is alive.

                                  JACKSON
                           (to Lukich)
                    You call Nico's goddamn Uncle and
                    find out if he's heard anything.

       ABOVE THE LAW - Rev. 4/17/87                        85A.       *

                               LUKICH
                        (wounded himself)
                 You just shutup and take it easy,
                 pal.

328    INT. TAXI - NIGHT
       CLOSEUP of Nico riding through the wet streets.

328A   INT. EMERGENCY ROOM
       Lukich is on the phone. His shirt is off and he's being
       bandaged. In the background Jackson is also being cared
       for.
                               LUKICH
                        (on phone)
                 We don't know what happened to him,
                 Branca. Ya, she's gonna be alright.
328B   INT. BRANCA'S SAFE HOUSE - NIGHT
       Branca, a bodyguard next to him, grimly puts down the phone.
       He looks devastated.

      ABOVE THE LAW - Rev. 4/29/87                         86.

329   EXT. DRIVEWAY - BRANCA'S SAFE HOUSE - NIGHT
      From the darkness, Nico appears, barely making it up the
      driveway. We hear the sound of the CAB DRIVE OFF.

330   EXT. BRANCA'S SAFE HOUSE - NIGHT
      Branca and a bodyguard come forward, grabbing Nico as Nico
      almost collapses.

                                BRANCA
                Jesus Christ!

                              NICO
                The motherfuckas got Jackson.
                              BRANCA
                Lukich called. She's not dead.
                She's gonna make it. She was
                wearing a vest.
      Nico can't believe it. In spite of it all, life comes to
      him. A little smile...
                              NICO
                That broad didn't trust me.
                                                 CUT TO:
331   EXT. BRANCA'S SAFE HOUSE - POV FROM WINDOW - NIGHT

      We glimpse several armed bodyguards in concealed positions.
      A late-model Cadillac pulls up. A man carrying a doctor's
      bag gets out and is escorted to the side door.
332   INT. BRANCA'S SAFE HOUSE - NIGHT
      Rosa has pulled back the curtain from the second-floor bed-
      room window. She witnesses the arrival of the doctor. On
      the bed behind her sleep Sara and Julian. A bodyguard          *
      stands outside the bedroom door.
333   INT. BASEMENT FAMILY ROOM - NIGHT

      The doctor tends Nico. Bloody bandages and antiseptic
      bottles litter a coffee table. Two guards stand by. Branca
      is showing Nico an 8-by-11 photograph.

                              BRANCA
                It was picked up with your mail this
                afternoon.

334   INSERT - PHOTOGRAPH

      A shot of Nico's family taken from a parked car, in front of
      the church, the morning of the bombing.

      ABOVE THE LAW - Rev. 4/29/87                          87.

335   BACK TO NICO AND BRANCA
      Nico's grim expression shows he knows just what this means.

                              BRANCA
                Don't worry, they're booked on an early
                plane. They'll be out of the country
                tomorrow.

      Nico winces as the doctor finishes applying a bandage.      In
      the background we hear a COMMOTION.
336   INT. BASEMENT STAIRWAY - NIGHT

      A bodyguard tries to fend off the physical and verbal assault
      from Sara and Rosa. Sara carries Julian.                      *

337   INT. BASEMENT FAMILY ROOM - NIGHT

      Sara rushes to Nico's side.    Nico reaches for her, but         *
      the pain stabs him.
                              SARA                                     *
                Oh my God, Nico!                                       *
      Rosa starts forward, her face in agony at the sight of her
      wounded son.
                               BRANCA
                He's fine.   The boy has ribs of steel!

                              ROSA
                       (touching Nico's brow)
                Enough of your humor.
      Sara clings to Nico's arm, tears in her eyes. Rosa               *
      crosses herself. Sara begins to weep. The doctor finishes.       *
      There's a long awkward moment. Then:

                              BRANCA
                       (to doctor and
                        bodyguards)
                Leave them. Leave them alone.

                                                  QUICK DISSOLVE TO:
338   INT. FAMILY ROOM - LATER

      Rosa sits in a chair. Nico on the couch, holding Julian.
      Sara faces him. Tears have stained her cheeks, but she           *
      is in control of her emotions now.                               *

                              SARA
                -- You've got to do it, Nico.    You
                know you have to.
      Whatever Sara is proposing, Nico is dead set against it.

ABOVE THE LAW - Rev. 4/29/87                         88.      *

                        ROSA
          Listen to her, Nicola.
                 (dead serious)
          Whatever you think of him, Federico
          is family. He is our family.
Nico makes no response.   Instead, he lifts Julian, nuzzles
him tenderly.

                        NICO
          Ever notice how clean babies smell?
          Like nothing in the world has touched
          them yet.

Sara glances to Rosa. Rosa knows what she wants. Dis-
creetly Rosa rises, exits. Sara and Nico are alone.

                        SARA
          If you won't go to him, I will.
                        NICO
                 (in pain)
          Don't push me like this --
Her eyes meet his -- loving, but desperate.

                        SARA
          Branca can put us on a plane -- but
          where can we fly to? Tibet? The moon?
          There's nowhere they can't find us.

                        NICO
          You don't know what the hell you're
          talking about.
                        SARA
          I'm talking about everything I've
          learned from you in the past five
          years.

Nico is in agony.
                        NICO
          You know I can't go to him.
Sara takes both his hands in hers.

                        SARA
          Do you know why I love you? Do
          you know what it is about you
          that I've always loved?
                 (as Nico fights his
                  own emotion)
          Pride. It's what you have inside.
          You don't live the way other people
          live. You trust what you see as
          right and won't let anyone or anything
          make you stray from it.

      ABOVE THE LAW - Rev. 4/29/87                           88A.      *

      MOVE IN PAST Sara TO Nico's face.
                              SARA (O.S.)
                But now that pride may kill all
                of us.
                       (beat)
                You've got to swallow that pride,
                Nico. Choke on it if you have to.
                Lay it aside.

339   ANOTHER ANGLE - NICO AND SARA
      Close together, with their baby between them. Sara
      buries her face against her husband's chest. Nico's arm
      goes around her. He holds her tight.
                                                   CUT TO:

340   CLOSE - NICO - AGAINST WALL - DAY
      He wears a suit and tie, a hat.   All business.
                              MAN (O.S.)
                Is this the attorney?
                              ANOTHER MAN (O.S.)
                You can come now, Mr. Carlucci.
      O.S. we hear a METALLIC sound BEGIN, VERY CLOSE -- PULL
      BACK TO:

341   ANOTHER ANGLE
      To reveal bars which slide electrically to the side.    A
      prison door opens, letting him through.

342   ANGLE - PRISON CORRIDOR - DAY
      Nico, escorted by a prison guard, walks down a long, blank
      hallway.
                                                   CUT TO:

343   NICO
      Waiting in a barren reception room.   Several benches, tables;
      heavy steel mesh over windows --

344   NICO'S POV - ACROSS ROOM
      A steel door opens on the far side. Out steps a small
      Italian man in his seventies, wearing the faded denim of
      an inmate.

      ABOVE THE LAW - Rev. 4/29/87                         88B-90.

345   INT. PRISON CORRIDOR - LONG SHOT - DAY                          *
      Nico and the small man (FREDERICO LARUSSO) walk together down *
      a long corridor, speaking occasionally, the tension thick     *
      between them. Behind them, a discreet fifteen paces, walk     *
      two armed prison officials.
346   CLOSER - LARUSSO AND NICO

      The old man never looks directly at Nico, yet we sense keenly
      that he is taking the younger man's measure.
                              FREDERICO LARUSSO
                I am only an old man. An old man
                with a cancer.
      The two are like an old and a young lion, appraising each
      other -- using all five senses and more.

                              NICO
                I don't have much time, Uncle.    So
                I must speak plainly.
      Larusso listens.   Nico waits for a beat.   Then:

      ABOVE THE LAW - Rev. 4/17/87                          91.

                              NICO
                       (this is very painful
                        for him)
                -- For as long as I've been old enough
                to think, I've hated you and hated
                everything you stood for.
      Larusso takes this in without a flicker.

                              NICO
                I was so sure that you and I were on
                opposite sides of the fence... and
                that you and your people were
                destroying this country --
      Nico pauses, glances away across the grounds.

                              NICO
                -- The most painful realization of my
                life was that the people I worked for
                and you are not far apart.
                       (meets Larusso's eyes)
                -- And there's not much difference
                between what you are and what I was.
      Larusso studies Nico a long moment.    Then takes Nico's elbow. *
                                                                      *
347   OMITTED                                                         *
348   NICO AND LARUSSO

      continue across the grounds.
                                 FREDERICO LARUSSO
                I will be    candid with you. I knew,
                probably    before you did, that you
                would be    coming to me. I knew what
                you would    ask... and I had every
                intention    of refusing you.

      He glances to Nico.
                              FREDERICO LARUSSO
                But it is a form of wisdom to know
                when to cease relying only upon
                yourself.

      He keeps walking.

                              FREDERICO LARUSSO
                You know, of course, that this Senator
                Harrison will never live to make his
                speech tomorrow.
                       (as Nico acknowledges)
                You know, too, that as long as this
                man... this torturer --

      ABOVE THE LAW - Rev. 4/29/87                             92.

                                 NICO
                   Kurt Zagon.

                                  FREDERICO LARUSSO
                   -- As long as this Zagon lives, nothing
                   I can do will guarantee your family's
                   safety.
                           (beat)
                   'Ecce non uomine, ecce bestie.' You
                   know Dante?
                           (translates)
                   'These are not men, these are animals.'

      Larusso stops, takes a small note pad from his pocket.         He
      quickly scribbles a few lines.
                                 FREDERICO LARUSSO
                   Memorize this address.

      He holds the paper for Nico to see.
                                 FREDERICO LARUSSO
                   Have you got it in your mind?
      Nico nods.    Larusso tears the paper into tiny shreds.             *

349   INT. ADMIN BUILDING - RECEPTION ROOM - DAY
      The old man takes his leave of Nico with a warm, if formal
      handshake. The guards stand by, waiting.

                                 FREDERICO LARUSSO
                   Thank you, Mr. Carlucci. I trust you
                   will give my love to my niece, Rosa.
                                 NICO
                   I will do that, Mr. Larusso.
                          (sincerely)
                   I hope you will be well.

350   LARUSSO
      nods: "Bene." Then: without a word he turns and exits
      back through the steel door.
                                                     CUT TO:

351   INT. O'HARE AIRPORT - BOARDING GATE - DAY

      Passengers file aboard a flight to Toronto. Hugs, goodbyes.
      Rosa, carrying the baby, is among the crowd moving toward
      the boarding door. Leaving with them are two of Branca's
      men. We PICK OUT Branca and two of his bodyguards near the
      fringes, looking inobtrusive but definitely on guard.

      ABOVE THE LAW - Rev. 4/29/87                           92A/93.

352   CORNER NEAR BRANCA
      Hidden by a bank of phones, Sara clings to Nico, holding      *
      him as tight as she can. When she releases him, we can't
      hear what she says, but it seems like, "Be careful, please be
      careful." Nico glances to Branca, who motions subtly to
      hurry.

      He squeezes Sara's hand, she joins the crowd swelling            *
      toward the boarding door --
                                                   CUT TO:

353   EXT. O'HARE - RUNWAY - DAY (STOCK)                               *
      An Air Canada PLANE BLASTS skyward.

354   NICO AND BRANCA

      watch from an open corner of a parking lot. As the plane
      begins its bank to gain altitude, Branca turns to Nico.
      The two bodybuards keep a discreet watch nearby.
                              BRANCA
                You got the architect's drawings?
                Wiring, floor plans --
      Nico indicates a briefcase he is carrying.
                              NICO
                It's all here.
      Nico turns to his uncle.    Regards him with affection.
                              BRANCA
                I could help you from here on.
                              NICO
                It's not your business.

      Nico embraces his uncle by both shoulders.
                              NICO
                Grazie, tio caro.
      Branca pats Nico's cheek.

                              BRANCA
                Take care of yourself, Nicola.
                                                   CUT TO:

355   SERIES OF SHOTS

      SEVERAL SHOTS of high-rise cityscapes at night.
                                                   DISSOLVE TO:

       ABOVE THE LAW - Rev. 4/17/87                        94.

356    OMITTED                                                       *
thru                                                                 *
360                                                                  *

361    TELESCOPE POV - CHICAGO SKYLINE - NIGHT
       CAMERA PANS TO the apartment complex across the plaza.
       FOCUS ON one suite on the topmost floor. Curtains are drawn
       on all windows, but through one crack we glimpse a man
       pacing. The man wears a white shirt and a shoulder holster.
362    RAISE TELESCOPE POV

       TO the roof of the apartment complex. We see a heli-pad.
       Two more men, also in suits -- smoking, talking.

      ABOVE THE LAW - Rev. 4/17/87                             95.

363   LOWER TELESCOPE POV
      BACK TO the apartment suite. Now another man crosses before
      the gap in the curtains. Wearing a cowboy hat: Zagon!
      He's laughing, pouring himself a drink at the wet bar --
364   EXT. ROOFTOP SKYSCRAPER - NIGHT                                *

      Nico, looking through a high-tech night telescope. His         *
      briefcase is by his feet, open. Several architect's            *
      drawings, floor plans visible.
365   NICO

      lifts his eye from the scope, jots a note on a pocket pad.     *
                                 VOICE (O.S.)
                   Not even you can hit him at this range,
                   Nico.
      O.S. behind Nico: the unmistakable sound of a .45 SAFETY
      being CLICKED OFF. Nico freezes, his back to the voice. He
      raises his hands.
                                 NICO
                   That wasn't the plan, Nelson.
366   NELSON FOX
      covers Nico from behind with a silencer-fitted .45. He
      glances to the briefcase and building plans, on the floor.
                                 FOX
                   Close range, huh? Never work. Place
                   is rigged, scanned every 35 seconds.

                                 NICO
                          (back still turned)
                   I was thinking of a mine on the roof.
                   Remote-triggered, when the chopper
                   comes in.
                                 FOX
                   Roof's wired too.   Sensors every
                   fifteen feet.
      Fox's finger rests ready on the trigger.

                                 FOX
                   You can turn now.   Slowly.   Slooowly...
      Nico turns. We see Fox clearly now. His boyish features
      have weathered since his "spook" days in Vietnam. There is
      grey in his hair now: he wears an expensive suit and is
      alone.

       ABOVE THE LAW - Rev. 4/17/87                         96.

                               FOX
                 I figured you'd do your recon from this
                 building.

       Nico regards his old mate across the gun barrel.
                               NICO
                 You're looking fit, Nelson.

                               FOX
                 Getting a bit of a tire.
                               NICO
                        (indicates Fox's suit)
                 Your own tailor?
                               FOX
                 Hong Kong.

                               NICO
                 You've gone a long way.
       Fox motions for Nico to dump his gun; Nico complies, dropping
       it gently into the briefcase. Nico takes half a step toward
       Fox. Fox shakes his head in warning.

                               FOX
                 Uh uh.  Uhhh-uh...
                        (motions Nico back)
                 I know what you can do when you get too
                 close to a man.
367    CLOSEUP - NICO                                                  *
                               NICO                                    *
                 I don't believe you, Fox.                             *
367A   INT. BUILDING CORRIDOR - NIGHT                                  *

       Nico walks, hands behind his head. Fox is catty-corner be-    *
       hind him, carrying the briefcase, .45 leveled at Nico's back. *
                               FOX
                 -- What's so hard to believe. I
                 want to help you, you dumb guinea!
                               NICO
                 Fox the fixer.

                               FOX
                 If I wanted to cap you, I'd have saved
                 myself this chit-chat. Make big points
                 for me to bring in your scalp. I'd be
                 White House material.
                               NICO
                 Is that what Zagon is?    One of your
                 basement boys?

ABOVE THE LAW - Rev. 4/17/87                96A.

                       FOX
         Zagon's a rancher. 4000 acres in
         Costa Rica. Beautiful place.

       ABOVE THE LAW - Rev. 4/17/87                         97.        *

                               NICO
                 Bought with what -- opium from Cambodia?

                               FOX
                 And a ton a week of coke from other
                 places.
                               NICO
                 Which he funnels here through Salvano.
                 With the Company getting its cut.
                                 FOX
                 Legal tender.

                               NICO
                 Still dodging appropriations
                 committees, eh, Nelson?

                               FOX
                 That's my job, Nico.
       They arrive at an elevator.
                               FOX
                 Keep your nose in the corner. When
                 we get out, stay five paces ahead of
                 me. Cross down to the garage.
367B   INT. LOWER CORRIDOR
       Nico and Fox emerge from the elevator. Nico lowers his hands
       from behind his head. Fox keeps his gun out of sight as he
       and Nico step past.
368    ELEVATOR BANK - NIGHT

       Fox maintains a slight distance behind Nico as they cross to-
       ward some escalators under a sign: "TO PARKING LEVEL 8."

                               NICO
                 The Senator couldn't be bought, could
                 he? He was gonna blow the lid off, so
                 you cleared Zagon to frost him --

                                 FOX
                 Keep walking.

369    INT. PARKING STRUCTURE

       They reach a corner and turn.

                                          97A.

              NICO
But the priest found out somehow and
ran here. You couldn't do the Senator's
number 'till you knew if the priest had
talked. So Zagon flew in with his
little medical bag. Only by then I was
in on it -- and you thought I might
recognize his handiwork.

      ABOVE THE LAW - Rev. 4/17/87                        98.

370   PARKING GARAGE - VALET STATION                              *
      Several guests and diners wait by the cashier's booth for
      their cars to be fetched. Valets hustle with tickets. Fox
      and Nico come off the escalator.
                             FOX
               If your name was Joe Smith I never
               would have caught it. But how many
               Nicola Toscani's are there?
                             NICO
               You got it off the arrest sheet.

      Fox hands his ticket to the cashier, motions Nico to the
      side, away from the guests, still keeping his distance --
      should Nico try to make a move.

                             FOX
               I tried to warn you, old buddy. I knew
               you had wiretaps. and I knew you
               wouldn't let 'em go.
                             NICO
               Only I was too dumb to crack it. I was
               so busy trying to figure a code, I
               didn't even recognize Zagon's voice.
      It's all crystal clear to Nico now.
                             NICO
               So we kill our own senators now.
                              FOX
               Why not?   The Romans did.

      A Cadillac pulls up; the valet hops out, two particularly
      florid, well-fed guests get in, tipping the valet.

                             NICO
                      (to Fox, watching the
                       guests)
               Are we the Romans?

                             FOX
               We're an empire too.

      Fox doesn't like the look Nico gives him.

                             FOX
               Would you rather spoon borscht and
               quote Lenin?
                      (losing patience)
               I'm trying to save you, asshole! I got
               a spot for you. Thailand, deep under,
               no names, no numbers --

                                                     99.

                       NICO
         Doing what -- processing heroin?

                       FOX
         You 'consult.' You 'assist.' You send
         checks to your family. Zagon won't
         touch you, you'll be on the team --

                       NICO
         Fuck you.
                       FOX
         In five years you're out, with a fat
         Swiss account and a GS-15 pension.
Nico stares at his old friend with contempt. He sees the
gun under Fox's coat, but he's too tired and too disgusted
to care --

                       NICO
         You know, Fox, right now in Israel
         they're trying some 80-year-old camp
         guard for war crimes. And all around
         our country there are guys on Death
         Row for killing one person, two people.
         And probably they all deserve it --
He takes a step toward Fox.   Fox's hand tightens on his gun.
                       NICO
                (emotion rising)
         -- but you and I know a couple guys
         personally who are responsible for the
         murder of at least what... 60,000 non-
         military personnel.
                (ticks off the beats)
         Viet. Lao. Thai. Cambodian.
         Librarians, teachers, doctors... women,
         children... and that's just a sliver of
         it.
Fox tries to maintain a hard face.   But his own guilty
conscience is working --

                       NICO
                (presses closer)
         We've wiped out entire fucking
         countries. And not one agent --

                       FOX
                (moves gun into Nico's
                 view)
         Stop right there!

      ABOVE THE LAW - Rev. 4/29/87                           100.

                                NICO
                         (doesn't stop)
                  -- not one C.I.A. agent has ever been
                  tried or convicted, much less accused
                  of any crimes.
                         (closer still)
                  You motherfuckers think you're above
                  the law --
                         (right in Fox's face)
                  Well, you ain't above mine.
      Nico holds himself, trembling with intensity. At that
      moment -- O.S. from the garage entrance ramp: the SQUEAL
      of APPROACHING TIRES. Nico and Fox turn to see --
*NOTE* 4-17-87. THE FOLLOWING SEQUENCE (SCENES 371 - 401) WILL BE
       MODIFIED TO CONFORM TO LOCATION. DO NOT BUILD OR PURCHASE
       WITHOUT CHECKING WITH STUNT COORDINATOR AND ASSISTANT
       DIRECTORS. STORYBOARDS AND NEW PAGES WILL BE AVAILABLE NEXT
       WEEK.
371   A BIG CAR                                                      *
      SCREECHES to a halt in front of them. Five men dismount        *
      swiftly. Salvano, Bad Dude, and two agent types from the       *
      tenement... and Zagon!                                         *
      Zagon and his men are forty feet from Nico and Fox, playing
      it cool so as not to alarm any innocent bystanders, but the
      bulk under their jackets is unmistakably guns.

                                  NICO
                  Well... well.    What a team we have
                  here.
                                ZAGON
                         (calls, friendly)
                  We've been looking for you, Nelson.    I
                  see you've found our friend.

      Fox looks shaky, unnerved: Nico's words have hit too close
      to home. Now Nico backs away a step, ready for anything.
      One of Zagon's agents holds their car's rear door open.        *

                                NICO
                  Thanks for the help, Fox.

                                FOX
                  I didn't bring him, Nico.    I swear it!
                                ZAGON
                  Have you two been sharing fond memories?
                  Reminiscing about the good old days?

      Zagon waves Nico and Fox toward his car. Zagon and             *
      Salvano start forward. Fox glances, torn, to Nico, who
      has backed away another half-step. Will Nico attack?
      Run for it?

                                                    100A.

                       FOX
         Stay still!
                (to Nico)
         Don't fucking move!!

Fox pulls his .45 from concealment, covering Nico. An
EVENING-GOWNED WOMAN, waiting with her husband for their
car, hears Fox's shout, sees his gun.

                                                          101.

                              EVENING GOWN WOMAN
                       (grabs her husband's arm)
                Jack --

      The husband sees. So do the other guests. Salvano sees
      their alarm; he swings his jacket open, revealing a snub
      machine gun. Someone SCREAMS --

                              ZAGON
                Bring in our friend, Nelson.
      Salvano's muzzle covers Fox and Nico --

                              ZAGON
                Be a good boy --
372   FOX

      His moment of truth.
                               FOX
                Dive, Nico!!
      He FIRES -- at Salvano! In the same instant, Salvano pulls
      his own trigger! Salvano's MACHINE GUN BURST cuts Fox down,
      a milli-second before Fox's .45 SLUG BLOWS Salvano off his
      feet! Pandemonium. Fox, dying, slings his .45 to Nico, who
      snatches it from the ground just as a HAIL of MACHINE GUN
      FIRE THUNDERS around him. Nico dives headlong behind a
      concrete column, which is instantly chewed to shreds by
      GUNFIRE. Zagon FIRES his MAC-10 on full automatic. A
      second agent hurries forward to outflank Nico. Nico pops
      from behind the column, DRILLS the agent broadside behind
      the ear, blowing the whole side of his head off! Guests and
      valets are shrieking in terror, hitting the deck in
      clusters, clawing and scrambling over each other for safety.
                               ZAGON
                        (to first agent,
                         advancing)
                Move!
      Nico springs from cover, FIRING, trying to bolt down the
      garage ramp, toward the lower levels. His path puts the
      first agent directly in Zagon's line of fire. Zagon doesn't
      hesitate; he OPENS UP on Nico, cutting down his own man --
      Salvano has gotten to his feet, wounded, but still handling
      his gun. He  joins Zagon, rushing forward --

373   RAMP TO LOWER LEVELS
      A valet rounds a corner, unsuspecting, bringing up a car.
      Nico is on him like a cat, tearing the poor boy from behind
      the wheel, leaping in --

       ABOVE THE LAW - Rev. 4/17/87                          102.

374    ZAGON AND SALVANO
       tear around the corner at the top of the ramp.    Both OPEN
       FIRE as --

375    NICO - IN CAR
       highballs straight toward them!

376    SALVANO
       hold the trigger down, FULL AUTOMATIC --

377    NICO'S CAR (MOVING)
       Nico drops below the dash, driving blind. The WINDSHIELD is
       BLOWN APART, both FRONT TIRES EXPLODE, the RADIATOR BLASTS
       STEAM --

378    ZAGON
       Reloading as Salvano FIRES.
379    NICO'S CAR
       pinwheels out of control, its nose facing away from Salvano
       and Zagon. The car BRAKES FURIOUSLY --
380    NICO
       hits reverse, looking back over the seat --
381    NICO'S POV - THROUGH REAR CAR WINDOW
       He sees Salvano, his clip empty now, hurrying to wrestle a
       fresh magazine in --
382    ANGLE - NICO'S CAR AND SALVANO

       Nico floors it in reverse, slamming into Salvano, lifting
       him off his feet, smashing him with the car into a metal      *
       grate wall.                                                   *

383    SALVANO
       A horrible death.

383A   EXT. PARKING STRUCTURE - NIGHT                                *

       From the eighth floor the metal grate of the parking struc-   *
       ture blows out onto the street below, followed by Salvano's   *
       body.                                                         *

384    NICO - BEHIND THE WHEEL
       BURNING RUBBER FURIOUSLY, away from the wall --

                                                          102A.

385   ZAGON
      Reloaded, turning his gun toward Nico, when --

386   TWO UNIFORMED HOTEL SECURITY GUARDS
      hurtle around the corner from the escalators, guns drawn.

      ABOVE THE LAW - Rev. 4/29/87                          103.

                                FIRST SECURITY GUARD
                         (shouts to Zagon)
                  You there --

      Zagon spins, rips both guards with a FIERCE BURST!    The
      Guards drop. Zagon turns to --
387   NICO - OUT OF CAR

      on his feet, charging straight at Zagon. Nico grabs him,
      slams Zagon with incredible force into a concrete column.
      Zagon's gun goes flying, but miraculously he spins away.
      Nico dives for him, gets his neck in a grip that is certain
      to snap it in half a second. But --
388   ZAGON'S KNIFE

      appears in the torturer's hand.    It slashes Nico, right a-
      cross his already wounded ribs!    Nico cries in agony --
389   ZAGON
      scampers free. Nico gets to his feet, bleeding. Nico is
      between Zagon and Zagon's machine gun on the ground. Zagon
      bolts for his car. Nico dives for the gun --                      *

390   CAR                                                               *
      Zagon floors it into a SCORCHING 360, BLASTS up the exit
      ramp, out of Nico's line of fire --

391   NICO
      leaps   into the other, half-destroyed car. Its two front
      tires   are flat, windshield blown out, RADIATOR POURING STEAM.
      Nico   does the only thing he can do: puts the pedal to the
      metal   in reverse, BLASTS across the ramp divider, takes off
      after   Zagon in reverse --

392   ON RAMP - ZAGON'S CAR                                             *
      Another car is coming down.    Zagon sideswipes it into a wall,
      keeps going --

393   ON RAMP - NICO'S WRECKED CAR
      Rear TIRES CHURNING smoke, FRONT FLATS SCRAPING on their
      rims... he pours on the speed --

394   TOP OF RAMP - HOTEL ACCESS DRIVE
      Zagon's car whips out into the night-time commotion.
      Pedestrians, POLICE SIRENS O.S. Zagon looks behind him --

395   NICO'S CAR - TOP OF RAMP
      hurtles into view in reverse!

      ABOVE THE LAW - Rev. 4/29/87                            104.

396   ZAGON'S CAR                                                      *
      is trapped   by the traffic. Zagon looks around wildly, then
      floors the   accelerator. Zagon's car bucks straight up the      *
      pedestrian   steps, onto the plaza! Strollers scream and
      scatter as   it fishtails wildly, careening toward the           *
      huge stone   fountain --

397   NICO'S WRECKED CAR

      Follows, pouring smoke, in reverse! Nico cuts Zagon off,
      CRASHES into Zagon's car broadside, sending it skittering        *
      sideways into the fountain retaining wall --

398   ZAGON
      leaps free, sprints toward the hotel alley.     Nico takes off
      after him on foot --

399   EXT. ALLEY - REAR OF HOTEL - NIGHT
      Zagon races down the darkest of alleys, rounds a corner --
400   NICO
      hurtles after him, gaining.     Nico whips around the alley
      corner, straight into:
401   FOUR ARMED AGENTS
      waiting beside a plain grey TV remote van. Nico skitters         *
      to a stop as a shotgun, an M-16 and two pistols cover him.
      Shotgun Agent raises his weapon to fire --
                                  ZAGON
                   No!   I want him! I want him alive!
402   EXT. MIDLAND HOTEL - NIGHT                                       *

      A banner reads:     WELCOME COMMITTEE FOR DEMOCRATIC POLICY      *
403   EXT. ANOTHER ALLEY - BEHIND MIDLAND HOTEL - NIGHT                *

      A car pulls up. Nico, his wrists tied, is dragged into the
      basement of the hotel. Zagon follows.
                                                    CUT TO:

404   INT. BASEMENT ROOM - NIGHT
      Sweating, windowless concrete. Overhead pipes. Churning
      machinery. As the CAMERA REVEALS this airtight dungeon --

                                 PISTOL AGENT (O.S.)
                   -- this is bullshit, Zagon. We got
                   work to do.

      ABOVE THE LAW - Rev. 4/17/87                        105.

                             ZAGON (O.S.)
               All work and no play makes Jack a dull
               boy.

405   NICO
      in a metal chair, wrists taped in front of him. One agent
      stands behind him, clasping a thin cable noose wrapped
      tight around Nico's throat. Shotgun agent holds his
      weapon on him, its twin muzzles inches from Nico's skull.
406   ZAGON

      finishes washing his hands in an industrial-type sink. He
      is cleaned up, wearing a fresh shirt, his hair combed.
      When he dries his hands, he looks like a surgeon preparing
      to operate.

                             ZAGON
               We've got an hour before the
               honorable senator.
                      (hands towel to
                       pistol agent)
               You've got to learn to take time,
               smell the roses.

      Zagon turns to Nico.
                             NICO
               How are you gonna do him, Zagon?
               In a motorcade? Or passing
               through a hotel kitchen?
      The Noose agent jerks his cable tight, making Nico gag and
      choke. Zagon motions to slacken off. He stops at a
      small table before Nico -- unrolls a well-worn felt pouch.
      Zagon watches Nico's reaction as the tools of the inter-
      rogator's trade come into view -- drug vials, syringes,
      scalpels, surgical tools.

                             ZAGON
               I've used these little beauties
               many times to extract information --
                      (lifts a needle to
                       the light)
               -- This'll be the first time I've
               ever used them... just for fun.

      Zagon sets the syringe down, slips on a heavy, weighted
      glove.
                             ZAGON
                      (to agents)
               Take his arms.
      Pistol agent and Bad Dude move in, one on each side,         *
      seizing Nico's forearms. Shotgun agent holds his weapon
      tight to Nico's head.

                                                          106.

      Zagon punches Nico square in the face, so hard the chair
      reels backward, spinning out from under Nico --

                              ZAGON
               Hold him up!
      Pistol agent and Bad Dude lift Nico. Zagon slams him
      again. Again. Nico's cheekbone is broken; blood drains
      from his nose. Zagon aims a two-handed blow; backhands
      Nico, crushing the other side of his face! Zagon backs
      off, chest heaving. Pistol agent and Bad Dude plop Nico
      back in the chair, gagging, choked by the noose. Nico
      looks like the Viet prisoner -- the one we saw in the
      opening sequence. Like the prisoner, Nico takes his
      beating -- still conscious, still meeting Zagon's eyes
      with defiance.

                             ZAGON
               This is where you came in, Toscani.
               Only, now it's where you're gonna
               check out.
      He takes off his glove, grabs the syringe. Pistol agent
      and Bad Dude clamp Nico's right arm down tight. Zagon
      injects Nico.

407   NICO
      reacts instantly to the hypo -- cursing, sputtering under
      the choking noose. He twists wildly trying to free him-
      self, but the agents' powerful arms hold him.
                             ZAGON
               That's it. Fight it, cherry.
               Fight it, so it speeds faster on
               its way --
      Nico struggles more violently.

                             ZAGON
               Fight it. Till the vessels burst
               in your brain. Till the arteries
               rupture in your heart --

      Slowly, the struggle goes out of Nico. His muscles go
      limp; he slumps -- drooling, babbling incoherently.

                             ZAGON
               That's my boy. That's what I was
               waiting for --
      Zagon produces his famous knife. He motions Pistol agent
      and Bad Dude to release Nico's arms. Noose agent slackens
      his grip on the choke cable. Zagon moves in closer,
      gloating, cooing --

                                                          107.

                              ZAGON
                A fool learns from his own
                mistakes. But a wise man learns
                from the mistakes of others --
                       (moves closer, blade
                        in hand)
                You should have killed me when
                you had the chance, Toscani --

      The blade moves to Nico's throat. Suddenly: Nico springs
      to life (catching Noose man by surprise and jerking the
      cable from his grip) -- grabbing Zagon with his taped
      hands by the throat, lifting him bodily, slamming him
      ferociously into the wall! Zagon drops to the floor,
      half-conscious. Nico spins instantly to find: the Shot-
      gun agent right behind him, raising his weapon to Nico's
      face, about to pull the trigger. Nico sidesteps, grabbing
      the man's wrist. The SHOTGUN GOES OFF, missing Nico by
      inches, blasting a huge chunk out of the concrete wall.
      The Noose agent draws his weapon from his shoulder
      holster. Nico snaps the Shotgun agent's wrist, flipping
      him through the air, simultaneously grabbing the weapon,
      spinning behind the Noose agent, then using the shotgun
      barrel like a club to smash the back of his head in!
      Another swing wipes out Pistol agent. Bad Dude, now with
      a clear shot, aims his M-16. Nico blows him away with a
      double-barreled SHOTGUN BLAST. In a flash, Nico has spun
      to Zagon's surgical tool table, lifted a rzor-sharp
      scalpel and slashed the tape, freeing his hands. He
      yanks the choke cable off his neck --

408   ZAGON - AGAINST WALL
      On his feet again. He reaches swiftly to the floor,
      snatches up his famous knife. Nico confronts him -- face
      battered, bloody -- shaking, battling internal spasms.
                              ZAGON
                Can you feel the chemicals,
                cherry? You can't fight 'em much
                longer --
                              NICO
                Long enough to finish you.
      Sweating, half-spitting, Zagon slashes at Nico like an
      animal -- Nico traps the knife, and enters, smashes Zagon
      in the face with one lightning blow. We see Zagon's nose
      and face completely cave in. Nico comes under Zagon's
      elbow, the arm that still holds the knife clamping it in
      a vise-like grip and bending it backwards, slowly, against
      the joint -- which now starts to rip in half. Zagon is
      screaming and cursing, writhing in agony -- The drugs
      have hit Nico full force now. He's weakening, his eyes
      are starting to roll. Zagon tries one last surge of
      strength to save himself; it almost seems he'll wriggle
      free when: the elbow JOINT SNAPS in half with a sicken-
      ing sound.

       ABOVE THE LAW - Rev. 4/29/87                             108.

       As the joint hangs, dangling grotesquely, Nico reaches up
       around Zagon's neck, still holding the dangling limb with
       one arm. He begins to now do to Zagon's neck what he did
       to his arm. We hear a terminal CRACK. Zagon's body
       crumples to the floor. Nico, in delirium, staggers
       toward the door --
409    INT. HOTEL LOBBY - REAR STAIRWELL - NIGHT

       A woman at a pay phone.    She turns, drops the receiver
       in shock as --
410    NICO

       bursts, delirious, from the stairwell door!
411    MAIN LOBBY - FRONT ENTRANCE

       A commotion as Lukich, Agent Neeley and Jackson, arm in a       *
       sling, race in from their car.
412    MAIN LOBBY - REAR - NICO
       weaves wildly forward. He drops to his knees.     Guests
       react in astonishment and horror.

412A   JACKSON
       is the first to spot Nico.    She runs up to him as he
       collapses.

412B   NICO
       looks at Jackson.
413    LUKICH AND NEELEY                                               *
       reach Nico and Jackson.

                               LUKICH
                        (shouting for
                         anyone)
                 Is there a hotel doctor?    Call 911!

      ABOVE THE LAW - Rev. 4/17/87                          108A.   *

414   NICO
      passes out in Jackson's arms. Behind them we see a banner,
      announcing Senator Harrison's address. From the ballroom we
      hear CHEERS and APPLAUSE. A fiery address is being finished
      inside. The senator is now leaving.
415   FULL SHOT - LOBBY

      Total confusion. Guests staring everywhere. From a side
      office, a man with a medical bag comes running. The senator
      sees the group around Nico.

                                                FADE OUT.
      FADE IN ON:

416   EXT. NICO'S HOUSE - DAY

      Press vans outside; a crush of cars, reporters, neighbors.
      Newsmen are trying to gain access to the house, held back
      by several cops and some of Nico's more strapping
      relatives.

       ABOVE THE LAW - Rev. 4/29/87                              109.

417    BUICK STATION WAGON
       escorted by two police motorcycles, pulls in. The press
       surrounds it as Lukich, Neeley, Lieutenant Strozah and           *
       Jackson, her arm in a sling, disembark from the car.
417A   SECOND CAR

       pulls up. Neeley walks over and opens the door as a court        *
       stenographer, carrying her transcription machine case, steps
       out -- followed by a federal judge, CLAYTON ALSPAUGH and
       SENATOR ERNEST HARRISON.

418    REPORTERS
       shove mikes and cameras at the senator and the judge, shouting
       questions. Lukich, Neeley and Strozah clear a path for them. *

419    ANGLE FROM INSIDE HOUSE - THROUGH FRONT WINDOW
       Harrison and Alspaugh fend off the questions, cross the path
       and mount the steps to the house.
                                  T.V. REPORTER (O.S.)
                           (in front of house)
                    -- Senator Harrison has today
                    issued a statement calling for the
                    appointment of a special prosecutor --
                                                       CUT TO:

420    INT. NICO'S HOUSE - DAY
       Nico, propped up on the couch, looking like hell, but de-
       finitely conscious and in full command of his faculties.
       Sara, Jackson, and Rosa beside him.                              *
421    TV

       A network ANCHOR delivers the headline news.
                                  ANCHOR (V.O.)
                    Earlier this week, the Harrison
                    Commission delivered its report
                    on the growing C.I.A. scandal to
                    Congress...

       The image changes to SENATOR HARRISON behind a battery of
       microphones, sitting at a senate hearing-type table, with a
       plaque reading "SEN. ERNEST HARRISON" before him.
                                  SENATOR HARRISON (V.O.)
                           (on TV)
                    -- officially-sanctioned deceit,
                    murder and corruption, will
                    continue until these men are
                    brought to justice.

      ABOVE THE LAW - Rev. 4/17/87                        109A.

422   NICO                                                        *
      looks up as the real Senator Harrison, Judge Alspaugh and   *
      the others enter the room. TV SOUND DOWN. Harrison stops
      before Nico, taking a moment to look with respect and ad-
      miration at the man propped up on the pillows.

      ABOVE THE LAW - Rev. 4/29/87                            110.

                                SENATOR HARRISON
                  Detective Toscani. I wanted to personally
                  thank you. You are making it possible for
                  a sliver of truth to finally come out.

      He holds out his hand.    Nico takes it.   The senator gestures
      to Judge Alspauch.

                                SENATOR HARRISON
                  And this is Clayton Alspaugh of the
                  fifth circuit court.
                                NICO
                  Your Honor.
      The Judge nods to his stenographer, who swiftly sets up
      her equipment, takes a seat. Rosa makes a face at Branca,
      who rises, clearing a seat for the Judge. Sara moves              *
      in tight beside Nico.
                                JUDGE ALSPAUGH
                  Are you sure you're feeling well
                  enough?
      Nico glances to Sara, to the supporting faces around              *
      him. Lukich. Neeley. Strozah. Jackson. The others.                *
                                NICO
                         (to Alspaugh)
                  If you're ready to listen, I'm
                  ready to talk.
423   CLOSE - STENOGRAPHER'S HANDS
      As the Judge's VOICE begins OVER, "slating" the depo-
      sitions, the stenographer's fingers start moving.
      PULL BACK TO:
424   ANGLE FROM OUTSIDE ROOM

      The full scene. Nico telling his story.      Responsible
      officials recording it --

425   EXT. YARD OUTSIDE NICO'S HOUSE - DAY
      The press corps, vans, neighbors -- CLOSING CREDITS BEGIN.

426   LONG PULLBACK

      to the street, the houses, and finally: the neighborhood.
      Nico's neighborhood, to which the truth has finally come
      home. CLOSING CREDITS CONTINUE OVER.

      FADE OUT.


                                 THE END

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