Cable #100

Publisher
Marvel
Year
2002
Month
2
LastChanged
1/16/2024 5:46:27 PM
C

All Good Things...

Summary

  Pizarro is to be blamed for Peru's woes.

  Philippe is trying to meditate like an Askani, but the other children entice him into their game of tag.

  Sanz walk in on Inza kissing Cable; Cable uses TK to pin him to the wall and attack Inza's ear. "Whatever was necessary."

  Simpson, an American reporter, discusses Sanz's buyout of Peru's debt. Cable sends a message to the Shining Path, warning them he's on the warpath, and Maria is furious. Inza and Sanz teleport to Simpson's bed while she's having sex with her cameraman. Sanz says he won't attack Peru's government and gives her a videotape ordering the Shining Path to take no further action. It is actually Cable, using his powers to imitate both Sanz and Inza, who are safely bound in his trunk.

  All the children try to meditate like the "Ashkenazi," while gunmen observe, waiting to kill them and steal the food.

  Maria, Carla, and Teresa betray their principles and rob a bank, but when they blow the safe, Cable is inside; he's been a mercenary like them and knew what to expect once they lost their leader. Many bullets later, the girls are put down.

  At night, when the gunmen approach the village, the children attack them, armed enough to repel these Shining Path remnants.

  Gomez betrays Kaval and shoots him, planning to shoot and blame their prisoner Carla.

  On a New York to Athens flight, Goldberg propositions the passenger next to him, and evidently joins the "mile-high club."

  Cable takes Philippe to visit his mother, Inza, in prison. Her eardrum shattered, she can't teleport. She wonders if the world would have been different if they won, but Cable doesn't answer. He checks out of the hotel and walks off.

Summary

  Cable meditates around the clock on a west coast cliff-side beach. Internally, he battles and defeats psychic manifestations of his T-O virus. Physically he vomits out the virus, a liquid metal, which he throws into the sea. He still has the scars and metal parts.

  Tischman's original script follows:

  PAGE ONE

  PANEL ONE: Across the page, one third in height. A FLOCK OF SEAGULLS (the birds, not the bad hair band from the '80's) CIRCLE in the air, in the CORAL-PINK daybreak SKY in the foreground. FAR BELOW, in the background, the blue-green ocean CRASHES against the sand of a pristine BEACH. A TINY CABLE is visible on the sand, sitting in the LOTUS POSITION; the SHADOW underneath him tells us he's LEVITATING a few inches off the ground. From this angle, he appears NAKED, but we'll see in subsequent panels that he's wearing a pair of black BICYCLE SHORTS. A wafer-thin COMPUTER-nothing more than a rectangular, TOUCH-SCREEN MONITOR, really, and no bigger than a CLIPBOARD-hangs in MID-AIR, in arm's reach of our hero, and is POSITIONED at an ANGLE, so Cable can best see its screen. (From this angle, we can only make out the SHAPE of the computer and the SHADOW it casts.) The rocky CLIFFSIDE rises from the beach, BEHIND Cable-very high, adding to our perspective, in the far background. The sun is just RISING-there's enough LIGHT to cast early morning shadows, but NOT enough to GLINT off Cable's METALLIC LIMBS (or the metal computer).

  PANEL TWO: Across the page, one third in height. CLOSE ON CABLE-from the SIDE-in the foreground. The Cliffside is visible on one side of the panel, in the background. We can now see that his EYES are CLOSED as he MEDITATES. He DOES NOT wear the Phoenix Medallion. This angle gives us a better view of the computer SCREEN in the middle ground-STYLIZED ICONS of ARROWS (going UP, DOWN, LEFT and RIGHT), a PRINTER, a PHOENIX IMAGE, a CD-ROM DISC, etc., run the length of the LEFT-HAND SIDE of the screen; the right-hand side of the screen reads: 100% in a stylized font. A single SEAGULL alights on the beach in the background.

  DISPLAY (stylized font): 100%

  PANEL THREE: Across the page, one third in height. PAST the Seagull-ON a wide shot of the beach. From THIS angle, we can see the BACK SIDE of the computer-which has a large PHOENIX symbol on it. Cable's eyes remained CLOSED, but we can see the TECHNO ORGANIC FLARE beneath his closed EYELID.

  PAGE TWO

  PANEL ONE: Across the page, one quarter in height. EXTREME CLOSE-straight on-on Cable's FACE, which FILLS the panel. His eyes are closed. The T.K. FLARE glows BRIGHTER.

  PANEL TWO: Across the page, one quarter in height. EXTREME CLOSE on the INTERIOR of Cable's CHEST CAVITY-we're inside his body, looking THROUGH his RIBCAGE at his HEART beating in his chest. I'm not a doctor, but whatever ORGANS are visible from this POV are in the shot.

  PANEL THREE: Across the page, one quarter in height. EXTREME CLOSE on a MASS of HUMAN BLOOD CELLS inside Cable's body. We're still "big" enough that we're unable to detect the VIRUS-the cells are seemingly NORMAL, human cells, and they FILL the panel. Our perspective of the cells should be like that view of the AMOEBA we all studied underneath a microscope in high school Biology.

  PANEL FOUR: Across the page, one quarter in height. EXTREME CLOSE on a STRAND of Cable's DNA, which fills the panel. Again, the strand is normal, except at this magnification, we can see that THREE random GENES on the strand are METALLIC-LOOKING. These genes need to have a SPECIFIC "LOOK" which MIRRORS the look on Cable's techno-organic ARM and LEG. Igor, if you don't have the visuals for this, I can probably pull them off the Internet. Also, as discussed, the "creatures" Cable battles later in the story need to have the same "LOOK" as these genes, as they are a MANIFESTATION of the virus.

  PAGE THREE

  PANEL ONE: Across the page, one quarter in height. A FULL BODY SHOT of Cable, but CLOSE enough that we can see the STRAIN and TENSION on his FACE. The FLARE underneath his closed eye is BRIGHTER. SWEAT is VISIBLE at Cable's hairline. Its later in the day-the sky's now a clear blue, the sun is over the ocean and the WAVES are starting to lap up further onto shore, just UNDERNEATH Cable's levitating body.

  PANEL TWO: Across the page, one quarter in height. A LITTLE closer on Cable, as his ENTIRE BODY is ENGULFED in the LIGHT of a Techno-Organic FLARE.

  PANEL THREE: Across the page, one quarter in height. Our POV is from BEHIND Cable-looking at his back, where the MUSCLES strain underneath his skin. From this angle, we can see the computer Monitor-which reads 99%-and beyond that, OUT AT THE OCEAN, which fills the background, an endless sea of blue-green.

  DISPLAY (stylized font): 99%

  PANEL FOUR: Across the page, one quarter in height. CLOSE on Cable, as the MUSCLES in his FACE (under his techno-organic EYE), and in his metal ARM and LEG, TWITCH. His HEAD jerks to one side, and it's CLEAR he's about to go into a TECHNO-ORGANIC SPASM.

  PAGE FOUR

  PANEL ONE: A FULL PAGE PANEL, as Cable's BODY CONTORTS and JERKS, as he's SEIZED by a violent TECHNO-ORGANIC OUTBURST-bigger and nastier than any we've seen before. His EYE, his ARM and his LEG almost BURST from the attack. The VIRUS is FIGHTING BACK. Igor, I can get you previous versions of these attacks, but ours should be VIOLENT and UGLY.

  PAGE FIVE

  PANEL ONE: Across the page, one fifth in height. WIDE on a HI-TECH, football stadium-sized LAB. Stanley Kubrick's "2001" meets James Whale's "Frankenstein" meets David Cronenberg's "Dead Ringers." Everything is made of GLEAMING METAL. A big RAY GUN-like DEVICE (somewhere between a dentists X-RAY MACHINE and a LASER CANNON) HANGS from the ceiling, over an EXAMINATION/OPERATING TABLE with nasty-looking, stirrup-like RESTRAINTS. A smaller, stand-alone metal TABLE with nasty-looking MEDICAL OPERATING UTENSILS on top. Futuristic versions of those 1950's-era COMPUTER BANKS-the kinds with the ROTATING magnetic wheels of computer tape-on one wall. STEEL CABINETS-shiny enough to see yourself in, and leading to God knows what-on another wall. OVER a long, gleaming metal WORK COUNTER, with a COMPUTER MONITOR on top (the SAME computer as we saw on the beach on PAGE ONE). The monitor screen reads: 200%. LARGE METAL DOORS-clearly an ELEVATOR-are prominent at the far side of the room. The FLOOR, the WALLS and the CEILING of this room are made up of a GRID of same-sized, square metal TILES.

  Igor, also take a look at some of the early issues of CABLE Mark sent you-the room should have tech touches from the TEMPORAL INSTALLATIONS and the LABS of STRYFE from Cable's hi-tech future era, as well.

  A FULL BODY SHOT of Cable in the center of the panel-standing in the middle of the room, slightly hunched over, his arms and hands extended, his knees bent. He's just been "teleported" into the lab and he's ready for anything. An EXPLOSIVE EFFECT surrounds his body.

  Cable wears a pair of faded, comfortable-looking DENIM OVERALLS over his naked body. His human muscles ripple beneath his skin. The SCAR is gone over his right eye, and his left arm and left leg are FLESH. He is 100% HUMAN.

  This is a lot of detail-I probably overdescribed the lab, as usual, but you know what I'm talking about. Have fun with it, and feel free to parse out the details over the next few pages.

  DISPLAY (stylized font): 200%

  PANEL TWO: Across the page, one fifth in height. Cable is CONFUSED. He TOUCHES the PHOENIX ICON on the computer MONITOR, but NOTHING HAPPENS. The monitor continues to read: 200%. He doesn't yet notice it, but we can see a "BRUSHED" version of his REFLECTION in the polished steel CABINET above the counter.

  DISPLAY (continuing; stylized font): 200%

  PANEL THREE: Across the page, one fifth in height. CLOSE on Cable-as he STARES at himself in the cabinet's reflection-and brings his HUMAN hand up to touch his human CHEEK. A small SMILE plays across his face.

  PANEL FOUR: Across the page, one fifth in height. PULL OUT WIDE from the last panel, for a FULL BODY SHOT. Cable stands just where he was in the last panel, but he's in the background, and he's SPUN his head around, staring into the left foreground of the panel-where the Seagull (flesh and blood and just as we saw it on the beach) has just "teleported" onto the floor of the lab.

  DISPLAY (continuing; stylized font): 200%

  PANEL FIVE: Across the page, one fifth in height. The same panel, except Cable now bends over to pet the Seagull, which hasn't moved. His hand is about to touch the bird. BEHIND HIM, in the background, FOUR METAL CREATURES take FORM.

  Okay, let's have some fun.

  These CREATURES are part animal, part humanoid, and part machine-and ALL TECHNO-ORGANIC. They have the "look" that we use for Cable's T.O. leg and arm. They are ARMED up the wazoo, either with GUNS and other external WEAPONS, or they have weapons BUILT INTO their bodies. Think about your worst CYBORG NIGHTMARE and go from there.

  One of the creatures has the head of a RAM and the body of a well-armed SOLDIER, another is a fully ROBOTIC version of an IRON MAN-like ARMOR. A third has a metallic, human-like head and body, with techno-organic WINGS; the fourth is a ROUND, robotic DRONE, with an INFRA-RED "EYE", its surface covered with different-sized and -shaped WEAPON BARRELS. NOTE: ALL of the CREATURES have a STAR-SHAPED SCAR-identical to Cable's-over one of their "eyes."

  These creatures seem to form themselves-coming out of the floor, the wall, the computer banks, the cabinets, the examination table-WHEREVER you think it'll be the most interesting/dramatic.

  DISPLAY (continuing; stylized font): 200%

  PAGE SIX

  PANEL ONE: Across the page, one quarter in height. PAST the Seagull, which takes flight in a panic in the extreme left foreground-ON Cable's BACK-as the FOUR CREATURES hit Cable with a BARRAGE of FIRE from the middle ground. The SPHERE SPINS/SHOOTS a series of PLASMA SLUGS (which look like the GRENADE we used in the bank robbery scene); the ARMOR has both hands extended-PALMS OUT-shooting FORCE BEAMS from its GAUNTLETS; the RAM fires from a SAWED-OFF SHOTGUN; and the WINGS hovers above-wings spread apart, grabbing a NET which is MATERIALIZING in its hands.

  PANEL TWO: Across the page, one quarter in height. REVERSE the angle-PAST the BACKS of the Creatures, as Cable runs a GAUNTLET through the EXPLODING ORDNANCE, toward them. Cable is already showing BRUISES and CUTS from the barrage. His mouth is open in a (Kirby-esque) silent battle cry. Wings THROWS the NET-

  PANEL THREE: Across the page, one quarter in height. WIDE on the Lab, as the Net COVERS Cable and the Creatures move in for the kill.

  PANEL FOUR: Across the page, one quarter in height. We're looking PAST the Creatures, who've piled on top of Cable to subdue him. Cable's face is VISIBLE in the center of the Creature-Heap, in between their bodies-he's got one arm up, through the net, trying to reach safety.

  PAGE SEVEN

  PANEL ONE: Across the page, one fifth in height. The Creatures go FLYING BACKWARDS as Cable THROWS them off.

  PANEL TWO: Across the page, one fifth in height. Cable's now standing-he's BUFFETED by fire from Armor and Ram as he HURLS the Net to CAPTURE Sphere, which SPEEDS toward him.

  PANEL THREE: Across the page, one fifth in height. Armor continues to race toward him-shooting from a DOUBLE-BARRELED CANNON that's extended from its BACK-but Cable TWIRLS the Net and NAILS it in the HEAD. The COLLISION makes Sphere EXPLODE-and the CONCUSSIVE FORCE knocks Armor off-course. Wings, in the background, SWOOPS down.

  PANEL FOUR: Across the page, one fifth in height. Cable DUCKS-reaching for the SCALPEL on the Medical Tray-as Wings OVERSHOOTS him. In the background, Armor FLIES into the Lab Wall, shorting himself out.

  PANEL FIVE: Across the page, one fifth in height. CLOSE on Cable, his teeth GRITTED, as he SLICES Wings' wing, SEVERING the appendage with the knife-like instrument. The Creature REACTS in PAIN.

  PAGE EIGHT

  PANEL ONE: Across the page, one fifth in height. PAST the silently-wailing Wings, unable to fly-ON Ram, who uses his HORNS to HEADBUTT Cable, knocking Cable's head back with extreme, sudden force and dazing our hero.

  PANEL TWO: Across the page, one fifth in height. Ram holds the barely-conscious Cable OVER HIS HEAD-ready to TOSS HIM AWAY. The ELEVATOR DOORS are in the background.

  PANEL THREE: Across the page, one fifth in height. The same panel, as Ram HURLS Cable AWAY-INTO and THROUGH the Elevator Doors.

  PANEL FOUR: Across the page, one fifth in height. PAST Ram-who STARES down the EMPTY, and seemingly BOTTOMLESS, elevator shaft.

  PANEL FIVE: Across the page, one fifth in height. FROM BELOW-Cable, battered, bleeding, and hanging on (to a metal LADDER that rus the length of the shaft) for dear life, GRABS Ram-

  PAGE NINE

  PANEL ONE: Across the page, one fifth in height. MEDIUM TWO SHOT as Ram and Cable STRUGGLE, body against body-as they fall. The stylized "200%" is STENCILLED on the wall of the elevator shaft as they fall.

  DISPLAY (stylized font): 200%

  PANEL TWO: Across the page, one fifth in height. Ram is on TOP of Cable-CHOKING him with both hands-but Cable HITS him in the CHIN with a strong RIGHT HOOK. This punch UPSETS their balance.

  PANEL THREE: Across the page, one fifth in height. Cable, now on top, PUSHES INTO Ram with his shoulder as the two HIT the ground. Ram is "killed."

  PANEL FOUR: Across the page, one fifth in height. A BATTERED and BROKEN Cable CLINGS to the Ladder at the side of the elevator shaft-as the "dead" Ram starts to FADE OUT.

  PANEL FIVE: Across the page, one fifth in height. WIDE on the Lab, which has been destroyed by the battle. Sphere, Wings and Armor- all "dead," still laying where we left them on PAGE EIGHT-start to FADE OUT.

  PAGE TEN

  PANEL ONE: Across the page, one third in height. We're BACK on the beach. Our view of Cable is a 3/4 shot. Cable hasn't moved-he's been meditating in this position for OVER 12 hours. The SEA is at LOW TIDE, so we see MORE BEACH than before. It's TWILIGHT-the SUN is setting, but still visible, and the STARS are just starting to come out. Cable remains enveloped in a TELEKINETIC GLOW. His FACE and BODY are BRUISED from the attack in the Lab. His body is SLICK with SWEAT. The computer MONITOR glows in the near-dark. It reads: 51%.

  DISPLAY (continuing; stylized font): 51%

  PANEL TWO: Across the page, one third in height. The same panel, except we're looking at Cable STRAIGHT ON. The CONCENTRATION on his face has INCREASED, which has a DUAL EFFECT-the GLOW around him is BRIGHTER, and the BRUISES on his body are FADING. Also, the SAND in the AREA around Cable-a perfect CIRCLE from where he sits-begins to CRACKLE with energy. The sky is a LITTLE darker than in PANEL ONE, as the sun continues to set.

  PANEL THREE: Across the page, one third in height. FROM ABOVE-the concentration continues, and the TK glow becomes even BRIGHTER. His BRUISES are GONE. The energy he's putting out-which caused the sand to crackle in PANEL TWO-has turned the circular area around him INTO GLASS. The sky is a LITTLE darker than in PANEL ONE, as the sun continues to set.

  PAGE ELEVEN

  PANEL ONE: A FULL-PAGE PANEL. NIGHT. CLOSE on Cable in the Lotus position. The Telekinetic GLOW around his body illuminates Cable in the darkness. STARS fill the SKY. His body's SPLIT by the edge of the page-we're looking at the LEFT SIDE of his body at the RIGHT SIDE of the page.

  PANEL TWO: An INSET-A FULL BODY SHOT of the BABY Nathan Summers, wearing a diaper, INFECTED with the TECHNO-ORGANIC VIRUS. Igor, you should look at the early issues of X-FACTOR for reference.

  PANEL THREE: An INSET-The SAME Baby Nathan as he's carried by ASKANI into a TIME PORTAL. Askani wears a flowing, RED ROBE with a HOOD-so we DON'T see her face. She has created the portal with her POWER-an EFFECT that should look SIMILAR (but not identical) to Cable's TK "wave." Take a look at the post-"Inferno" issues of X-MEN (early 200's) for reference on Askani and the portal.

  PANEL FOUR: An INSET-The 12-year old Nathan lies in a futuristic BED, his body RAVAGED by the virus. This is NOT a hospital bed. Igor, this shot should be a MINI-version of what you do on PAGE FOUR. Look at the both "Adventures of Cyclops and Phoenix" mini-series for reference.

  NOTE: IGOR, AS WE DISCUSSED, THE LOOK AND PLACEMENT OF THESE INSETS IS UP TO YOU, BUT LET'S TRY TO INCORPORATE THEM INTO THE NIGHT SKY IN THE SPLASH PAGES. THESE IMAGES ARE REFERENCE-HEAVY, SO PLEASE LET ME KNOW IF YOU NEED TO SEE BACK ISSUES TO HELP WITH VISUAL SPECIFICS.

  PAGE TWELVE

  PANEL ONE: A FULL-PAGE PANEL. IDENTICAL TO PAGE ELEVEN, BUT REVERSED. NIGHT. CLOSE on Cable in the Lotus position. The Telekinetic GLOW around his body illuminates Cable in the darkness. STARS fill the SKY. His body's SPLIT by the edge of the page-we're looking at the RIGHT SIDE of his body at the LEFT SIDE of the page.

  PANEL TWO: An INSET-A FULL BODY SHOT of Nathan as a LATE TEEN-YOUNG MAN. This is a YOUNGER version of your Cable-with the SCAR over his eye, and the METAL ARM and LEG. He holds a PSIMITAR. THREE WOMEN in hooded RED ROBES stand to his right-as with Askani, we cannot see their faces, but the PHOENIX symbol is evident on their robes. CHECK OUT the "Askani'son" mini-series for reference.

  PANEL THREE: An INSET-A FULL BODY SHOT of the ADULT Nathan, with long white hair, as he pulls himself out of the water onto a WOODEN DOCK in the 20th century. This IMAGE represents Cable as he looked when he FIRST came back in time. Look at "Cable" -1 for COSTUME/HAIR SPECIFICS.

  PANEL FOUR: An INSET-A FULL BODY SHOT-in an ACTION POSE-of the Adult Cable, ARMED from head-to-toe with WEAPONRY of every kind. His LEFT EYE glows with a TK FLARE. This is the Cable from the first, two-issue MINI-SERIES-when he had the MUSTACHE and GOATEE, and when his white hair was close-cropped on the sides. Check out the early Fabian Nicienza issues for reference. We should have a stylized "X" somewhere on his costume, but it should not be the focal point of the outfit.

  PAGE THIRTEEN

  PANEL ONE: Across the page, one fifth in height. WIDE on the beach. It's the next MORNING, and the SUN peeks over the cliff, in the background. Cable's BODY goes into another SPASM-his techno-organic limbs begin to EXPAND-and the sudden movement pulls him OUT of his meditation and the Lotus position. This SPASM also causes the telekinetic GLOW to blink out. The computer monitor reads: 13%

  DISPLAY (stylized font): 13%

  PANEL TWO: Across the page, one fifth in height. CLOSER on Cable, who is on the glass-fused sand, ON HIS KNEES. His head is bowed, and his forehead touches the glass. His FACE tells us the PAIN he's in. His EYE PULSES with energy.

  PANEL THREE: Across the page, one fifth in height. WIDE on the beach. Cable is still on his knees. His head is pulled up, looking OUT, at the ocean. His teeth are gritted. The GLOW that engulfs his body is INTENSE-BRIGHTER than it's ever been before-the RELEASE of ENERGY makes the GLASS beneath him SHATTER.

  PANEL FOUR: Across the page, one fifth in height. THE SAME PANEL. The ENERGY continues to INCREASE-and the COMPUTER EXPLODES.

  PANEL FIVE: Across the page, one fifth in height. CLOSE on Cable, as he VOMITS-spewing the mechanical VIRUS onto the ground. Igor, the VOMIT should be a LIQUID VERSION of the material we use for Cable's ARM and LEG, and the same look as the CREATURES he fought in the Lab. A PAINFUL and VIOLENT RETCHING.

  PAGE FOURTEEN

  PANEL ONE: Across the page, one fifth in height. Our POV is from the OCEAN. The Seagull flies toward shore, in the foreground. Cable stands on the shore, in the background. The area around him is littered with shattered GLASS and mechanical PIECES from the broken COMPUTER. The CLIFFSIDE fills the far background as the SUN rises higher in the sky.

  Igor, although the Virus has been PURGED from his system, Cable RETAINS the SCAR around his eye and a METAL ARM and LEG. We may not be able to see all of that in this panel, but you'll need it for the rest of the story.

  PANEL TWO: Across the page, one fifth in height. CLOSER on Cable. His eye FLARES WHITE-HOT and his face is SCARED. The techno-organic vomit TWITCHES in the SAND.

  PANEL THREE: Across the page, two-fifths in height. WIDE on the BEACH AREA-as Cable LETS LOOSE with an INVOLUNTARY Telekinetic BLAST unhindered by the virus. The FORCE of the blast PUSHES the OCEAN back in a REVERSE TIDAL WAVE-revealing the sandy bottom of the sea-and EXPLODES/CARVES OUT an enormous HOLE in the CLIFFSIDE behind him.

  PANEL FOUR: Across the page, one fifth in height. CLOSER on Cable, as his EYES roll back in his head-as he LOSES CONSCIOUSNESS and FALLS to the sand.

  PAGE FIFTEEN

  PANEL ONE: Across the page, one fifth in height. The SUN is high in the sky-several hours have passed. CLOSE on an UPPER BODY SHOT of Cable, lying face down in the sand. The SURF washes up against his body. The VIRUS SPEW continues to TWITCH nearby. The Seagull PECKS at his HEAD, waking him.

  PANEL TWO: Across the page, one fifth in height. CLOSER on Cable, barely conscious. He TOUCHES his METALLIC ARM with his FLESH AND BONE FINGER-the arm is STILL metal, but it GIVES to the touch, now more like METAL-FLESH than METAL.

  PANEL THREE: Across the page, one fifth in height. WIDE on the beach. Cable is on his knees, his METAL ARM extended out, toward the puddle of Virus Spew. His eye FLARES and ENERGY pours from his hand-surrounding the Virus Spew in a PULSE of ENERGY.

  PANEL FOUR: Across the page, one fifth in height. AN UPPER BODY SHOT of Cable, in a BASEBALL PITCHER'S STANCE. Both arms are extended out from his body, and he holds the Virus-Spew in his palm-the Virus-Spew has BECOME a perfect SPHERE/BALL, and is still ENCASED in Cable's ENERGY.

  PANEL FIVE: Across the page, one fifth in height. CLOSER on Cable, as he HURLS the Virus-Spew Ball HIGH into the sky-FAR OUT over the ocean.

  PAGE SIXTEEN

  PANEL ONE: Across the page, one fifth in height. CLOSE on a HEADSHOT of Cable, his head lifted to the sky, bathing in the sunlight-a big SMILE crosses his face. He's satisfied.

  PANEL TWO: Across the page, one fifth in height. The SAME as PANEL ONE, except a DOLLOP of WHITE BIRD POOP hits Cable's FOREHEAD. He reacts. The smile STOPS.

  PANEL THREE: Across the page, one fifth in height. The Poop is VISIBLE on Cable's forehead. He's touched the spot with his hand-and he LOOKS at the Poop on his fingers with BIG, OPEN EYES-surprised.

  PANEL FOUR: Across the page, two-fifths in height. EXTREME WIDE on the beach. Cable stands on the sand-a HUMAN FIGURE against the beauty of NATURE. Cable looks UP into the SKY-SMILING AGAIN. The Seagull-the source of the Poop-FLIES above him, joining the FLOCK of BIRDS in the foreground.

  LOGO: CABLE

  TITLE: "ALL GOOD THINGS..."