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Gamer Movie Script

Writer(s) : Mark Neveldine, Brian Taylor

Genres : Action, Sci-Fi, Thriller

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                              GAMER



                            Written by

                   Mark Neveldine & Brian Taylor





                                             September 2007




    Some   of   them   want   to   use you
    Some   of   them   want   to   get used by you
    Some   of   them   want   to   abuse you
    Some   of   them   want   to   be abused

                                     - Eurythmics




    Some years from this exact moment...

1   INT. TRAIN - DAY                                                  1

    DARKNESS - NOW

    The beautiful CHIMING SOUNDS OF SPACE TRAVEL through the
    COSMOS... DOTS OF LIGHT whiz past our face.

    They could be stars at lightspeed, or... SUBWAY LIGHTS
    FLICKER ON - in a flash we see PALE, SULLEN FACES, riding
    into a bleak future, and hear the INDUSTRIAL CLATTER. It's
    dark, claustrophobic, obscure... the rhythmic beat of track
    and wheel-clicks engulf us. The lights flicker back on and
    hold as we see a half dozen SOLDIERS in BROWN CAMO, steel-
    eyed, prepared for whatever may be at the end of the TUNNEL.

    ZERO IN on TWO:
    KABLE, 30-something, roughneck... focused, determined; eyes
    burning with internalized emotion...

    ... and SANDRA, late 20s, undeniably hot but tough as hell -
    both are in shackles & cuffs, being roughly transported
    through underground tunnels, knocked and shoved around.

    Uniformed GUARDS roam the train, looking pissed off - their
    swagger seems to mask FEAR.

    KABLE is meditating, or exhausted - hard to tell.   The GIRL
    makes eye contact w/ him.

                                   SANDRA
                  Sandra.

    KABLE says nothing, just stares at her, stoic.

                            SANDRA (cont'd)
                  My name is Sandra.

                            GUARD
                  Shut the fuck up.

    Because he can, the GUARD takes a swing at KABLE'S head with
    a BILLY CLUB... CRACK!

                                                        (CONTINUED)

                                                                    2.
                             WHITE KABLE SCRIPT - 9/19/2007
1   CONTINUED:                                                           1

    KABLE'S skull snaps back into the window. The GUARD swings
    again, this time nailing KABLE square in the stomach.

                           SANDRA
                     (to the GUARD, a snarl)
                 Putcher dick away...

                             GUARD
                 Get some.

    CRACKK!! CRACK!! CRACKK!! ... CRACK!!     SANDRA is buckled
    over, awkwardly, hands behind her back tethered to the seat,
    head dripping blood. KABLE jerks against his restraints,
    every inch of him wanting to RIP THE MOTHERFUCKER APART...
    He uses his elbow to help her back up, but SANDRA fights
    through it, sits back up and spits blood - she can handle
    herself.

    The CAMERA holds TIGHT on KABLE and SANDRA... KABLE lets a
    glob of blood dangle from his mouth, biting his lip, bearing
    it... we hear the CRUNCHING SOUND of the CLUB working on the
    others... and the METALLIC RUMBLE and CLATTER of the TRAIN -
    growing louder, POUNDING, slamming into our brains, blotting
    out all thought... until...

2   INT. TUNNEL #1 - DAY                                                    2

    POV: we are RUNNING, ragged, full sprint, down a TUNNEL
    towards dirty white DAYLIGHT...

    NO MUSIC - just heavy breath, KABLE'S HEARTBEAT and the sound
    of his boots bouncing off the concrete...

    Others are running with us - SOLDIERS with weapons... at the
    tunnel's end: vaguely defined shapes of buildings, smoke,
    sky...

    Our POV WHITES OUT as we...

3   EXT. SPAWN POINT #1 - CONTINUOUS                                        3

    ... smash into the DAYLIGHT.

    Smoke plumes hang from a recent skirmish. KABLE climbs over
    burning debris, gun raised, as SANDRA and the other soldiers
    disappear into the grey mist.

4   EXT. SLAYERS BATTLEGROUND #1                                            4

    KABLE emerges from the smoke into...




                                                              (CONTINUED)

                                                                3.
                         WHITE KABLE SCRIPT - 9/19/2007
4   CONTINUED:                                                       4

    ... a DESTROYED CITY - PHILLY? DETROIT? NY? Seemingly out
    of character, he LEAPS THROUGH THE AIR SLO-MO and lands in an
    OVERDRAMATIC, ROCKSTAR POSE (Nine Inch Nails, Coachella
    2005).

    In sequence, multicolored LEDs on his weapon COME TO LIFE -
    accompanied by a low frequency hum that seems to pierce
    somewhere below human hearing. The MULTIPLE TURRETS spin,
    then snap into place. GO TIME.

5   OTHER SPAWN POINTS                                                  5

    Other BROWN SOLDIERS emerge like SNAKES out of DIRT HOLES and
    INTO THE LIGHT. They crouch and spread out.

6   SLAYERS BATTLEGROUND #1                                             6

    What appear like BUZZING FLIES swarm thru the grey air - at a
    closer look, they are like tiny BALL BEARINGS that move like
    hummingbirds, magnetically controlled. The swarm splits
    apart - each FLY connects with a different SOLDIER - they
    hover one foot above and two feet behind the SOLDIER'S head.

7   SLAYERS BATTLEGROUND #1 - COVER                                     7

    KABLE slides behind a shredded telephone pole and TAKES
    COVER. The sound of trains, weapons, soldiers all fade
    away... until...

    NOTHING.   DEAD QUIET.

    SUDDENLY - A BULLET WHIZZES by KABLE's face - a pause - THEN
    we hear a GUNSHOT.

    Another BULLET WHIRS by his leg and another by his shoulder -
    after the bullets pass, we hear the GUNSHOTS. See the
    lightning, wait for the thunder.

    In the peripheral a SOLDIER in DEEP BLUE CAMO runs from
    behind an old car to a brick staircase.   Then another BLUE
    runs the opposite way, closer in the foreground. BROWNS VS.
    BLUES?? The SILENCE is crawling, deafening, and then...

    BOOM.

    ALL HELL BREAKS LOOSE. Suddenly we are in IRAQ TIMES TEN...
    KABLE'S eyes glance down at his WEAPON - the turrets quickly
    shift and rotate - he whips it up in a flash and RETURNS FIRE
    into the mist:

    THOOM! THOOM!   The shells puncture air and connect
    distantly...


                                                          (CONTINUED)

                                                                 4.
                          WHITE KABLE SCRIPT - 9/19/2007
7   CONTINUED:                                                        7

    The air ripples all around him, his world closing in... he
    breaks free and runs toward an open street - THE TURRETS
    READJUST - he efficiently wastes two BLUES with automatic
    fire.

8   SLAYERS BATTLEGROUND #1 - OPEN STREET                                8

    A couple of PEDESTRIANS walk across the street, totally
    IGNORING THE VIOLENCE. KABLE makes a perfect 90 degree cut
    and wraps around a street-lamp and into the alley. A BUM
    holds out a can with a couple of coins and SHAKES it.

    From an aerial POV we see the area swarming with BROWN & BLUE
    combatants and a dozen CIVILIANS.   In the top right corner
    of our frame we see the DULL REFLECTION of a FACE, somewhat
    transparent, watching the battle, tungsten red (similar to
    your own reflection on a TV).

    We SNAP BACK to the ground - the whole area is a BATTLEZONE.
    KABLE lines up another BLUE climbing the fire-escape to the
    third floor window - and then, coming from the REAR SURROUND
    SPEAKERS, behind us:

    A VOICE - almost a whisper, too clean and distinct to be
    outdoors in this environment... and TOO YOUNG to possibly
    belong to KABLE.

                           VOICE (O.S.)
                     (clean, disconnected)
                 Eat shit please.

    THWIPPP!! The BLUE drops like a sack. KABLE perfectly cuts
    back another 90 degrees and runs for an old store front.
    Inside a CLERK "air" bags groceries for an empty store.

    A BROWN SOLDIER sets up a TRIPOD MACHINE GUN and aims for a
    bunker a hundred yards north. The distant BLUE targets seem
    almost robotically unaware. The BROWN SOLDIER plants his
    left hand on the ground for stability, right hand twisting
    the grip-lock - and squeezing the trigger: TAT TAT TAT TAT
    TAT TAT!!!! TATATATATATATATATA TAT!! The BLUES fall, some
    clumsily colliding into each other before they crash to the
    ground, dead.

    Another team of BLUES rock their heads around to focus on
    him. Uh oh...

    BOOOOOSH!!!! The BROWN TRIPOD GUNNER is vaporized from the
    knees up... the FOREARM that supported him is standing
    straight up, cleanly severed at the elbow. It slowly wobbles
    over and connects with the TWO LEGS severed at the knees.
    The THREE LIMBS fall into each other, forming a flesh and
    bone TRIPOD.


                                                           (CONTINUED)

                                                                      5.
                             WHITE KABLE SCRIPT - 9/19/2007
8    CONTINUED:                                                              8

     VROOOOOOSH!!! CHUKUNK, CHUKUNK!! A SNOWPLOW BARRELS THROUGH
     THE DESTRUCTION, pushing the bodies and debris out of the way
     and clearing a path, one streaked with crimson red and burnt
     flesh. It moves fast and vanishes into the smoke clouds.

9    SLAYERS BATTLEGROUND #1 - STREET                                        9

     Down the road, KABLE saves an EAST-INDIAN WOMAN from getting
     obliterated by shoving her out of the way of the blazing
     truck. As KABLE turns to waste another BLUE, the EAST-INDIAN
     WOMAN gets right back up... walking into and getting
     obliterated by another TRUCK.   It's creepy - robotic, but
     violent and too real - like a programmed suicide.

                            VOICE (O.S.)
                  Can't say I didn't try...

     We sense emotion in KABLE'S cold eyes - then they flicker to
     the peripheral.

10   SLAYERS BATTLEGROUND #1 - 2ND FLOOR BUILDING                          10

     Tracking along a row of blown out windows a BLUE is taking
     aim; we SNAP ZOOM in...

     SUPERIMPOSED OVER THE IMAGE:

     The transparent GHOST OF A FACE, as though projected on
     glass. The LIPS MOVE in sync with:

                            VOICE (O.S.)
                  Shit! Shit!

     KABLE spins, TOO LATE -

     BUT: from the level directly below the SNIPER - through an
     open doorway - we see a BROWN SOLDIER, BLASTING STRAIGHT UP
     THROUGH THE CEILING! The BLUE is BLOWN TO CHUNKS.

11   SLAYERS BATTLEGROUND #1 - STREET                                      11

     The BROWN runs out and hits the curb; CONCRETE AND MEAT
     collapse on the spot where she stood... it's SANDRA.

     KABLE gives her covering fire as she heads his way. They
     bolt for a corner - KABLE reaches protection first. He stops
     to let SANDRA catch up, and in that instant -

     HER BRAINS GET BLOWN TO JELL-O.          Blood and particles splatter
     over KABLE's gear.

                             VOICE (O.S.)
                  Suckage.


                                                               (CONTINUED)

                                                                  6.
                           WHITE KABLE SCRIPT - 9/19/2007
11   CONTINUED:                                                        11

     Without hesitation KABLE turns and wastes two more BLUES.

     Up ahead HE SEES IT: an OCTAGON STEEL SHED with small
     GLOWING EMERALD GREEN WINDOWS. He makes for it.

     The little FLY following him is picked out of the air by a
     stray shot - PLINK!

                            VOICE (O.S.) (cont'd)
                  ... what the...!

     Bullets and shells chop up everything around KABLE, but he's
     QUICK...

     A SHELL smacks his shoulder HARD, almost knocking him off his
     feet - shredding the BROWN CAMO and revealing the FLEXIBLE
     BODY ARMOR UNDERNEATH.

     He scrambles to the octagon's entrance and BAILS IN.

12   INT. SAVE POINT #1                                                12

     KABLE steps into the middle of the vacant steel room. The
     second he breaks the GREEN LASER, FLOOD LIGHTS blast on all
     around the BATTLEFIELD. A SUBMARINE ALARM sounds from
     loudspeakers everywhere, echoing through the streets, CYCLING
     DOWN.

     The battle is over - session complete.

13   EXT. SAVE POINT #1                                                13

     KABLE steps out.    The LEDS on his weapon blink off in
     sequence...

     ARMED GUARDS are EVERYWHERE, rounding up the I-Con's.

     [I-CONs (I-Convicts) are the combatants -- death row
     inmates/lifers, of which there are never a shortage.

     GENERI-CON's (Generic Convicts) are the street traffic that
     lend unpredictability and realism to the battlefield... they
     are computer controlled NPCs (non player characters)... petty
     thiefs and criminals who are risking their lives by
     participating to commute their sentences]

     A DOZEN GUARDS collect weapons - TWO approach KABLE. His
     eyes are pure MURDER; SANDRA'S brain matter still drips from
     him.

     HE WHIPS UP THE WEAPON, POINTS IT AT A GUARD'S HEAD AND PULLS
     THE TRIGGER -



                                                            (CONTINUED)

                                                                          7.
                            WHITE KABLE SCRIPT - 9/19/2007
13   CONTINUED:                                                                13

     NOTHING. The GUARD doesn't even flinch. The WEAPON is DEAD,
     dormant; they all knew it.

     The GUARDS have a good LAUGH... KABLE is CLUBBED from behind -
     we...

                                                             FADE TO BLACK.

14   INT. TRAIN - LATER                                                        14

     Back on the rattling TRAIN, where we started. The SURVIVING
     SOLDIERS - both BROWN and BLUE - are shackled to the rail -
     wounded, exhausted, hollow eyed.

                            BLUE SOLDIER 1
                  Good run, Kable.

     KABLE only looks to the floor.

                            KABLE
                      (quietly)
                  My name's Tillman.

                            BROWN SOLDIER 1
                  Whatever your name is. You got to
                  the save point fast.

                            BROWN SOLDIER 2
                  So the fuck what? No one's getting
                  out of here alive.

                             BLUE SOLDIER 1
                  I am.   I'm going to make it.

     The cynical BROWN just shakes his head.

                            BROWN SOLDIER 2
                  Sure you will.

                            BLUE SOLDIER 1
                      (tuning the BROWN out,
                       turning his attention to
                       KABLE)
                  They say you only got three battles
                  left til you get out...

     KABLE says nothing.

     The CAMERA pushes in on a TATTOO on his forearm: a simple
     outline of a black box with the words inside: I AM RIGHT HERE
     WITH YOU.

     [MUSIC: Aldo Nova, "LIFE IS JUST A FANTASY" kicks in...]

                                                                     8.
                        WHITE KABLE SCRIPT - 9/19/2007



15   INT. LAB - TIME INDETERMINATE                                        15

     A spartan, underground LAB.

     A PLAIN-CLOTHES TECH sits on a stool holding a simple REMOTE;
     on the table next to him is a SMALL METAL DISH. In front of
     him, floating in the air, is one of the little metallic
     FLIES.

     He pokes at it - it instantly jukes left; again - it jukes
     right... almost faster than the eye can follow. No way he
     could ever touch it.

     Semi-satisfied, he holds out the metal dish and clicks the
     remote. The FLY drops into the dish - CLINK.

     CLOSE-UP: the little gunmetal ball is black and dented on one
     side - probably the one we saw get knocked out of the air.
     There is a PINHOLE GLASS LENS on the other end.

     The TECH picks it up with thumb and forefinger and holds the
     lens up to his eyes. Switch to:

     POV of the FLY CAM: the TECH'S face, extreme wide angle,
     examining. The image flickers, glitches - then CUTS TO:

     WHITE NOISE.

                                                         MATCH CUT TO:

16   INT. TELNET CONTROL ROOM - DAY                                       16

     A CONSOLE of MONITORS cut from FUZZ to GRAPHICS.         TECH GUYS
     and PRODUCERS scramble... it's SHOWTIME.

                         OFFSCREEN VOICE
               Counting down five... four...
               three... two...

     SWISH PAN and SNAP ZOOM across the room, through an open
     door, to the CORRIDOR, where...

17   INT. TELNET NEWSROOM, CORRIDOR - CONTINUOUS                          17

     [END: "LIFE IS JUST A FANTASY"]

     A REPORTER - GINA PARKER SMITH, sexy eager-beaver, focused -
     a NEWS EXEC, 40s, and a CHIEF OF STAFF, 60s are walking
     briskly along in a heated discussion.

                         CHIEF OF STAFF
               Do we have the damn interview or
               don't we?


                                                              (CONTINUED)

                                                                  9.
                           WHITE KABLE SCRIPT - 9/19/2007
17   CONTINUED:                                                        17

                            PRODUCER
                  We're cunt hair close -

                            CHIEF OF STAFF
                  I can't blow off the Three-Asian
                  War for "close".

                            PRODUCER
                  All respect, Bob, nobody cares
                  about dead Orientals... they care
                  about Ken Castle -

                            CHIEF OF STAFF
                  May I hear from Gina please?

     GINA spins on him, looks CHIEF straight in the eyeballs.

                            GINA PARKER SMITH
                  OK, Bob? Bob. You realize Castle
                  has clocked exactly - one - media
                  appearance to date and that was
                  Walters' last interview before she
                  died - NINE FUCKING YEARS AGO!

                            CHIEF OF STAFF
                  Stop menstruating, just tell me we
                  fucking have it -

                            GINA PARKER SMITH
                  We fucking have it!

     The CHIEF OF STAFF bangs open a conference room door with his
     fist as they blow by - veers off and disappears. GINA rolls
     her eyes in disgust, keeps moving.

                            GINA PARKER SMITH (cont'd)
                  Palindromes.
                      (she STOPS)
                  Hold on. Focus: let's get lunch.
                  Sushi, Iranian, or Mexican?

                            PRODUCER
                  Burger chili fry?

                            GINA PARKER SMITH
                      (considering)
                  I'll freak a burger.

     FREEZE FRAME on GINA - ZOOM and...

18   INT. NEWSCAST                                                     18

     TV GRAPHIC:


                                                            (CONTINUED)

                                                                10.
                          WHITE KABLE SCRIPT - 9/19/2007
18   CONTINUED:                                                       18

     GINA'S BURGER-FREAKING face becomes part of an ANIMATED TITLE
     SEQUENCE.

                                     A   LIVE

                              WORLDLINK TONIGHT

                                    EXCLUSIVE

                           with GINA PARKER SMITH

     In this context it looks like she's freaking serious world
     affairs.

     NOTE: this telecast will play much faster than the page count
     indicates - hyped up, quick cutting, overlapping dialog,
     A.D.D. and hyper-caffeinated.

                            VOICEOVER
                  First... there was society...

     Shots of several dozen young, trendily dressed people (we're
     talking trends that haven't yet been invented) wandering
     robotically around a BACKLOT-LOOKING CITY STREET,
     occasionally bumping into one another... the graphic society
     LOGO superimposed.

                            VOICEOVER (cont'd)
                  The ultimate SIM environment -
                  where players don't control virtual
                  animated characters - but actual,
                  living, breathing human beings.

     People are dancing, MAKING OUT on street corners... someone
     tries to eat an ICE CREAM CONE, misses his mouth and pokes it
     into his eye.

                            VOICEOVER (cont'd)
                      (quoting)
                  They walked them, they talked them.
                  They juiced them...

     A HOT YOUNG GIRL in a WET T-SHIRT is SLAMMING a BOTTLE of
     JAGER.

                            VOICEOVER (cont'd)
                  They rocked them.

     A MIDDLE-AGED GUY in a shirt and tie is HEADBANGING FURIOUSLY
     like an extra in a TWISTED SISTER VIDEO.

                            VOICEOVER (cont'd)
                  We all remember the slogan.


                                                           (CONTINUED)

                                                                11.
                       WHITE KABLE SCRIPT - 9/19/2007
18   CONTINUED: (2)                                                   18

     SWITCH TO: ROWS OF PEOPLE in front of wall-sized VIDEO
     MONITORS, transfixed, doing a kind of sign language with
     their hands... JAPANESE lining up around the block...
     COLLEGE STUDENTS and OFFICE WORKERS glued to screens...

                         VOICEOVER (cont'd)
               The creation of reclusive genius
               Ken Castle, society took the world
               by storm, becoming the number one
               guilty pleasure of billions, either
               playing or watching... and
               generating one of the world's
               largest private fortunes,
               surpassing Steve Jobs and Bill
               Gates practically overnight.

     A FILE-FOOTAGE CLIP of KEN CASTLE - 30s, fresh and boyish,
     Southern molasses accent - being interviewed on a news show:

                         KEN CASTLE
               I ain't complainin'!

     FREEZE on CASTLE... the IMAGE DISTORTS in THREE DIMENSIONS,
     offset red and blue channels shifting.

                          VOICEOVER
               Nine months ago, Castle unveiled a
               new simulation - one that would
               take gaming to new heights of
               thrilling excess... and controversy
               - SLAYERS.

     SLAYERS LOGO over a slo-mo shot of BROWN and BLUE soldiers
     walking towards CAMERA - BADASS, with BIG MOTHERFUCKING
     WEAPONS slung at their sides...

                         VOICEOVER (cont'd)
               If society let us live thru
               others...
               SLAYERS would let us die thru
               others.

     Slick edited COMBAT FOOTAGE from the BATTLEFIELD.
     Explosions, flame throwers, bullet hits... DUDES screaming,
     unloading MASS ROUNDS...

                         VOICEOVER (cont'd)
               Slayers gives the gamer full
               control of a flesh and blood human
               being in full scale, kill-or-be-
               killed combat. And when we say
               flesh and blood, we mean flesh -

     A QUICK CUT of a BROWN'S ARM BEING BLOWN OFF.

                                                        (CONTINUED)

                                                                      12.
                          WHITE KABLE SCRIPT - 9/19/2007
18   CONTINUED: (3)                                                         18

                         VOICEOVER (cont'd)
               ... and blood.

     An RPG EXPLODES - CHUNKS smack the lens and OOZE DOWN.

                                                             SWITCH TO:

19   INT. TELNET - INTERVIEW STUDIO LIVE - CONTINUOUS                       19

     CASTLE is opposite GINA PARKER SMITH, both identified by
     translucent animated CHYRONS. CASTLE is older now than in
     the earlier clip; early 40s - his body is more solid; hair
     cut shorter, conservative. But the eyes still SPARKLE.

                            GINA PARKER SMITH
               Slayers.

                         KEN CASTLE
                   (big smile)
               Slayers.

     CASTLE'S accent is like pure Georgia honey.           He's a rock-
     ribbed charmer.

                         GINA PARKER SMITH
                   (down to business)
               Why isn't it murder?

     She leans in, playing the role of hard-hitting reporter to a
     T.

                         KEN CASTLE
               Gina, when was the last time you
               saw someone volunteer to be
               murdered? I'm sure you know that
               every last one of our Slayers is a
               bona fide death row inmate -
                   (points for emphasis)
               ...each one offered a chance to
               participate as an alternative to
               their sentence. Stay alive for
               thirty sessions and get set free...
               that's not a bad God damned deal.

                         GINA PARKER SMITH
               I see - and has any one of these
               men or women ever actually survived
               long enough to be set free?

     KEN just smiles, locks in on her eyes.




                                                                (CONTINUED)

                                                                13.
                          WHITE KABLE SCRIPT - 9/19/2007
19   CONTINUED:                                                       19

                            KEN CASTLE
                  I'd remind your audience that
                  Slayers was put together with the
                  full cooperation and approval of
                  the United States federal
                  government... that the revenue it
                  produces is responsible for funding
                  our entire prison system - keeping
                  the bad guys behind bars... and
                  that the prop was voted for by a
                  cock solid 68% of the American
                  public.

20   INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS                     20

                            PRODUCER
                      (to BOARD OP)
                  What'd he say?

21   INT. TELNET - INTERVIEW STUDIO LIVE - CONTINUOUS                 21

                            GINA PARKER SMITH
                  ... in an election tainted by
                  suspected digital fraud...
                      (changing gears)
                  let's talk about the so-called
                  generi-cons.

     VIDEO: a montage of slayers "civilians" - the bum shaking a
     can in the midst of chaos, a group of pedestrians walking
     robotically into a wall of flame, store clerks "air-bagging"
     groceries...

                            GINA PARKER SMITH (cont'd)
                  Sent into the slayers environment
                  with a set of pre-programmed
                  actions, with no way to react and
                  no one controlling them - their
                  chances of survival are next to
                  nil.

                            KEN CASTLE
                  There's a lot of men and women in
                  prison that could never cut it as
                  slayers... shouldn't they have the
                  same opportunity to roll the dice
                  for a ticket out? Besides - they
                  only need to survive one session.

     VIDEO: the East Indian Female generi-con from the first
     battle gets smeared by a truck.




                                                           (CONTINUED)

                                                                           14.
                             WHITE KABLE SCRIPT - 9/19/2007
21   CONTINUED:                                                                  21

                               GINA PARKER SMITH
                  Right...

                                                              SUPERNOVA FLARE
                                                                          TO:

22   EXT SLAYERS BATTLEGROUND                                                    22

     BULLET-CAM IMAGES of a SLAYERS SOLDIER leaping into action
     and freezing in MID-AIR, a GRAPHIC SUPERIMPOSED:

                                 HOW DOES IT WORK?

23   INT. TELNET - INTERVIEW STUDIO LIVE                                         23

     THROW TO the LIVE STUDIO BROADCAST -

                            GINA PARKER SMITH
                      (leaning in)
                  Mr. Castle - how the hell does it
                  work?

                               KEN CASTLE
                  Simple.

     A 3-D ANIMATED GRAPHIC accompanies his explanation - the
     VIRTUAL CAMERA zooms in to the FROZEN SOLDIER'S head - and
     then INSIDE, passing thru transparent layers.

                             KEN CASTLE (cont'd)
                  It begins with a single nano-cell
                  planted in the motor cortex of the
                  brain -- this cell can replicate,
                  replacing the cells `round it with
                  perfect copies...

     We see a cartoon image of a tiny nano-cell - labeled with a
     bold, block letter N. The nano-cell approaches a normal cell
     next to it... there is a flash; now the cell next to it has
     turned into an exact copy of the nano. This continues,
     multiplying exponentially, until we zoom back to reveal that
     the entire brain has been converted to nano-cells.

                             KEN CASTLE (cont'd)
                  ... these copied cells contain
                  remote access functionality.
                  Therefore, nano plus cortex equals
                  the nanex.

     The graphic zooms back further to show a pair of hands
     working a retro ATARI-style joystick... animated waves
     indicate a wireless transmission from the joystick to the
     Slayer, who unfreezes and flies into action.


                                                                     (CONTINUED)

                                                                15.
                          WHITE KABLE SCRIPT - 9/19/2007
23   CONTINUED:                                                       23

                            GINA PARKER SMITH
                  Geek, geek, geek - come on, Castle,
                  you promised us a demonstration.

     CASTLE smiles broadly.

                            KEN CASTLE
                      (coy)
                  Did I? You know I seem to recall
                  that - let's just see...

     CASTLE waves in his PERSONAL SECURITY:

     A half dozen GEEKS in BLACK JEANS, BLACK T-SHIRTS w/ WHITE
     SOCKS and SNEAKERS; BACKPACKS... yes, even FANNY PACKS. A
     full range of GEEK VARIATIONS: beard/mustache combos, thick
     glasses, pony tails, etc.

     One GEEK brings out the CUTEST, SOFTEST little SPANIEL PUPPY
     in the world and places it in CASTLE'S LAP.

     Meanwhile several OTHERS are directing HANDHELD SENSORS at
     GINA and thumb-clicking to establish TRACKING POINTS - her
     slightest movements are scanned and interpreted as data in
     real time.

                            GINA PARKER SMITH
                      (fighting it)
                  Oh... my god. So cute.

                            KEN CASTLE
                  You like her? Her name is Gina.
                  She's a good little bitch.

     Somehow, in his sweet southern drawl this rolls off almost
     acceptable. The CREW has a laugh off-screen; GINA blushes.

                            GINA PARKER SMITH
                  I beg your pardon?

24   INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS                     24

                            PRODUCER
                  This motherfucker is off the
                  charts.

                            CHIEF OF STAFF
                  You realize he could buy our
                  network.

                            PRODUCER
                      (shrugs)
                  Why would he?
                            (MORE)

                                                           (CONTINUED)

                                                                16.
                          WHITE KABLE SCRIPT - 9/19/2007
24   CONTINUED:                                                       24
                             PRODUCER (cont'd)
                  Son of a bitch can pull 650 million
                  pay-per-views for a single
                  broadcast.

     ON the MONITORS:

     CASTLE is showing GINA how to make the dog roll over, sit up,
     etc. GINA has her hands up, limp in front of her chin, like
     a submissive puppy begging, and she is PANTING; she's clearly
     getting into it... her every movement is MIRRORED by the
     adorable dog.

                            BOARD OP
                  That's fuckin scary.

25   INT. TELNET - INTERVIEW STUDIO LIVE, CONTINUOUS                  25

     More COMBAT FOOTAGE, this time focusing on KABLE HIGHLIGHTS.

                            GINA PARKER SMITH
                  Isn't it true that each human that
                  undergoes the procedure will have a
                  distinct IP address -- like a
                  notebook computer or mobile device?

                            KEN CASTLE
                  Similar, yep. But control is
                  strictly localized to the
                  parameters of our gaming
                  environments.

     BACK TO THE STUDIO.

                            KEN CASTLE (cont'd)
                  You take Society for instance: once
                  a cast member leaves the workplace
                  they are completely free from the
                  control and monitoring of their
                  player.

                            GINA PARKER SMITH
                      (incredulous)
                  That's a relief.

                            KEN CASTLE
                      (teasing)
                  To some, maybe... to some... don't
                  you suspect a good many folks
                  wouldn't mind an itty bit of
                  control?

                            GINA PARKER SMITH
                  I don't... um...


                                                           (CONTINUED)

                                                                17.
                          WHITE KABLE SCRIPT - 9/19/2007
25   CONTINUED:                                                       25

                            KEN CASTLE
                  Someone else making all the
                  decisions for you... no
                  responsibilities, no tough
                  choices... think about it.

                            GINA PARKER SMITH
                      (tough)
                  We will, Mr. Castle. We will.

     A SUPERNOVA FLARE throws to MUSIC and GRAPHICS:

                                       YOU

                               ARE EXPERIENCING

                                      a LIVE

                              WORLDLINK TONIGHT

                                    EXCLUSIVE

26   INT. THE INTERVIEW STUDIO, CONTINUOUS                            26

     Back to handheld, non-broadcast REALITY.

     KEN has GINA's hand in his hand, beaming. Her demeanor has
     changed; she's like a LITTLE GIRL with her DAD at the fair.

                            KEN CASTLE
                  Good little talk.

                            GINA PARKER SMITH
                  My pleasure. Shit, can I tell you?
                  I CAN. NOT. wait for the next
                  Slayers. Kable has been
                  unbelievable. His arms are just
                  so... well, I know it's awful.

27   INT. STUDIO BOOTH, OFF CAMERA - SIMULTANEOUS                     27

                            PRODUCER
                  What the hell is that?

     The WORLDLINK GRAPHIC GLITCHES OUT, replaced by a BLUE SCREEN
     - like an old school COMPUTER CRASH. THEN -

     One letter at a time, in retro Apple chicago font,
     accompanied by the exaggerated sound of COMPUTER KEYSTROKE
     CLICKS:

                                     HUMANZ


                                                           (CONTINUED)

                                                                 18.
                           WHITE KABLE SCRIPT - 9/19/2007
27   CONTINUED:                                                        27

     Then a VOICE - deep, but speaking ARTIFICIALLY QUICKLY - like
     in radio commercials, where they use time-compression
     software to remove the silences between the words.

                            HUMANZ BROTHER
                  Ken Castle wants you to believe
                  that you are living in a safer,
                  better world. He's a liar. Mind
                  control is slavery. We will all be
                  his dog if we allow this evolution
                  to continue.

     Everyone in the STUDIO is speechless, watching the monitors -
     including CASTLE; actually, he LOVES it... he's laughing his
     ass off.

                            PRODUCER
                  Mr. Castle, we have no idea...

                             KEN CASTLE
                  Shush!

     ON THE SCREEN, the humanz logo dissolves, 8-bit ARCADE STYLE,
     replaced by:

                  THE EVOLUTION OF MAN ACCORDING TO CASTLE

     Underneath is the CLASSIC ILLUSTRATION showing the
     progression from primitive EARLY MAN to the erect MODERN
     HUMAN. In a crude ANIMATION the progression CONTINUES:
     MODERN MAN bends back over on his hands and knees; in the
     final stage he's wearing a DOG COLLAR, getting fucked in the
     ass - then fed through a MEAT GRINDER, packaged & sold as
     HAMBURGER.

     KEN looks over at the PRODUCER.

                            KEN CASTLE (cont'd)
                  That's a God damn hoot.

                             PRODUCER
                      (to his techies)
                  Bypass orbital, reroute from the
                  backup servers, NOW, for Christ
                  sake, you dirty apes...
                      (to CASTLE)
                  Sorry, Mr. Castle, we can't hard-
                  line a live broadcast. It's
                  impossible to stop every virus that
                  sneaks in.




                                                            (CONTINUED)

                                                             19.
                       WHITE KABLE SCRIPT - 9/19/2007
27   CONTINUED: (2)                                                 27

                         KEN CASTLE
               Uh huh. You might wanna oughta let
               my boys take a look at your
               firewall.

     The screen CUTS TO BLACK, COLOR-BARS blink, then an
     advertisement streams in.

     KEN stands, holding GINA'S hand, kisses it.

                         KEN CASTLE (cont'd)
                   (to GINA)
               What about your firewall, sugar -
               wonder if I might breach it one of
               these sunny days.

     He gives her a ROGUISH WINK.

                         GINA PARKER SMITH
               You're bad.

                            BOARD OP
               He's good.

     On the monitors, we transition back into a paid commercial: a
     VICTORIA'S SECRET PORN-looking GIRL in HANDCUFFS turns to
     CAMERA.

                         PORN GIRL
               Wanna blow off a little steam?

                                                        CUT TO:

28   EXT. PRISON YARD - DAY                                         28

     A PRISONER - shirtless, his upper body smeared with WHITE
     POWDER, screaming, SLAMS HIS FIST DOWN INTO FACE. Blood
     sprays on white.

     We see that he is beating down a uniformed GUARD. The GUARD
     wears a black gas mask, shattered and pouring blood. Other
     prisoners, shackled together, stand by watching, forming a
     half circle around the fight. They are shirtless, covered in
     the same white powder - they look like tribesmen.

     One of the prisoners, very distinctive, nods grimly, clearly        *
     enjoying the show.

                         DISTINCTIVE PRISONER                            *
               Fuck him up.

     The prison yard is a vast expanse of white - it could be a
     chalk mine, or the surface of a strange planet. Distant
     towers mark the perimeter.

                                                        (CONTINUED)

                                                               20.
                       WHITE KABLE SCRIPT - 9/19/2007
28   CONTINUED:                                                      28

     Other groups of shackled prisoners can be seen in the
     distance, trotting along in lines. Trails of thick magenta
     smoke snake across the yard, sucked by the wind.

     The ROGUE PRISONER stomps down on the GUARD'S face one last
     time - his shoes are made of cloth. CRUNCH. The GUARD stops
     moving.

     The PRISONER starts to run for it across the white terrain.

     A group of GUARDS appear to round up the remaining prisoners.
     They club them down with the butts of rifles but pay no mind
     to the fleeing ROGUE... they merely watch him go, impassive.

     In a moment, we see why - when the ROGUE PRISONER crosses
     between the two distant towers he is jerked to the ground by
     an invisible field. Sound? Light? Magnetism? His body
     goes into spasms; blood foams from his ears, mouth, eyes.

                                                          CUT TO:

29   EXT. PRISON REC AREA - DAY                                      29

     Fingers run through white powder, making patterns.

     A black shadow crosses the frame, accompanied by a low hum;
     some sort of aircraft.

     KABLE looks up as the shadow tracks across him; we never see
     the craft. He looks out across the yard.

     KABLE is sitting in what seems to be a minimal REC AREA cut
     out of the white terrain. He sits by himself wearing a white
     cloth hoodie, eyes dark, head down, silent. Across the yard
     a group of prisoners are playing basketball; EVERY SINGLE
     PLAYER is SKYING for dunks.

     We focus in on KABLE'S TATTOO: I Am Right Here With You...

     In the yard a CRIPPLE, his two legs stiff with braces, walks
     ROBOTICALLY along on crutches. KABLE watches him,
     expressionless. It triggers a memory...

                                                        FLASH TO:

30   EXT. SUN-SOAKED EXTERIOR                                        30

     A LITTLE GIRL, no more than two, walks along on her DADDY'S
     feet... giggling, trusting... her hands grip his big
     fingers... taking each big ROBOT STEP with him...

                                                        FLASH TO:

                                                                21.
                         WHITE KABLE SCRIPT - 9/19/2007



31   EXT. PRISON YARD - DAY                                           31

     A BASKETBALL comes out of nowhere and KNOCKS THE CRUTCH OUT
     from under the CRIPPLE, sending him ass-up on the asphalt.
     Prisoners JEER.

                         FREEK
                   (quiet, conspiratorial)
               Kable. Kable.

     We see that KABLE has drawn the pattern in his tattoo with
     his finger in the white powder; at the sound of the voice he
     runs his hand through it, wiping it away.

     A wiry, jittery dude of indeterminate age is sitting next to
     KABLE. KABLE doesn't even turn to look.

                         KABLE
               My name is Tillman, freak.

                         FREEK
               Tillmans, yeah, Tillmans, I knew
               that, they said you name's was
               Tillmans... just sittin, always
               sittin, always lookin, just
               lookin... like me, I keep my holes
               down... you got to, man... a dude
               inevitably start to break up, start
               to crack and break up everyday,
               never know you gonna die today or
               live another two, three. You never
               do know. All these niggaz gonna
               snap, snap, snap, one by one, every
               last one, all of em. Yeah but not
               you. Twenty seven battles and three
               to go... no one ever got that close
               before, no one even done ten games
               without gettin they brains shot...
               but Kable, Kable, Kable, he just
               sittin, lookin, like he got a plan,
               he already somewhere else, he on a
               mission, nothin' get in his way,
               never break, never snap, never say
               shit, just take care of his
               business, niggaz get spooked by
               that shit. You spooky.

     KABLE turns slowly to look him in the eye, says nothing.

                           FREEK (cont'd)
               Spooky.

     KABLE looks away.


                                                          (CONTINUED)

                                                                   22.
                             WHITE KABLE SCRIPT - 9/19/2007
31   CONTINUED:                                                          31

                            FREEK (cont'd)
                  Why they put you in here, Tillmans?

     KABLE waits a good long beat.

                            KABLE
                  I killed my best friend.

32   INT. PRISON - NIGHT                                                 32

     A prisoner sings Metallica off key, but balls to the walls:

                            PRISONER
                  Master!
                  Master!
                  Master of Puppets I'm pulling your
                  strings - Twisting your mind and
                  smashing your dreams...

     KABLE is alone in his cell.

     At the base of the single door is a SLIDING COMPARTMENT to
     push food through - it opens. But instead of a tray, someone
     pushes through a wrinkled photograph.

     KABLE picks it up and looks - a WOMAN, just a blur of golden
     hair, laughing, and a LITTLE GIRL... the same one in KABLE'S
     vision.

                            WOMAN (O.S.)
                  You want to get back to them.

     KABLE is stunned, silent. He sits on the ground, shoulder
     leaning against the heavy door, staring at the girl in the
     picture.

                            WOMAN (O.S.) (cont'd)
                  It's all you think about. It's the
                  only thing that keeps you alive.

     Her words are like hammer blows to his guts; he wants to weep
     but he's too strong, too internalized. He steels himself.

                            KABLE
                  Who's talking?

     She pushes through a white NOTECARD and PEN.

                               WOMAN (O.S.)
                  Sign it.

                               KABLE
                  What?


                                                              (CONTINUED)

                                                                       23.
                          WHITE KABLE SCRIPT - 9/19/2007
32   CONTINUED:                                                              32

     KABLE doesn't take it.

                            WOMAN (O.S.)
                  Sign it... please, Tillman. My son
                  David is your biggest fan. He
                  prays for you.

     This takes KABLE by surprise; he reluctantly takes the pen
     and card. He writes something on it and sticks it back
     through the slider.

     PFFHHT. The WOMAN stabs KABLE'S hand with a LANCET - she
     draws out a little blood.

     KABLE yanks his hand back out.

                            WOMAN (O.S.) (cont'd)
                  Need to prove it's authentic.
                  Makes it worth more.

                            KABLE
                  Why would anyone want my name?

                             WOMAN (O.S.)
                  You don't even know what's going on
                  out there, do you?
                      (beat)
                  Damn...

     At the far end of the solitary block a BUZZER sounds - then
     the SLIDE and SLAM of heavy steel.

                              WOMAN (O.S.) (cont'd)
                  Gotta go.

     KABLE jumps up and pulls himself against the door - a
     lifeline is slipping away...

                             KABLE
                  Wait.
                      (he holds the wrinkled
                        photo to the window)
                  How did you get this picture?            Have
                  you seen them?

     He peers through the little window at the top of the door,
     but she's GONE...

     Instead, a group of PRISONERS are being led down the corridor
     to their NEW CELLS. We recognize grim, battered faces from
     the yard - these are the men that stood by as the GUARD was
     being beaten down.



                                                                  (CONTINUED)

                                                                    24.
                       WHITE KABLE SCRIPT - 9/19/2007
32   CONTINUED: (2)                                                       32

     DISTINCTIVE PRISONER - hands cuffed behind his back, makes                *
     eye contact with KABLE as he walks by.                                    *

                                                        FADE TO BLACK.

33   EXT. PRISON RUNNING TRACK - DAY                                      33

     A desolate white RUNNING TRACK; a guard TOWER overlooks...
     the field is empty but for ONE MAN: KABLE.

     He's busting ass around the track, pouring sweat. We're
     right there with him, CLOSE-UP - profile, full speed... we
     hear the HARD BREATHING, the feet pounding dirt, like we're
     INSIDE HIS HEAD.

                                                              CUT TO:

34   EXT. URBAN DOWNTOWN #1 - SIMULTANEOUS                                34

     WIDE LOCK OFF - KABLE, 90 feet high, a MURAL painted on the
     side of a BUILDING. It's an AD for SLAYERS: KABLE in FULL
     COMBAT MODE, cutting loose with a FLAME THROWER.

35   EXT. PRISON RUNNING TRACK - SIMULTANEOUS                             35

     KABLE, running - we're even CLOSER NOW... he's pushing
     himself beyond exhaustion, pure focus...

36   EXT. URBAN DOWNTOWN #2 - DAY                                         36

     Different city, same story - KABLE, a towering BILLBOARD
     PROJECTION... endless lanes of FREEWAY GRIDLOCK sprawling
     beneath...

37   EXT. PRISON RUNNING TRACK - SIMULTANEOUS                             37

     KABLE, staggering, near collapse, lungs burning...

38   EXT. TIMES SQUARE - DAY                                              38

     The ICONIC IMAGE of KABLE on the famous TIMES SQUARE VIDEO
     WALL, now even more massive... the STOCK TICKERS reeling off
     disaster... he's like GODZILLA frozen amongst the
     SKYSCRAPERS...

39   EXT. PRISON RUNNING TRACK - SIMULTANEOUS                             39

     KABLE finally flames out... he breaks down to a jog, then
     doubles over, hands on his knees, gasping for breath.

     CUT OUT WIDE: KABLE is ant-size and insignificant on the
     long, barren field, under a vast grey sky... ALONE.



                                                              (CONTINUED)

                                                                       25.
                          WHITE KABLE SCRIPT - 9/19/2007
39   CONTINUED:                                                              39

     Hold for a long beat, and...

                                                           FADE TO BLACK.

40   INT. A DOZEN DARK ROOMS - DAY                                           40

     MONTAGE of GAMERS' FACES, preparing to GET IT ON... All
     shapes, colors and styles, but all RICH AND POWERFUL-looking.
     Some are sweating, some calm, some beat red, others have
     guitar-playing twitch faces...

41   EXT. SLAYERS BATTLEGROUND #2 - DAY                                      41

     SHOCK CUT into the HEAT OF BATTLE.

     CHAOS, CONFUSION... KABLE blasts through a cloud of exploding
     debris... A BROWN to his left is BLOWN IN HALF - the LEGS
     KEEP RUNNING...

42   EXT. SLAYER BATTLEGROUND #2 - STREET                                    42

     TED NUGENT, in BROWN camo, lines up a BLUE SNIPER in a 3rd
     story window with a CROSS-BOW. He releases the arrow and
     pins the BLUE's HEAD to the window sill.

                            TED NUGENT
                  Damn, I gonna have to eat you now,
                  son.

     An UPSIDE-DOWN CAR comes SLIDING down the street on it's hood
     and slams into TED NUGENT, VAPORIZING him...

43   EXT SLAYER BATTLEGROUND #2                                              43

     Another five BLUE SOLDIERS are taken out. Their bodies drop
     to the ground, gruesome goodness. The FIVE BALL BEARING
     CAMERAS quickly flock together and check out each body as a
     swarming unit. From a wider shot, they look like flies on
     shit... after checking out the recently deleted, they zip off
     towards the closest save point...

                                                                 CUT TO:          *

     SCENE 44 DELETED                                                             *

45   INT. FRAT HOUSE - SIMULTANEOUS                                          45

     FIFTY beer slamming COLLEGE STUDENTS are going BERSERK...
     they've got SLAYERS on a wall-sized screen, pay-per-view...
     they're high fiving, SMASHING up the place...                                *

                                                                26.
                       WHITE KABLE SCRIPT - 9/19/2007



46   EXT. SLAYERS BATTLEGROUND #2 - DRAINAGE DITCH - CONTINUOUS       46

     KABLE LEAPS for a drainage trench, makes it, and hustles
     around the back of a burnt out building...

47   INT. SLAYERS BATTLEGROUND #2 - STAIRWAY                          47

     Up a stairway - the GHOST FACE on GLASS superimposed on the
     image - the face is LAUGHING, GIDDY...

                         VOICE
               Oh shit... oh shit...

48   INT. SLAYERS BATTLEGROUND #2 - 2ND FLOOR                         48

     KABLE takes up a spot from a second level vantage point -
     from here we see a small group of BLUES moving down the
     block, scanning for survivors.

                         VOICE
               Wul hello thar...

     KABLE watches himself SWITCH TURRETS on his WEAPON.   He
     brings up a SNIPER SIGHT and locks in on a target.

                         VOICE (cont'd)
               Wait for it...

     CLOSE-UP of KABLE'S EAR: just then he hears the SUBTLEST OF
     SOUNDS creeping up behind. Whoever's controlling him doesn't
     seem to have noticed - he's too focused on the enemies in the
     sights.

     We can see the tension in KABLE'S FACE - he's helpless,
     trying to fight it, willing his player to take notice.

                         KABLE
                   (whispering)
               Turn me around God damn it...

                         VOICE
               What'd he say?

     A trickle of sweat runs down into KABLE'S EYE. The SOUND is
     more distinct now, CLOSER... he's practically shaking from
     the struggle to overcome the control.

     POV: someone has reached the top of the stairs... KABLE, seen
     from behind, comes into view crouched by the blown out
     window.

                          VOICE (cont'd)
               My boy gotta take a piss or
               something?

                                                        (CONTINUED)

                                                                       27.
                          WHITE KABLE SCRIPT - 9/19/2007
48   CONTINUED:                                                              48

     FINALLY: SNAP ZOOM on a reflection in a shard of HANGING
     WINDOW GLASS - the outline of a BLUE, raising his gun...

                            VOICE (cont'd)
                  D'oh.

     KABLE SPINS - FAST. The TURRET is ALREADY REVOLVING when he
     squeezes the trigger...

     The ARMOR-PIERCING SHELL takes SNEAKY BLUE by surprise,
     blowing him out the back of the building...

     The BLUES in the street take notice. It's a matter of
     seconds...

     KABLE makes a run for it as the floor starts to DISINTEGRATE
     behind him in a shitstorm of bullets. SHRAPNEL drills his
     back, absorbed by the BODY ARMOR.

49   EXT. SLAYERS BATTLEGROUND #2                                            49

     He hits daylight and turns a corner in time to see a group of                *
     BROWNS scattering... a live ARTILLERY SHELL skitters across                  *
     the pavement, belching smoke.                                                *

     BOOM.

     KABLE is running... he looks to his right - A FROZEN MOMENT:

     The SAVE POINT up ahead on the SPINNING RAILROAD.                            *

     The MOMENT passes; KABLE looks back over his shoulder - a
     rush of ROARING FLAME is COMING - FAST... at the moment of
     IMPACT we -                                                                  *

                                                           SMASH TO BLACK

50   INT. THE TRAIN - TIME INDETERMINATE                                     50

     SOLDIERS are charred, bleeding, wasted.

     A BROWN is sobbing uncontrollably.

                            BROWN SOLDIER
                  Who are they... who the fuck are
                  they... who's playing us?

     KABLE watches him, wondering the same damn thing.

51   INT. SIMON'S HOUSE - DAY                                                51

     MONTAGE, CLOSE UP:

     Two fat slices of WHOLE GRAIN BREAD, check.

                                                                 (CONTINUED)

                                                                28.
                         WHITE KABLE SCRIPT - 9/19/2007
51   CONTINUED:                                                       51

     Big sloppy spoonfuls of lumpy green ORGANIC PISTACHIO BUTTER,
     spread on SLICE A, check.

     Welch's PURPLE GRAPE JELLY spread on SLICE B, check.

     Combine; CONSUME.

52   INT. SIMON'S HOUSE - HALLWAY                                     52

     SIMON - 18, pale and lanky, unkempt shaggy hair; wearing a
     vintage Guns `n' Roses T-shirt from the Appetite For
     Destruction Tour - walks down a long, high ceilinged crystal
     hall with marble floors, macking on the sandwich... passes
     through a glass tunnel running through the interior of a
     massive, exotic aquarium - he's alone in what appears to be a
     vast, cold mansion.

53   INT. SIMON'S ROOM - CONTINUOUS                                   53

     SIMON'S ROOM is simple - FOUR WALLS and a CEILING, each one a
     3-D, corner-to-corner VIDEO SCREEN. The HD level of the
     screens is virtually ABSOLUTE - the flesh and blood SIMON
     himself is just another element in a HIGH-DOLLAR/HIGH-TECH
     SPACE.

     The FLOOR is ALL BED. SIMON PADS IN, takes a spinning STUNT
     JUMP and ROLLS onto his back in a big ass pile of pillows,
     sandwich intact.

     The SCREENS are a jumble of floating frames, competing for
     prominence in the 3-D space... muted VID CHATS, STOCK
     TICKERS, SPORTS SCORES, ultraviolent SLAYERS playback, etc.
     Everything dynamic, everything moving.

     One whole wall is apparently a REAL TIME monitor of the
     SLAYERS BATTLEGROUND, with updated statistics... POINTS
     LEADER, FRAG COUNT - we notice that KABLE leads these
     categories; a video loop of KABLE in action beside his name
     illustrates the point.

     In the FOREFRONT of SIMON'S attention:

                    KABLE EARNS 800 UPGRADE POINTS

     A set of dynamic frames allow him to scroll through a series
     of revolving images - WEAPONS, EQUIPMENT, BODY ARMOR.

     SIMON interacts with the 3-D environment using HAND GESTURES -
     he can SLIDE, SQUEEZE, PULL AND SCROLL the images just by
     moving his fingers in the air.

     He flips past various TRANSFORMERS-looking SUPER GUNS...



                                                          (CONTINUED)

                                                                  29.
                            WHITE KABLE SCRIPT - 9/19/2007
53   CONTINUED:                                                         53

                            SIMON
                  Gay... gay... gay... super gay...
                  hm.

     He stops on an animated graphic. A SEXY FEMALE VOICE breaks
     it all down for us:

                            FEMALE VOICE
                  Swarmers. The latest innovation
                  from Browning, this self detonating
                  cartridge offers the widest and
                  deadliest spray available from a
                  full tracking, cornering ordnance.

     A VIDEO DEMO shows the fired cartridge SPLIT into two-dozen
     smaller shells that FLASH OUT like a swarm of bees, wind
     around a corner and utterly SHRED a TEST DUMMY.

                            SIMON
                  Daddy like...

     An ANNOYING GIRL'S VOICE pops in, along with a VID CHAT
     SCREEN that takes over the MAIN WALL. She looks about 16 -
     skinny, skanky, kind of hot.

                              ANNOYING GIRL
                  Simon!

                            SIMON
                  Fan-girl, stop hacking. If I want
                  you unmuted I'll unmute you.

                            ANNOYING GIRL
                  You suck, Simon - you're going to
                  get my boyfriend killed before he
                  can get out of jail and fill me up
                  with his hot seed.

                              SIMON
                  Uh huh.

     Another GIRL - 17, cute, stoned - chimes in.

                            CUTE STONED GIRL
                  Simon, I just wanna play you.
                  Forget about that star-fucker.

                            ANNOYING GIRL
                  Shut up bitch.

     SIMON casually waves his hand at the frame, like flicking at
     a fly; ANNOYING GIRL is wiped away, bringing CUTE STONED GIRL
     to the forefront.


                                                             (CONTINUED)

                                                                  30.
                       WHITE KABLE SCRIPT - 9/19/2007
53   CONTINUED: (2)                                                     53

                         CUTE STONED GIRL
               Thanks baby. When can I meet you
               for like reals?

     SIMON notices a metallic sparkle from the GIRL'S TONGUE.

                         SIMON
               What is that?
                   (like a dentist)
               Aaaa.

     He reaches out and "pinches" the screen, ZOOMING IN close as
     she sticks out her tongue - it fills the wall... a dozen
     wicked looking BLACK TONGUE RINGS stud the wet pink flesh,
     TEN FEET HIGH.

                            SIMON (cont'd)
               Woah.

     He quickly unsqueezes, zooming back out. The GIRL'S eyes are
     rolled back in her head, euphoric; she's WASTED.

                         CUTE STONED GIRL
               You like me?

     A THIRD GIRL pops in, filling the opposite wall.

                         SHELLY
               What's up, loser?

                            SIMON
               Hey sissy.

     This is SIMON'S SISTER, SHELLY, 14.       Frosted up lips, eyes
     and hair like a Tokyo hooker.

                         SHELLY
               Mom says - let me see, go to
               college, move the fuck out, and...
               oh yeah, you're a sick retard,
               you're pathetic, and you smell like
               Jeffrey Dahmer.

                         SIMON
               Wanna make out?

                         SHELLY
               You wish. I can't wait til they
               cut you off, Simian.

     With a wave of his hand he wipes her image off the screen.

     TWO MORE video chats pop up - TWIN 21-YEAR OLD GIRLS,
     stupidly hot.

                                                            (CONTINUED)

                                                                 31.
                        WHITE KABLE SCRIPT - 9/19/2007
53   CONTINUED: (3)                                                    53

                          TWINS
               Simon?

                          SIMON
               Maybe.

                         TWINS
                   (star struck)
               Oh my god, it's really you!!!

     Suddenly all of SIMON's screens are filled with the TWINS.

                          SIMON
               Nice.

                         TWINS
                   (in unison)
               Do you wanna see our tits, Simon?

                         SIMON
                   (shrugs)
               Uh, sure.

     They lift their shirts, GIRLS GONE WILD style.      Perfect perky
     C's with silver-dollar nipples.

                         TWIN 1
               Mmmmm, now that we have your
               attention, here's another offer you
               can't refuse.

                         SIMON
               Here we go.

     When TWIN 2 speaks, it is with a MAN'S VOICE. The accent is
     EASTERN EUROPEAN.

                         TWIN 2
               Fifty million euros for control of
               Kable, instant transfer to the
               account of your choice.

                         SIMON
               Question: do I look like I need the
               money? We've discussed this before
               - Kable is not for sale.

                         TWIN 1
                   (feeling herself up)
               Baby... make it a hundred.

                         SIMON
               It's been real.


                                                           (CONTINUED)

                                                                32.
                          WHITE KABLE SCRIPT - 9/19/2007
53   CONTINUED: (4)                                                   53

     SIMON snaps his fingers; all the windows close
     simultaneously.

     SIMON makes a clicking sound with his tongue in the new
     silence. Peace at last.

     BY THEMSELVES, the screens come BACK TO LIFE.

                            SIMON (cont'd)
               D'oh.

     The instant chat boxes are gone, replaced by a soundless,
     GRAINY VIDEO LOOP - there is something sinister about the lo-
     fi image... it looks like the feed from an old SURVEILLANCE
     CAM:

     Two men are sitting in a room... it's silent, but one of them
     seems to be SCREAMING - he lifts a gun...

                         SIMON (cont'd)
               What the fuh...?

     ... waits a beat... and SHOOTS THE OTHER MAN IN THE HEAD.
     Black blood pools. This is REAL. The loop repeats.

     When the SHOOTER turns his face toward the camera, SIMON
     freezes the frame with a gesture and ZOOMS IN.

     It's KABLE.

     A MESSAGE is typed across the screen one letter at a time -
     we may recognize the retro chicago font from the HUMANZ video
     prank earlier:

                            want to talk to him?

     Then, blinking, lo-fi in the lower right corner of the wall:

                             WALKIETALKIE.exe
                            SIMON (cont'd)
               Um.

                                                           CUT TO:

54   EXT. SOCIETY - DAY                                               54

     MUSIC: Bloodhound Gang, The Bad Touch:

     Ha-ha, well now, we call this the act of mating
     But there are several other very important differences
     Between human beings and animals
     That you should know about...

                                                           (CONTINUED)

                                                                33.
                        WHITE KABLE SCRIPT - 9/19/2007
54   CONTINUED:                                                       54

     You and me baby ain't nothin' but mammals
     So let's do it like they do on the Discovery Channel...

     PAVEMENT flies by... sun SLAMS rainbow flares into the
     lens... ROLLER SKATES break frame, outpacing us...

     We're cruising along with a group of YOUNG, BEAUTIFUL PEOPLE,
     skating like ROBOTS through a CITY PARK... Roller-Dolly
     follows HOT GIRLS in DAISY DUKES, knee socks and tube tops,
     belly rings and tatoos in the small of their backs...
     ATHLETIC DUDES, shirtless, gun racks and six packs...

     They SWING THEIR ARMS mechanically, identically... synced
     with each other and the beat of the soundtrack... each face
     plastered with an absurd, exaggerated GRIN... let's FUCKING
     PARTY!!!

     We are in a super-saturated world... NOT virtual/animated,
     but absolutely real - yet the color and immediacy of it is
     heightened, off-kilter.

     On the GRASS, a gang of TOKYO POP PUNK ROCKERS are having a
     WATER BATTLE, blasting and soaking each other with big
     plastic WATER CANNONS like something out of SLAYERS...

     A REDHEAD, soaking wet, is FEELING UP HER OWN BREASTS,
     totally OBLIVIOUS to her surroundings... One of the SKATERS,
     out of control, PLOWS RIGHT INTO HER at full speed... The
     SKATER takes a ride on concrete, grinding flesh off her bare
     legs... she wobbles to her feet, EYES STREAMING TEARS but
     STILL GRINNING ecstatically...

     A guy in a PRIEST OUTFIT holding brightly colored helium
     balloons looks on impassively; then spots something of
     interest and breaks off SPRINTING FULL SPEED...

     People are DANCING - the corniest moves ever... MAKING OUT on
     the ground... and in the middle of it all...

55   EXT. SOCIETY                                                     55

     CLOSE-UP: a SPARROW is pecking at a hunk of orange and yellow
     CANDY CORN.

     POP OUT WIDE to reveal that the BIRD is EATING OUT OF A
     GIRL'S HAND...

     This is ANGIE: 25, BLONDE/black roots... micro mini skirt,
     fishnets, boots... green-eyes, haunted, with sadness behind
     them; pretty - the clothes don't quite match her; it's like
     someone dressed her up as a hooker.... She doesn't seem to
     notice the little bird munching away; she stands in the
     middle of the PARK, looking around, lost.


                                                         (CONTINUED)

                                                                34.
                          WHITE KABLE SCRIPT - 9/19/2007
55   CONTINUED:                                                       55

     She spots a GUY standing by himself near a giant sculpture.
     She walks over to him; the BIRD flutters away.

     The GUY is young and attractive, dressed in casual business
     attire. He is wearing a PLASTIC PIG SNOUT on his face, tied
     with an elastic band.

                            GUY
                  Hey.

     He smiles like a Driver's License photo.

                                                           CUT TO:

56   INT. GORGE'S LIVING ROOM - CONTINUOUS                            56

     CLOSE-UP of LIPS, profile - by the looks of it, an OVERWEIGHT
     MALE... sweat, stubble. The ROOM is DARK - lit by the
     AMBIENT GLOW of a VIDEO SCREEN.

                            GORGE
                  Hi.

57   EXT. SOCIETY - DAY                                               57

     ANGIE echoes, practically overlapping.

                            ANGIE
                  Hi.

     We will continue to CUT between the two locations.

                            GUY
                  So what's your damage?

     He WINKS.

     ANGIE strikes an exaggeratedly DEMURE, FLIRTATIOUS POSE -
     then immediately snaps back to NEUTRALITY.

                             GORGE/ANGIE
                  You know, just hanging out.
                      (beat)
                  Looking to meet people.

                            GUY
                  Lucky you...

                                                           CUT TO:

                                                                35.
                          WHITE KABLE SCRIPT - 9/19/2007



58   INT. DALE'S PLACE - CONTINUOUS                                   58

     A CLOSE-UP of LIPS to match GORGE'S, but facing the OPPOSITE
     DIRECTION. An extremely butch, masculine FEMALE; trace of a
     mustache.

                         DALE
               You met me.

59   EXT. SOCIETY - DAY                                               59

                         GUY
                   (echoing)
               You met me.

     ANGIE laughs, a beat LATE. Across the street a WOMAN has
     hiked up her skirt, squatted down and is TAKING A PEE on the
     sidewalk.

                            GORGE/ANGIE
               I'm Nika.

                         DALE/GUY
               I'm Dale.
                   (looks her up and down)
               I like your fur.

                         GORGE/ANGIE
               Do you want to go somewhere?

     She strikes the same FLIRTY POSE for the second time.

                         DALE/GUY
               We are somewhere.

     He WINKS; reaches out and puts a hand on her WAIST. They
     start to make out like TEENAGERS at the PROM. DALE/GUY LIFTS
     UP HER SKIRT with one hand and SQUEEZES A BOOB with the
     other.

     He turns her around and presses ANGIE'S back up against the
     base of the sculpture, ROUGH, hands all over her/inside her;
     SLOBBERING down her neck and shoulders...

     ANGIE just looks straight ahead... her EYES move to a nearby
     building - the side is an ANIMATED BILLBOARD that has
     switched to a promo for SLAYERS, with KABLE featured
     prominently.

     She watches KABLE'S face move... she lets out an involuntary
     MOAN that is more like a whimper...

                         DALE/GUY (cont'd)
               Thanks for vagina.

                                                           (CONTINUED)

                                                                36.
                          WHITE KABLE SCRIPT - 9/19/2007
59   CONTINUED:                                                       59

     A SLAM OF AUDIO WITH THE SHOCK IMAGE OF A BLOODY, DEMONIC
     FACE -

     (recreating an internet-style video SHOCK PRANK)

     ... the SCREEN GOES DEAD -

     ... and another BLUE SCREEN OF DEATH, another MESSAGE:
                            SOCIETY is RAPE
                             SLAYERS is MuRder
                                   - humanz

60   INT. GORGE'S LIVING ROOM - CONTINUOUS                            60

     We get our first wider view of the room. Much more cramped
     than SIMON'S ROOM... like SIMON'S, the room is dominated by a
     GIANT VIDEO SCREEN, but just the front wall... there are
     other - smaller, paper thin - screens mounted in various
     spots and leaning against walls; GARBAGE and TECH GEAR all
     over the floor.

     GORGE - late 30s, MORBIDLY OBESE - is contained by a massive
     automated rolling chair, like the Escalade of Rascals.

     The HUMANZ message has taken over his screen and he's GOING
     FUCKING BALLISTIC, throwing shit at it and gesturing crazily
     to the wall-mounted MOTION SENSORS with his hands, trying to
     get the image back. It's NOT HAPPENING.

                            FEMALE NEWS HOST (V.O.)
                  ... a new video prank by the
                  subversive group humanz caused a
                  nationwide stir today...

61   INT. CASTLE'S STATIONARY BIKE ROOM - CONTINUOUS                  61

     The TV REPORT continues on screen, where a NEWS HOST is
     backed by a graphic showing the "society is rape" screen with
     footage of exaggeratedly CONFUSED, FRUSTRATED PLAYERS -
     they're like the actors in INFOMERCIALS who can't manage to
     peel a potato without losing their shit.

                            FEMALE NEWS HOST
                  All contact between Society City
                  and an estimated quarter of a
                  million players was shut down for
                  over three hours while Castle techs
                  worked to remove what they
                  described as a "Satellite
                  Infection"...

     A TREE LINED, SUN DAPPLED MOUNTAINSIDE whisks by as feet work
     the pedals of a MOUNTAIN-BIKE; we're moving around 20 mph.

                                                           (CONTINUED)

                                                                       37.
                          WHITE KABLE SCRIPT - 9/19/2007
61   CONTINUED:                                                              61

     SOUND: SLUUURRRRRRRP.

     CASTLE is cruising downhill in a 360 degree THREE-DIMENSIONAL
     ENVIRONMENT that looks ABSOLUTELY REAL - except that he is on
     a STATIONARY BIKE, and the NEWS REPORT is floating in the air
     as a 3D WINDOW. He is wearing skintight Tour de France-style
     gear and SLURPING A SMOOTHIE, one hand on the handlebar, the
     other holding the cup.

                            FEMALE   NEWS HOST (cont'd)
                  Experts estimate   that the service
                  interruption may   end up costing K-
                  Soft billions in   lost revenue.

                            NEWS CO-HOST
                  Don't cry for Castle, he can cover
                  that with the change under his
                  couch cushions...

                            FEMALE NEWS HOST
                  On a personal note - that shit was
                  fucking freaky.

                            NEWS CO-HOST
                  Oh - I literally pissed myself.

                            FEMALE NEWS HOST
                  Sounds like fun.

                            NEWS CO-HOST
                  Serious, these humanz cocksuckers
                  are getting out of control, and
                  someone should do something.

                            FEMALE NEWS HOST
                  Moving on to international
                  headlines...

     CASTLE closes the WINDOW in his FIST.

     SLUUURRRRRRP.

                                                           FADE TO BLACK.

62   INT. PRISON, WEIGHT ROOM - NIGHT                                        62

     The SCREAM would be comical if it weren't so HORRIFIC.

     With a dozen CONS looking on: an ASIAN PRISONER is on his
     knees, FINGERS DEEP into the back of his own skull.

                            ASIAN PRISONER
                  GET IT OUT OF ME...!


                                                                 (CONTINUED)

                                                                  38.
                           WHITE KABLE SCRIPT - 9/19/2007
62   CONTINUED:                                                         62

     He rips into his BRAIN STEM with a tiny piece of busted
     RAZOR, hoping to pull out a chip, a wire, anything. He pulls
     out something, and drops like a sack of potatoes to the floor
     - FRIED POTATOES. He lands on a couple of dumbbells, his
     head smashing into the weight bench, spinal cord SEVERED.

     KABLE looks on, impassive, emotion internalized.       GUARDS push
     through.

                            GUARD
                  What the hell happened to this one?

     An old black dude - LIFER - answers.

                            LIFER
                  Look like he escaped.

     The GUARDS roll their eyes; drag away the body.

                            GUARD
                  Back to your Jazzercise, girls...

     Across the room KABLE notices a NEW GUY - a mean-looking
     sunofabitch... in fact, if murder were personified it would
     look exactly like HACKMAN.

     HACKMAN stares straight at KABLE. There is something in his
     ghost of a smile that says he'd be more than happy to
     eviscerate you... it's off-putting to say the least.

                              KABLE
                  Freak.

     FREEK is there.

                              FREEK
                  Tillmans.

                            KABLE
                  Who the hell is that?

                            FREEK
                  New dude, new dude... that's
                  Hackman. They say he killed a whole
                  mess of people, all kind of
                  people... one day he just walk up
                  and turn himself in, like he wanna
                  be inside or some shit... never
                  gonna run out of slayers long as
                  they got that kind of motherfucka
                  run around kill a mess of people...




                                                            (CONTINUED)

                                                             39.
                       WHITE KABLE SCRIPT - 9/19/2007
62   CONTINUED: (2)                                                62

     Now HACKMAN is looking at KABLE dead blank. A GUARD comes up
     behind HACKMAN and SHOVES HIM. HACKMAN turns; the GUARD
     gestures him to follow.

                            HISPANIC GUARD (O.C.)
               Hey Kable.

     KABLE turns to look.

                         HISPANIC GUARD (cont'd)
               Let's go. Upgrades.

                                                        CUT TO:

63   EXT. PRISON, TRAINING RANGE    - NIGHT                        63

     KABLE and the GUARD are ANT-SIZED in what looks like a
     massive driving range. VIRTUAL TARGETS are holographically
     projected in mid-air at various heights and distances. Other
     PRISONERS are there too, a ways off; well out of earshot.

     KABLE looks over a Swarmer cartridge, slams it into his
     weapon; switches turrets, takes a bead on a VIRTUAL TARGET...

     We see him intentionally PAN THE SIGHT OFF to the left of
     target; he pulls the trigger - CLICK. The TARGET - and
     several others close by - turns RED, BLINKS - a HIT. This
     thing doesn't just take out individuals; it takes out
     VICINITIES.

                            HISPANIC GUARD
               Who aims?

                         KABLE
                   (caught off guard)
               What?

                         HISPANIC GUARD
               Who aims... the slayer? Or the
               player?

     KABLE narrows his eyes, focuses across the field, where other
     PRISONERS are being briefed and UPGRADED... he spots HACKMAN.

                         KABLE
               Not much to aiming... it's just
               hand/eye coordination. I'm the
               hand... someone, somewhere else is
               the eye.

                         HISPANIC GUARD
               That's tripped.



                                                        (CONTINUED)

                                                                40.
                          WHITE KABLE SCRIPT - 9/19/2007
63   CONTINUED:                                                       63

     KABLE glances at the GUARD... he struggles - part of him
     feels like he's talking too much; but he can't help being
     grateful for the human interaction.

                             KABLE
                  Sometimes... they take over - you
                  know, completely. They move you.
                  Like a robot.
                      (beat)
                  But it doesn't work so good... that
                  part's just for show. You can't
                  really fight that way.

                            HISPANIC GUARD
                  Why?

                            KABLE
                  There's a delay...

                            HISPANIC GUARD
                  Yeah, the ping... they talk about
                  that. The time it takes the slayer
                  to respond to the command... it's
                  like, five millisecond ping, eight
                  millisecond ping...

     KABLE gets a bead for a headshot on HACKMAN.

                            KABLE
                  Whatever you call it. A slice of a
                  second is the difference between
                  living and dying out there. When
                  the trigger pulls -

     He pulls the trigger: a meaty CLICK.

                            KABLE (cont'd)
                  It's just me.

64   INT. PRISON LOCKER ROOM, NIGHT                                   64

     KABLE is ALONE, toweling off - privilege of being a TOP
     SLAYER.

     We see now   the DAMAGE his body has taken - he is covered in
     dark, ugly   BRUISES from BULLET HITS the body armor has
     absorbed -   including a flinch-inducing cluster of BLACK, BLUE
     AND YELLOW   from the most recent session.

     From down the row of lockers, a WHISPER:

                            HACKMAN
                  Hey. Kable.


                                                           (CONTINUED)

                                                                41.
                          WHITE KABLE SCRIPT - 9/19/2007
64   CONTINUED:                                                       64

     KABLE turns to look. HACKMAN'S head is POKED OUT sideways
     from around the corner; he's maybe 20 feet away.

                            KABLE
                  Not interested.

                            HACKMAN
                  No. Wait. Look.

     He brings his HANDS out where KABLE can see them - they are
     SLICK WITH FRESH BLOOD.

                            HACKMAN (CONT'D) (cont'd)
                  I just deleted someone.

     HACKMAN is almost GIGGLING, high on it.

                            HACKMAN (CONT'D) (cont'd)
                  This is the blood. Look.

     HACKMAN rubs his SLIPPERY HANDS together, relishing it; he
     nods his head toward the area behind the lockers... to call
     the situation CREEPY would be a serious understatement.

                            HACKMAN (cont'd)
                  He's back here. Want to see?

                            KABLE
                  Your head ain't on straight.

     HACKMAN cracks his neck. Maybe not. KABLE pulls on his
     PRISON GREYS quickly, refusing to make EYE CONTACT.

                            HACKMAN
                  I'm going to delete you too. On
                  Sunday.

                            KABLE
                  Yeah, probably.

                            HACKMAN
                  That's why they put me here.

     KABLE'S eyes narrow - What?

     HACKMAN disappears; he starts to move along an ADJACENT ROW
     OF LOCKERS, slamming the doors - SINGING fucking PINOCCHIO:

                            HACKMAN (cont'd)
                  I've got no strings... So I have
                  fun... I'm not tied up to anyone...
                  They've got strings
                  But you can see
                  There are no strings on me...

                                                           (CONTINUED)

                                                                     42.
                        WHITE KABLE SCRIPT - 9/19/2007
64   CONTINUED: (2)                                                        64

     KABLE tenses up, ready for INSTANT VIOLENCE.

                          HACKMAN (cont'd)
                You got two whores, Kable...

     If he didn't have KABLE'S attention before, THIS GOT IT.

                          KABLE
                - the fuck did you say?

                          HACKMAN
                On the outside... oh, I'm sorry - I
                meant your pretty girls... You want
                to get back to them but I'm going
                to visit them first...

     KABLE is instantly ALL BUSINESS - he's going to make HACKMAN
     disappear RIGHT THE FUCK NOW...

     He JAMS around the corner but HACKMAN is NOWHERE TO BE
     SEEN... past another row of lockers - NOTHING... another...
     another... WHERE THE HELL IS HE?

     NOWHERE.

     KABLE SLAMS a FIST into a locker, BUSTING it off it's hinges.

                                                         TRANSITION TO:

65   INT. CASTLE ESTATE - TIME INDETERMINATE                               65

     The CAMERA ANGLE on HACKMAN begins to switch perspectives and
     spin around, as though someone is manipulating it in three
     dimensions.

                          CASTLE
                He's so perfect.

     Snap out to reveal CASTLE in a dark lounge; the walls and
     ceiling are pure black, making it impossible to tell the
     dimensions of the room. Minimalist, expensive looking
     furniture is scattered around. THERE'S NO ONE ELSE IN THE
     ROOM.

     CASTLE is standing, bare feet on white shag carpet. He is
     manipulating the image of HACKMAN in the air by pulling,
     squeezing, twisting with his hands - the interface is similar
     to the one in SIMON'S room.

     CASTLE is as pumped as a kid on Christmas morning. Then, from
     behind him:

                          CASTLE 2
                He's scary.

                                                               (CONTINUED)

                                                                  43.
                            WHITE KABLE SCRIPT - 9/19/2007
65   CONTINUED:                                                         65

     We see that a perfect double of CASTLE himself has appeared
     in the room behind him.

                              CASTLE
                  Yeah...

     He changes the angle on HACKMAN'S mug to give a better view -
     then turns to face his DOUBLE...

                             CASTLE (cont'd)
                      (proudly)
                  The new face of Slayers. Pure
                  crystallized horror, two stories
                  tall and covered in bloody red...
                      (beat)
                  He's so what they want.

                            CASTLE 2
                      (playing dumb)
                  But they love Kable.

     Another CASTLE appears to CASTLE'S left.

                            CASTLE 3
                  He's right.

     CASTLE faces them.

                            CASTLE
                      (unaffected)
                  They do now. But when my boy kills
                  their hero right there in front of
                  their eyeballs, so vivid it's like
                  you can reach out and feel the wet
                  flesh - Trust me, they'll change
                  their point of view.

                            CASTLE 2
                  How can you be sure?

                            CASTLE
                  It's human nature. They'll be
                  seduced by the power, the
                  violence... the dominance...

                            CASTLE 3
                      (shaking his head)
                  Guess we never figured on Kable
                  blowing up as big as he did.




                                                             (CONTINUED)

                                                                  44.
                       WHITE KABLE SCRIPT - 9/19/2007
65   CONTINUED: (2)                                                     65

                         CASTLE
               Bigger than the game? No. Then
               again, who ever would've imagined a
               player could last over a dozen
               sessions with the same I-con...

                         CASTLE 2
               Tillman is a perfect soldier, a
               tactical killing computer - you
               dropped him in with common
               murderers. What did you expect?

                         CASTLE 3
                   (musing)
               His instincts give him an edge.

                         CASTLE 2
               And in the hands of a talented
               player...

                         CASTLE 3
               Of course we can never let him out.
               Not after what we did to him.

                         CASTLE 2
               Tell me again why we don't just get
               rid of the problem...
                   (makes a throat slashing
                    motion)
               You know, off camera?

     CASTLE pokes a finger at CASTLE 2.

                         CASTLE
               YOU - lack a flair for marketing.
               The people would never accept that.
               They need to SEE their gladiators
               brought down.

                         CASTLE 3
               One thing I know is what makes
               people tick.

     Suddenly the room has gone dead silent. We swing the camera
     around to reveal that CASTLE 3 is all alone in the room. He
     stares into the void, calm and utterly in control.

     The CAMERA moves past his head into PURE BLACK...

                                                        DISSOLVE TO:

                                                                      45.
                       WHITE KABLE SCRIPT - 9/19/2007



66   INT. TUNNEL #2 - DAY                                                   66

     The black of the underground tunnel... the TUNNEL LIGHTS
     streak past like vanishing stars... TRAIN TRACKS blur by...

67   INT. TUNNEL #2 - DAY                                                   67

     KABLE is SPRINTING down the TUNNEL towards DAYLIGHT.          The
     VOICE comes from the rear surrounds:

                         VOICE (O.S.)
               Kable, dude. It's me.

     KABLE shakes his head, thinking he's HEARING THINGS.

                            KABLE
               Who?

                          SIMON (O.S.)
               Simon.
                   (beat)
               I'm playing you, dummy.

     KABLE knifes through the tunnel EXIT...

68   EXT. SPAWN POINT #3 - CONTINUOUS                                       68

     We are in the OVER-THE-SHOULDER POV of the FLY CAM as KABLE
     breaks daylight and slides down the hillside... superimposed
     over the IMAGE: SIMON'S REFLECTED FACE... the CAMERA pans,
     centers and FOCUSES IN on the REFLECTION...

     SNIPER BULLETS whistle by; KABLE DUCKS, ROLLS... the CAMERA
     PULLS BACK... OUT OF THE SCREEN...

69   INT. SIMON'S ROOM - CONTINUOUS                                         69

     ... past the flesh and blood SIMON into an OVER-THE-SHOULDER -
     SIMON controlling KABLE, PLAYING HIM - as...

     KABLE LANDS in the ROCKSTAR POSE. SIMON mirrors him in front
     of the GIANT SCREEN - whatever SIMON does, KABLE echoes.

70   EXT. BATTLEGROUND #3/COVER - CONTINUOUS                                70

     KABLE makes it to cover, HEART SLAMMING.           We hear the distant
     THUMPS of MORTARS LAUNCHING.

                         KABLE
               How come I can hear you?

                         SIMON (O.S.)
               It's a mod.


                                                                (CONTINUED)

                                                                  46.
                            WHITE KABLE SCRIPT - 9/19/2007
70   CONTINUED:                                                         70

                            KABLE
                  Gamers can't talk to cons.

                              SIMON (O.S.)
                  I know.

71   INT. SIMON'S ROOM - SIMULTANEOUS                                   71

     SIMON POP-LOCKS - the breakdance arm wave.

                            SIMON
                  It's cool, yeah?

72   EXT. BATTLEGROUND #3/COVER - CONTINUOUS                            72

     KABLE finishes the POP-LOCK - it's goofy.

     A SHELL impacts the dirt nearby and BLOWS A MASSIVE CRATER in
     the firma; KABLE shields himself from the raining DEBRIS and
     scrambles for better cover.

                            KABLE
                  No. Pay attention to the game.

     They spot another BROWN advancing toward a group of
     BUILDINGS; SIMON moves KABLE to join him. Just as KABLE gets
     there a BLUE KICKS OUT A DOOR and opens up with an ASSAULT
     SHOTGUN, shredding the BROWN.

     Two more BLUES POP OUT of a DITCH on the OPPOSITE SIDE,
     TRIANGULATING.

     KABLE ROLLS - BIG AMMO displacing the air just inches above
     his head and BLOWING OUT the windows/tires of an ABANDONED
     CAR behind him - switches TURRETS and comes up FIRING...
     armor-piercing shells: BOOM. BOOM.

     A 180 spin... BOOM.      MINUS three BLUES.

73   INT. SIMON'S ROOM - SIMULTANEOUS                                   73

     In QUICK CUTS we see SIMON striking BADASS poses; on the 3D
     screen KABLE ECHOES THEM - it's like a SYNCHRONIZED DANCE.

                                                             CUT TO:

74   EXT. BATTLEGROUND #3/COVER - CONTINUOUS                            74

     KABLE keeps moving - he passes a BLUE, on his knees in the
     mud; The BLUE has completely LOST HIS SHIT.

                            BLUE SOLDIER 4
                  This is real, this is real, this is
                  real!!!!

                                                             (CONTINUED)

                                                                47.
                          WHITE KABLE SCRIPT - 9/19/2007
74   CONTINUED:                                                       74

     KABLE doesn't bother to shoot him; he's UNARMED. But...

     SHHHTUNK. A 50 CALIBER SHELL connects from somewhere distant
     and the BLUE is VAPORIZED, a smear on the pavement.

                            SIMON (O.S.)
                  That was sick.

                            KABLE
                  Wait a minute... are you twelve?

                            SIMON (O.S.)
                  I'm nineteen.

                            KABLE
                  Bullshit. This is unbelievable.
                  How am I not dead yet?

                            SIMON (O.S.)
                  Cause I'm a badass motherfucker.

     KABLE doesn't even register this. His darting eyes pick up a
     familiar face in the chaos: FREEK.

     FREEK has apparently volunteered as a generi-con - he is
     dressed as a postman, pulling a cart of mail behind him as he
     walks across the street.

                            FREEK
                      (mumbling)
                  Gotta keep my holes down... keep
                  `em down. Freek's gonna make it,
                  gonna cut, gonna scatter... gonna
                  burn this joint...

     It all happens too quickly: A BROWN scrambles behind FREEK
     and ducks down, using him as a moving human shield; squeezes
     off a few shots - FREEK is chopped up by incoming gunfire -
     the BROWN keeps running... there's nothing KABLE can do.

     An explosion nearby pushes them forward.

                            SIMON (O.S.)
                  Gibs.

                            KABLE
                  What?

                            SIMON (O.S.)
                  Like, giblets. Kibbles and bits.
                  Chunks. Pieces.




                                                           (CONTINUED)

                                                                48.
                         WHITE KABLE SCRIPT - 9/19/2007
74   CONTINUED: (2)                                                   74

                         KABLE
                   (burning)
               These are real humans, fucker.

                         SIMON (O.S.)
               Death row psychos, so what?          They
               had it coming.

     An exposed concrete stairwell leads into the bowels of a
     collapsed building; it looks like it must've gotten the
     OKLAHOMA CITY treatment in the early 2000s.

75   INT. UNDERGROUND PARKING - STAIRWELL                             75

     But there's still juice feeding the dim FLUORESCENTS... KABLE
     makes his way DOWN. A distant voyeur's POV - maybe a
     sniper's telescopic sight? - observes KABLE disappearing
     underground.

                         KABLE
               Guess that goes for me too.

                         SIMON (O.S.)
               Yeah, but you're different.

                         KABLE
               Different how?

                         SIMON (O.S.)
               Dude, I don't know. Cause you're MY
               psycho.

76   INT. UNDERGROUND PARKING LEVEL - CONTINUOUS                      76

     He emerges in an UNDERGROUND PARKING LEVEL. Forty or fifty
     cars and SUVs, 2000-2009, lie dormant, covered in dirt,
     dust, and debris. KABLE switches on a LIGHT built in to his
     weapon.

     The FLY CAM scans 360 degrees, independent of KABLE, giving
     them two sets of eyes.

                         SIMON (O.S.)
               Damn, new area.

     KABLE nods toward an EXIT at the opposite end, marked P-4.

                           KABLE
               That way.

     They make for it.




                                                           (CONTINUED)

                                                                49.
                          WHITE KABLE SCRIPT - 9/19/2007
76   CONTINUED:                                                       76

                             SIMON (O.S.)
                  Think about it, Kable: all the shit
                  we've been through together. What
                  an epic run.
                      (beat)
                  It's going to suck to see it end.

                            KABLE
                  Are you kidding me?

                            SIMON
                  Well, yeah - I get that for you
                  it's different.

77   EXT. SLAYERS BATTLEGROUND #3/NEAR RESTRICTED AREA - MOMENTS      77
     LATER

     KABLE emerges several blocks from where he started, on a
     narrow block that seems distant from the heat of combat.
     Buildings shelter the street on either side... several blocks
     down a LOW WALL BLOCKS THE ROAD - marked with RED DIAGONAL
     STRIPES and a warning: RESTRICTED.

                            KABLE
                  We should go that way.

                            SIMON (O.S.)
                  There's nothing there.

                            KABLE
                  Kid, trust me - I was going house
                  to house in Tehran while you were
                  still sucking mommy's nipple.

                            SIMON (O.S.)
                      (sarcastic)
                  Uh, yeah dude, thanks for the
                  visual, but it's a restricted area.
                  It's beyond the borders of the
                  game. I couldn't put you there if I
                  tried.

     KABLE just grunts; his eyes steal a last look down the block.
     They head the other way...

     THOOM.

     CLOSE RANGE: a big ass armor piercing MORTAR SHELL PASSES IN
     FRONT OF KABLE'S FACE...

     Time STOPS; KABLE sees the shell moving through the air an
     inch from his nose in ULTRA SLO-MO... his cheeks ripple from
     the displaced air...


                                                           (CONTINUED)

                                                                    50.
                          WHITE KABLE SCRIPT - 9/19/2007
77   CONTINUED:                                                           77

     then, REAL TIME - we whip around to follow the mortar as it
     whistles into concrete and BLOWS OUT the front of a building.

     KABLE is running.

78   EXT. BATTLEGROUND #3 - CRUSHED RIOT VAN                              78

                            SIMON (O.S.)
                  ... shit shit shit!

     He rolls behind a CRUSHED RIOT VAN and OPENS UP in the
     direction the shell came from, ash and debris from the impact
     still raining down... and then:

     From behind, he's NAILED IN THE BACK by a SWUNG length of
     IRON PIPE. He half crumples, spins - HACKMAN.

     HACKMAN SWINGS AGAIN, knocking the WEAPON out of KABLE'S
     hand; it skitters across the concrete.

     SIMON is completely freaked - it's happening too fast, no
     time to react... he tries to engage HAND-TO-HAND but every
     move pings a step late...

     KABLE swings a fist; HACKMAN dodges easily. HACKMAN is
     moving too naturally - as if he's under his own control.

     HACKMAN slams the    pipe off the side of KABLE'S head, DROPPING
     HIM - then tosses    the pipe away... and pulls out a nasty,
     high tech-looking    SHOTGUN. He stands over KABLE and points
     the barrel at his    FACE.

                             HACKMAN
                      (friendly)
                  Bye Kable.

     He SQUEEZES the TRIGGER...

     The SUBMARINE ALARM SOUNDS.       FLOODLIGHTS CRANK UP.

     The LEDs on HACKMAN'S gun POWER DOWN with an audible down-
     cycle... a shell, undetonated, drops from the barrel and
     plops onto KABLE'S FOREHEAD.

                            HACKMAN (cont'd)
                  What happened?

                                                               CUT TO:

79   EXT. SAVE POINT #3 - SIMULTANEOUS                                    79

     A BROWN CON walks slowly, on unsteady legs, out of the
     OCTAGONAL SAVE SHACK - profile...


                                                               (CONTINUED)

                                                                           51.
                             WHITE KABLE SCRIPT - 9/19/2007
79   CONTINUED:                                                                  79

     dudes look at him and back away... when he turns toward us we
     see why: half his head, shoulder and one arm are blown off...

                                                                CUT BACK TO:

80   EXT. SLAYERS BATTLEGROUND #3/CRUSHED RIOT VAN - SIMULTANEOUS 80

     KABLE seizes the opportunity to jam a foot up into HACKMAN'S
     BALLS, buckling him. He twists HACKMAN'S LEGS into a pretzel
     and throws him off.

                            KABLE
                      (to himself)
                  Kid's gonna get me killed.

                               SIMON (O.S.)
                         (offended)
                  Hey.

     KABLE sees GUARDS appearing and BLUES hurrying away from
     ambush positions - including the one who likely fired the
     mortar... session complete.

     KABLE cups a hand over his mouth, conspiratorially, and
     speaks directly into SIMON'S ear:

                            KABLE
                  Listen to me. I don't know who's
                  behind it, or why, but I was
                  supposed to die today. They're
                  gunning for us. I can beat them,
                  but not with you controlling me.

                            SIMON
                  What the hell...?

     This is unthinkable, dangerous talk.

                            KABLE
                  Turn me loose, kid.        You want to
                  win, turn me loose.

                               SIMON
                  But-

                            KABLE
                  Find a way.

     A GUARD grabs KABLE and the LINK BREAKS - we...

                                                              SMASH TO BLACK:

                                                             52.
                       WHITE KABLE SCRIPT - 9/19/2007



81   INT. ANGIE'S APARTMENT - DAY                                  81

     A drab brownstone apartment.

     Shades block out the oppressive nicotine sunlight; the
     interior is mute, faded - claustrophobic. KABLE has his cell;
     even though ANGIE is on the outside, and free, her
     environment seems to parallel his.

     A worn-out photo is taped to the fridge: the same little girl
     in KABLE'S picture.

82   INT. ANGIE'S APARTMENT - BEDROOM                              82

     She stands in front of a closet mirror in the bedroom,
     looking herself over. She's FULLY DRESSED... but not like we
     saw her in society. Conservative. Pretty. NORMAL. She
     rehearses a friendly smile, but has difficulty not breaking
     into tears.

     ANIMATED, COLORED LIGHT leaks in from outside through the
     dark window blinds behind her - some sort of projected
     advertising?

83   INT. ANGIE'S APARTMENT - BEDROOM                              83

     CUT TO: same room, later. ANGIE sits on the unmade bed. She
     searches through her purse for a PILL JAR, rattles a few into
     her hand... she DRY SWALLOWS them... leans forward, eyes
     shut, struggling NOT TO PASS OUT... she has to pull herself
     together somehow... the CAMERA pushes past her, toward the
     window, where the ANIMATED COLORS play 24-7...

                                                        CUT TO:

84   EXT. ANGIE'S APARTMENT - DAY                                  84

     ... the CAMERA pulls away, continuing the motion: we are on a
     wide view of the outside of the building, a rundown
     brownstone on a rundown street - animated advertising covers
     half the side of the structure...

     An ad for slayers is running - KABLE, in cinematic slo-mo,
     and superimposed in wall-height block letters:


                                    FREE
     And then:
                                ORDER NOW!

                                                        CUT TO:

                                                              53.
                        WHITE KABLE SCRIPT - 9/19/2007



85   INT. SOCIAL SERVICES INTERVIEW ROOM - DAY                      85

     ANGIE sits uncomfortably in a hard plastic chair; the light
     is flat, fluorescent... in front of her, behind a desk, is a
     no-nonsense Social Services CASEWORKER, late 30s, CUBAN.

                         CASEWORKER
                   (looks over her paperwork)
               So... Miss Roth.

     ANGIE delivers the smile we saw her rehearse with all the
     warmth she can muster; it's not convincing.

                         CASEWORKER (cont'd)
               Why are we here today... says you'd
               like to apply for custody of your
               child-

                          ANGIE
               Delia.   Her name is Delia.

     The CASEWORKER looks over the paperwork while ANGIE shifts in
     her seat... torture.

                         CASEWORKER
               Spouse incarcerated, life without
               possibility of parole. You use
               your maiden name.

                         ANGIE
               My husband - he... it's not
               entirely true, regarding his
               sentence. In fact, he's due to be
               released soon...

     She makes brief eye contact with ANGIE.

                         CASEWORKER
               Your husband was charged and
               convicted of first degree murder,
               Miss Roth. I can hardly consider
               his release, if it was to occur, to
               be a positive.

     This is not going well. ANGIE holds her tongue with all of
     her will, not wanting to make it worse. The CASEWORKER holds
     all the cards.

                         CASEWORKER (cont'd)
                   (changes subject, back at
                    the paperwork)
               You're... an actor?

     ANGIE nods.

                                                         (CONTINUED)

                                                                54.
                          WHITE KABLE SCRIPT - 9/19/2007
85   CONTINUED:                                                       85

                            CASEWORKER (cont'd)
                  Not sure if I've seen you in
                  anything.

                            ANGIE
                  I work in society.

                            CASEWORKER
                  Acting, is that what they call it?

                            ANGIE
                  It's a job.

     ANGIE is hanging on... be pleasant, be friendly, breathe...
     but INSIDE she wants to cry, to scream, to fucking EXPLODE.

                            CASEWORKER
                  Miss Roth. Your child has been...
                  exceedingly well placed. The new
                  family is very wealthy. She'll
                  never want for anything.
                      (leans in)
                  I understand you love your little
                  girl, but... do you really think
                  she'd be better off with people
                  like you?

                               ANGIE
                  Yes, I do.     I'm her mother.

     The CASEWORKER presses a buzzer, unlocking the door behind
     ANGIE.

                            CASEWORKER
                  We will give your application all
                  the consideration that it merits.

     The words burn into ANGIE like battery acid, but there's not
     a thing she can say.

86   INT. SIMON'S ROOM - NIGHT                                        86

     SIMON is lying on his bed, staring at the ceiling - a GIANT
     VIDEO SCREEN playing back key moments of that day's Slayers
     session in an endless loop. SIMON holds his fingers up in
     front of his face, zooming and rewinding the video with
     little fluid movements of his hands.

     Suddenly the screen GLITCHES OUT, goes dead for a second -
     and when it comes back the battle images are replaced by a
     GIANT FACE, surrounded by black, STARING DOWN AT HIM:

     HUMANZ BROTHER, early 30's; a savvy leader with an
     unforgettable presence.

                                                           (CONTINUED)

                                                                 55.
                           WHITE KABLE SCRIPT - 9/19/2007
86   CONTINUED:                                                        86

     His style is a throwback to another era; like a 70s Black
     Panther Soul Brother transplanted into the high tech future.

                            HUMANZ BROTHER
                  You like the software?

                            SIMON
                      (confused)
                  Software...

                            HUMANZ BROTHER
                  The walkie talkie, playa.

     SIMON puts it all together.

                            SIMON
                  No shit... you're the guy from TV.
                  The HUMANZ.

                            HUMANZ BROTHER
                  That's right, baby. You think
                  about what the brotha said?

                            SIMON
                  To what, um, brotha do you refer...
                  brotha?

                            HUMANZ BROTHER
                  Kable wants the freedom to ass-
                  kick. Do shit his way. You gonna
                  give it to him?

                            SIMON
                  You were listening.

                            HUMANZ BROTHER
                  We see and hear everything that
                  goes on inside the so-called game.

                             SIMON
                  Alright, then.
                      (considering)
                  Kable said we got lucky - that they
                  were gunning for us - what was that
                  all about?

                            HUMANZ BROTHER
                  Kable got a past... he knows
                  things. Things he don't even know
                  he know.

                             SIMON
                  Huh?   What things?


                                                            (CONTINUED)

                                                               56.
                         WHITE KABLE SCRIPT - 9/19/2007
86   CONTINUED: (2)                                                  86

                         HUMANZ BROTHER
               Things Castle's afraid of. As long
               as your boy stay on the inside
               Castle know he can keep him quiet -
               but if ever got out...
                   (shakes his head)
               Uh uh. Castle will never let that
               happen.

                         SIMON
               One battle left, I think I can
               handle my bidness.

     HUMANZ BROTHER just shakes his head.

                         HUMANZ BROTHER
               You're not hearing me - this is not
               something you can control. They
               gonna kill his ass, Simon. In the
               eyes of the world. And then what?
               You just another poor little rich
               honky. No Kable, no pussy, no
               shit.

     SIMON can't deal.

                         SIMON
               This is, come on... too heavy... I
               don't know what the hell you're
               talking about... I just play games,
               man. Games.

                         HUMANZ BROTHER
               Mm hm. That's right, it's a game.
                   (changing gears)
               You want to win it, don't you?

                         SIMON
               Yeah, dude, I intend to.

                         HUMANZ BROTHER
               Then you need to cutcho strings,
               puppet-massa.

     HUMANZ BROTHER slowly ZOOMS HIMSELF IN.

                         HUMANZ BROTHER (cont'd)
               Imagine a slayer that don't got to
               wait to be told what to do. No
               ping, you dig? A trained killing
               machine... operating in real time,
               on pure instinct.



                                                          (CONTINUED)

                                                             57.
                       WHITE KABLE SCRIPT - 9/19/2007
86   CONTINUED: (3)                                                 86

     SIMON can't help but consider it, mind reeling. It's obvious
     KABLE would royally fucking dominate, but... SIMON shakes it
     off.

                         SIMON
               That... would be cheating.

                         HUMANZ BROTHER
               A mod, that's all. Like that
               guidance system you hacked on three
               weeks ago lets you track
               motherfuckers around corners and
               shit.

                         SIMON
                   (nervous)
               Uhhh...

                         HUMANZ BROTHER
               The game got to mutate, after all.
               It got to evolve, you feel me?

                         SIMON
               I do. I do feel you.

     HUMANZ BROTHER leans back - he has him.

                         HUMANZ BROTHER
               Then let's rock, baby.

     [MUSIC: TWISTED SISTER, "I WANNA ROCK" kicks in]

     A WINDOW pops up on the screen:

                              FreeNigga.exe

                                                        CUT TO:

87   INT. PRISON - HACKMAN'S CELL - NIGHT                           87

     [ "I WANNA ROCK" continues...]

     One light... HACKMAN'S FACE, glistening with sweat, is the
     only thing partially visible in the inky black... the CAMERA
     slowly ZOOMS into his EYES... twin pools of MADNESS... of
     MURDER...

                                                        CUT TO:

88   INT. PRISON, KABLE'S CELL - LATER                              88

     CLOSE-UP of the FADED PHOTO... gold hair, innocent
     laughter... KABLE runs his thumb across it tenderly,
     caressing the lines...

                                                        (CONTINUED)

                                                                58.
                          WHITE KABLE SCRIPT - 9/19/2007
88   CONTINUED:                                                       88

                            WOMAN (O.S.)
                      (whispering)
                  Tillman.

     KABLE looks up. It's the SAME VOICE as before - the one that
     gave him the photo.

                               KABLE
                  You.

                            WOMAN (O.S.)
                  We know you talked to him... your
                  Player.

                            KABLE
                  You're not a guard... who are you?

                               WOMAN (O.S.)
                  A friend.

                            KABLE
                  I don't have any.

                            WOMAN (O.S.)
                  Listen to me: Simon's going to give
                  you what you want. What you asked
                  him for.

                            KABLE
                  How do you know that?

                            WOMAN (O.S.)
                  I know something else: whether or
                  not he's controlling you, you will
                  never reach the save point. Castle
                  won't allow it.

                               KABLE
                  We'll see.

                            WOMAN (O.S.)
                  No. Listen to me, Tillman - the
                  game is unwinnable - they will not
                  let you live. If you're want to
                  get out and see the people in the
                  picture you'll have to find another
                  way.

     KABLE doesn't answer; he absorbs her words, wondering if he
     can believe them... finally:

                            KABLE
                  I need you to get me something.


                                                           (CONTINUED)

                                                                     59.
                        WHITE KABLE SCRIPT - 9/19/2007
88   CONTINUED: (2)                                                        88

                         WOMAN (O.S.)
               What, Kable... what can I get you?

     KABLE stares into the DARK, turning it over in his head, then
     looks up at the WINDOW in the door, a simple black rectangle -
     and on the other side, his only LIFELINE.

                          KABLE
               Drunk.

                                                         FADE TO BLACK.

89   INT. STAGING ROOM - TIME INDETERMINATE                                89

     BLACK.

     Overhead fluorescents shock and hum to life, revealing a
     CLAUSTROPHOBIC ROOM - four walls, metal grating underfoot -
     and A LOCKER. KABLE is in his COMBAT BROWN.

     He PRINT ACTIVATES the locker. The WEAPON is there... and
     something else: a wrinkled BROWN PAPER BAG. What the hell?
     He takes it out, trying not to glance too obviously at the
     overhead SURVEILLANCE CAMERA.

     CUT TO the POV from the CAM: KABLE is opening the bag...

                         VOICE (O.C.)
               What's he got there?

     BACK in the room. Inside the brown bag is a FIFTH OF VODKA.
     KABLE quickly slips it into his side cargo-pocket.

                         VOICE (cont'd)
               Kable, what the hell is that?!

     Behind KABLE a DOOR SLIDES OPEN automatically, revealing a
     CONCRETE TUNNEL, like the PLAYERS' entrance to a FOOTBALL
     STADIUM... the WHITE LIGHT is BLINKING ON and OFF... SOLDIERS
     sprint for the daylight, trying to escape the TORTURE... it's
     CHAOS.

                         VOICE (cont'd)
               Fuck-face - remove the `molotov'
               from your pants and discard into
               the recycle bin, now!

     KABLE grabs the bottle from his pocket, struggling to
     maintain as the LIGHT slams into his brain, AGONY.

                         VOICE (cont'd)
               PUT IT DOWN!



                                                               (CONTINUED)

                                                                  60.
                          WHITE KABLE SCRIPT - 9/19/2007
89   CONTINUED:                                                         89

     ALL SURVEILLANCE CAMERAS POINT AT KABLE. KABLE - no choice -
     makes the decision, twists the cap, tilts his head back, and
     SLAMS THE ENTIRE BOTTLE.

     He wails the BOTTLE at one of the CAMERAS, shattering it -
     and joins the others rushing into combat.

90   EXT. SPAWN POINT #4 - MOMENTS LATER                                90

     KABLE breaks the DAYLIGHT - but without a smooth LEAP AND
     ROLL, and no ROCKSTAR POSE - instead, he TRIPS and tumbles
     ASS OVER END down an embankment, landing in a heap at the
     bottom.

                            SIMON (O.S.)
                      (sarcastic)
                  I can see turning you loose was a
                  great idea.

                            KABLE
                      (woozy)
                  What happened.

                            SIMON (O.S.)
                  YOU happened, jackass. You wanted
                  control, you got it.

     KABLE tests his hands, clenching and unclenching - THE KID
     WASN'T LYING ... while starting to trip hard on the VODKA,
     which is kicking in INSTANTLY...

                               KABLE
                  No shit...

                             SIMON (O.S.)
                  Yeah, that's right. So please don't
                  fuck up...

     An EXPLOSION ROCKS THE DIRT just a few feet away, BLINDING,
     DEAFENING - and KABLE shifts into ANOTHER WORLD...

91   EXT. SLAYERS BATTLEGROUND #4                                       91

     He's MOVING FAST... SOUND is just an idea, disconnected from
     reality... BODIES AND BULLETS drift by without gravity... his
     vision doubles and bleeds...

                            SIMON (O.S.)
                  What's the matter with you Kable?
                  Kill something!

     BLUES. Lots of them.        KABLE starts shooting wildly - HITTING
     NOTHING.


                                                            (CONTINUED)

                                                                   61.
                             WHITE KABLE SCRIPT - 9/19/2007
91   CONTINUED:                                                          91

                            SIMON (O.S.) (cont'd)
                  This is unbelievable.

92   EXT. SLAYERS BATTLEGROUND #4                                        92

     KABLE is running erratically at least... hard to HIT... but
     definitely HEADED SOMEWHERE.

     A SHELL SMACKS KABLE'S shoulder, knocking him off his feet;
     the armor absorbs it, but he's out of time... he's shooting
     air...

                            SIMON (O.S.)
                      (frustrated)
                  Fuck it.

     We see SIMON'S fingers glide, dial up the SWARMER...

     KABLE is still firing randomly as the turret shifts - the
     SWARMER goes STRAIGHT UP, then locks on BLUE and swerves down
     on them like HELL FROM THE SKY, turning skulls to swiss
     cheese.

     Too close.

                            SIMON (O.S.) (cont'd)
                      (the voice of reason)
                  Kable. Listen: it's the last game.
                  You're going to be dead and I'm
                  going to look like a total asshole
                  if you don't pull your balls
                  together!

                               KABLE
                  Blow me.

     He scrambles to his feet and charges for the entrance to the
     UNDERGROUND GARAGE.

                               SIMON (O.S.)
                  Dammit!

93   INT. UNDERGROUND PARKING LEVEL - MOMENTS LATER                      93

     KABLE slams open a door marked P4 and stumbles into the CAR
     GRAVEYARD...

     Reality is ROARING, SPINNING... KABLE slams into the side of
     a parked car, legs rubber... he looks it over - TIRES FLAT,
     NO GOOD... he stumbles to the next, then another...
     another... his head hits a passenger side window,
     SPIDERWEBBING IT...



                                                              (CONTINUED)

                                                                             62.
                          WHITE KABLE SCRIPT - 9/19/2007
93   CONTINUED:                                                                    93

     FINALLY, the ONE: A FORD F-250 SUPER CHIEF... GUN METAL GREY,
     PRISTINE.

     Note: the F-250 is a CONCEPT TRUCK - a future design for
     FORD'S F-line. In our world this is a 2009 factory model,
     which makes it old, but not antique. The truck is about as
     BADASS as you could want, with dark, narrow windows, big ass
     wheels and a FRONT END that looks like it could PUNCH THROUGH
     A BUILDING OR TWO.

     KABLE gets to the FUEL CAP DOOR and pries it open... ENGRAVED
     under the cap is a prominent WARNING:

                                  Ethanol Only

                            SIMON (O.S.)
                  Kable. Dude. What are you doing?

     KABLE unscrews the cap and sticks his finger down his throat.

     Dry heave. He does it again - this time puts his mouth on
     the hole and PUKES PURE LIQUID INTO THE TANK.

                            SIMON (O.S.) (cont'd)
                  What the hell?

     He stops, doubled over, gasping for breath... then the
     feeling hits him again - and he heaves another fountain down
     the hole. A BLUE shows up in the opposite stairwell - KABLE
     brings his WEAPON up to hip level and BLOWS HIM AWAY WITHOUT
     LOOKING. His head is clearing.

     KABLE looks around, unzips his pants and PISSES INTO THE
     TANK. SIMON is slack-jawed, speechless.

     KABLE shakes out his head; we can see in his eyes that he's
     regaining his senses; focusing in. He busts out the DRIVER'S
     SIDE WINDOW, gets in; tears open the steering column - A
     BLUE SLAYER shows up in the mirror - fuck! - He CRANKS THE
     IGNITION... VRUUUUMM, KACHUNK, KACHUNK...

     BOOOM! A 50mm SHATTERS the back window and punches a hole
     into the dashboard.

     KABLE checks what's left of the mirror.               HACKMAN and six
     other BLUE SLAYERS are coming fast.

                            SIMON (O.S.) (cont'd)
                  GO, GO, GO!

                            KABLE
                  Yeah? Anything else ya fuckin
                  cheerleader?


                                                                    (CONTINUED)

                                                                63.
                       WHITE KABLE SCRIPT - 9/19/2007
93   CONTINUED: (2)                                                   93

     VRUUUUUM, VRUUUM... KABLE hammers on the pedal again,
     knocking out the old ghosts - VRROOOOOOMM!!

     He SLAMS it into gear and PEELS OUT.

     HACKMAN leaps onto the side of the moving truck and points
     50mm directly at the side of KABLE'S head. In a split instant
     KABLE grabs the nose of the weapon and points it up -

     BOOM! A close range shell blows through the roof of the
     truck. KABLE slams the brakes, spinning the truck, and
     launches HACKMAN into a row of parked cars.

     HACKMAN gets in one last shot as KABLE punches it out of the
     garage, disintegrating a concrete column.

                         HACKMAN
               Fuuuuck!!!!

     He slams his head into the windshield of a parked car, caving
     it in.

94   EXT. SLAYERS BATTLEGROUND #4/F250 (DRIVING) - MOMENTS LATER      94

     KABLE DRIFTS the F-250 onto the street, sideways, tires
     shrieking... wiping out two unlucky BLUES... pops it and
     TAKES OFF...

     He is headed STRAIGHT INTO THE RESTRICTED AREA.

95   INT/EXT. SLAYERS BATTLEGROUND #4/F250 (DRIVING)                  95

     The FLY CAM is right there, taking the hot turn right on the
     truck's tail, giving SIMON the POV of a classic 3D DRIVING
     GAME. He activates DYNAMIC CAMERA CONTROL with a gesture -
     now he can manually choose his view... he pushes the CAMERA
     forward, next to the driver's window...

     The CAMERA looks to the side at KABLE, driving like he's on a
     mission to HELL. SIMON barks in his head.

                         SIMON (O.S.)
               Kable, PLEASE... get back in the
               game! YOU'RE SCREWING MY ASS,
               KABLE!!!

     KABLE ignores him; he picks up his WEAPON, points it out the
     window at the FLY and FIRES... the FLY jukes out of the way,
     barely... it spins off OUT OF CONTROL and SMASHES through the
     window of a building. Bye, FLY.

                                                        CUT TO:

                                                                64.
                        WHITE KABLE SCRIPT - 9/19/2007



96    INT. SIMON'S ROOM - CONTINUOUS                                  96

      SIMON'S screen is filled with a GLITCHED OUT view of NOTHING,
      under a pile of glass and concrete.

                          SIMON
                Um.

97    EXT. SLAYERS RESTRICTED AREA - CONTINUOUS                       97

      The SUBMARINE ALARM is sounding across the BATTLEGROUND.
      KABLE is heading deep into RESTRICTED TERRITORY, slamming
      through and swerving around obstacles.

98    INT/EXT. RESTRICTED AREA/F250 (DRIVING)                         98

      WITHOUT WARNING: a SNOWPLOW comes blasting out of nowhere
      going 80, trying to ram the driver's side... it's a tick
      late, clipping the back end instead, sending KABLE into a
      SPIN... KABLE is knocked around in the cab and PUKES all over
      the passenger seat. He recovers, straightens out and keeps
      going.

                          KABLE
                    (relieved)
                Ughh, that was the one.

99    INT. SIMON'S ROOM - SIMULTANEOUS                                99

      SIMON is switching from CAMERA to CAMERA, trying to pick up a
      view of KABLE... finally he comes across a RUMBLING CHASE
      CAM, coming up on KABLE'S truck from behind...

100   EXT. RESTRICTED AREA/F250 (DRIVING) - SIMULTANEOUS              100

      The CAMERA is mounted on a SNOWPLOW, one of a pair gaining on
      KABLE, slamming through rubble and debris.

101   INT. RESTRICTED AREA/F250 (DRIVING)                             101

      KABLE spots them in the REAR VIEW MIRROR.

      He SLAMS HIS HEAD against the steering wheel to clear it -
      despite the purge he's still pretty FUCKED UP.

      KABLE pops the driver's door and leans out, GETTING A BEAD on
      the nearest PLOW...

102   INT. SIMON'S ROOM - CONTINUOUS                                  102

      From the SNOWPLOW'S POV we see KABLE leaning out, POINTING
      THE WEAPON AT US. Then big ass MUZZLE FLASHES: THOOM! THOOM!



                                                           (CONTINUED)

                                                                        65.
                           WHITE KABLE SCRIPT - 9/19/2007
102   CONTINUED:                                                              102

                             SIMON
                   Shit, shit, SHIT!

      A shell comes RIGHT AT US - the screen GLITCHES, FREEZES -
      and goes BLACK.

                               SIMON (cont'd)
                   I'm dead.

103   EXT. RESTRICTED AREA/F250 (DRIVING) - CONTINUOUS                        103

      In KABLE'S REAR VIEW: The LEAD SNOWPLOW SPINS OUT,
      hemorrhaging black smoke; then SLAMS into the SECOND, sending
      it into the side of a building.

104   INT. F250                                                               104

      KABLE'S TRUCK HICCUPS - FUEL is on EMPTY, but still charging
      ahead.

105   INT/EXT. RESTRICTED AREA/F250 (DRIVING)                                 105

      A LOW CONCRETE WALL surrounds the perimeter, and it's COMING
      UP FAST; beyond it: more abandoned urban wasteland.

      KABLE has got too much speed at this point to do anything but
      slam the thing SIDEWAYS into a SICK POWER SLIDE - the TRUCK
      hits the barrier and FLIPS OVER IT, CORKSCREWING four times
      before GRINDING TO A STOP on it's hood. The AIRBAGS DEPLOY,
      smashing KABLE into his seat...

106   EXT. RESTRICTED AREA - SUBWAY ENTRANCE                                  106

      KABLE scrambles out of the vehicle; he spots a half collapsed
      SUBWAY ENTRANCE and runs for it...

107   EXT. RESTRICTED AREA - SKY                                              107

      Behind him, two SMART MISSILES are streaking high across the
      grey sky... they change direction and DOUBLE THEIR SPEED -
      it's fucking HORRIFIC... and CONVERGE on the downed TRUCK in
      an EYEBLINK.

      BOOM.

108   EXT. RESTRICTED AREA - SUBWAY ENTRANCE                                  108

      KABLE is LIFTED OFF HIS FEET and blown into the SUBWAY
      ENTRANCE, which COLLAPSES BEHIND HIM.

                                                            FADE TO BLACK.

                                                              66.
                        WHITE KABLE SCRIPT - 9/19/2007



109   INT. FRAT HOUSE - DAY                                         109

      The FRAT GUYS are standing there with their beers, frozen,
      mouths hanging open.

      On screen is a THREE DIMENSIONAL TEST PATTERN accompanied by
      a SEXY FEMALE VOICE:

                          FEMALE VOICE
                Please stand by... Please stand
                by... Please stand by...

                          FRAT GUY
                What just happened?

110   EXT. MONTAGE, NEWS REPORT - DAY                               110

      The REPORT plays on a variety of PUBLIC SCREENS:

                          FEMALE NEWS HOST
                To recap: initial reports are that
                Kable, the most recognizable face
                of the Slayers phenomenon next to
                Ken Castle himself - is officially
                listed as fragged...

                          NEWS CO-HOST
                    (bitter)
                That's bullshit.

                          FEMALE NEWS HOST
                ... just one session away from
                being the first slayer ever to win
                a full pardon and release.

                                                         CUT TO:

111   INT. COMMUTER TRAIN - DAY                                     111

      A drab, above ground commuter train; somehow reminiscent of
      the train to the slayers battleground - except the population
      here is strictly civilian: young, eccentric, mostly
      attractive, but their eyes are burned out, dead... lost.
      Dishwater daylight filters through the windows.

      The news broadcast continues, fed over video monitors that
      line the ceiling of the train. The passengers' eyes are glued
      to the screens...




                                                         (CONTINUED)

                                                                 67.
                           WHITE KABLE SCRIPT - 9/19/2007
111   CONTINUED:                                                       111

                             FEMALE NEWS HOST
                   In a NETCAST plagued by technical
                   difficulties and dead spots the
                   report could NOT be confirmed -
                   however KABLE - born John Tillman
                   of Albany, New York and convicted
                   of murder just four years ago - has
                   been removed from Slayers rosters
                   and upcoming events listings.

      ... including, we reveal: ANGIE. She is stunned; her eyes
      well up with tears. No one notices.

                             FEMALE NEWS HOST (cont'd)
                   His player, gaming megastar Simon
                   Silverton - could not be reached
                   for comment.

112   EXT. BROOKLYN/BROWNSTONE - DAY                                   112

      GRAFFITI on concrete, stenciled:

                          slayers is bad tv - humanz

      KABLE is standing across the street from a BEAT DOWN
      BROWNSTONE, watching the second floor window.

      A funky OFF-ROAD MOTOCROSS BIKE buzzes by him and up onto the
      sidewalk, FARTING SMOKE. KABLE IGNORES the RIDER, who parks,
      gets off, loses the brain bucket and steps up to his side.

                             TRACE
                   She's not home.

      KABLE turns - the RIDER is a green-eyed 22 year-old girl w/
      black rimmed WEEZER glasses; SMART AND CUTE as hell... this
      is TRACE.

                              TRACE (cont'd)
                   But Castle's personal security will
                   be, soon enough - trust me, you
                   don't want to meet them.
                       (beat)
                   You know, it's pretty obvious that
                   you'd come here first.

                             KABLE
                   Who are you?

      TRACE smiles.

                             TRACE
                   You asked me that once before.


                                                            (CONTINUED)

                                                                    68.
                              WHITE KABLE SCRIPT - 9/19/2007
112   CONTINUED:                                                          112

                             KABLE
                   Your voice...

      We might recognize it too - it's the VOICE from the other
      side of the CELL DOOR.

                             TRACE
                   You should really come with me...

      She glances skyward toward the SOUND OF HELICOPTERS.

                             TRACE (cont'd)
                   ... like, NOW.

      KABLE considers his options...

      They TAKE OFF on the MOTO, TRACE driving.

113   EXT. STREETS OF NEW YORK - DAY                                      113

      TRACE darts nimbly thru traffic and pedestrians, finally
      ZAGGING up onto the sidewalk and down a side alley...

114   EXT. ALLEY - ADULT STORE ENTRANCE                                   114

      There's an open doorway to the left - NEON SIGN above:

                                    adult xxx video
                                         3D-ID
                                      novelty toy

      She CUTS HARD 90 degrees, straight into it, leaving tread on
      the concrete - through hanging black rubber strip curtains...

115   INT. ADULT STORE - NARROW STAIRWELL                                 115

      and STRAIGHT DOWN A NARROW STAIRWELL, taking the stairs
      MOTOCROSS...

      She cuts HARD RIGHT at the bottom...

116   INT. FREIGHT ELEVATOR                                               116

      ...down a concrete corridor and onto a minimal FREIGHT
      ELEVATOR - open on the sides... punches the down button, BIKE
      still idling... KABLE coughs from the fumes...

      Halfway down there is a SQUARE OPENING in the wall of the
      elevator shaft - a TUNNEL TO BLACK.

                                TRACE
                   Hang on.



                                                               (CONTINUED)

                                                                     69.
                           WHITE KABLE SCRIPT - 9/19/2007
116   CONTINUED:                                                           116

      TRACE REVS up the bike - and as they pass the tunnel, she
      POPS IT. They're GONE.

117   INT. HUMANZ HEADQUARTERS - MOMENTS LATER                             117

      A DARK, underground VIDEO ARCADE... low ceilings, concrete;
      OLD SCHOOL - sort of a graveyard of lost games... the
      classics of the 80s - MISSILE COMMAND, DEFENDER, ROBOTRON,
      CRANK, etc. The dimensions of the room are impossible to
      determine. A dozen or so PEOPLE - just BLACK SILHOUETTES in
      the CATHODE RAY GLOW - are scattered around, banging buttons,
      giving it body english, racking up scores.

      TRACE leads KABLE through, toward the one BRIGHTLY LIT SPOT:
      at the center of the arcade, an AIR HOCKEY table is blasted
      with WHITE LIGHT from above. HUMANZ BROTHER, who we
      recognize from SIMON'S vid screen, and HUMANZ DUDE - mid 20s,
      long hair - are playing: CLACKCLACK, CLICK, CLACKCLUNK,
      CLACK...

      They are so wrapped up in their game that they don't appear
      to notice KABLE.

      HUMANZ BROTHER smacks a random 3-bank           WINNER.

                             HUMANZ BROTHER
                   You a fool.

                             HUMANZ DUDE
                   Stop playing that freaky shit off
                   the rail.

                             HUMANZ BROTHER
                   It's a game of deception.

                             HUMANZ DUDE
                   Whatever, that's cuz you got no
                   power...

      HUMANZ DUDE measures a shot, rolling the paddle with one
      finger - then LETS IT RIP - slamming the GAME WINNER in a
      STRAIGHT LINE past HUMANZ BROTHER'S frozen paddle - SCORE: 7-
      5.

                              HUMANZ DUDE (cont'd)
                       (getting in his face)
                   Huh? What?

                               HUMANZ BROTHER
                   Bullshit.

                             KABLE
                   You guys suck.


                                                                (CONTINUED)

                                                                  70.
                            WHITE KABLE SCRIPT - 9/19/2007
117   CONTINUED:                                                        117

      They turn, suddenly aware of him. HUMANZ DUDE'S paddle hand
      goes limp; the puck limps in and scores, meaninglessly.

                             HUMANZ DUDE
                       (impressed)
                   Kable. Holy shit.

                             HUMANZ BROTHER
                   His name's Tillman.

                             HUMANZ DUDE
                   Whatever.
                       (to KABLE)
                   You made it. You're really here.

      KABLE looks them over - he's not sure what he expected, but
      it wasn't this.

                             KABLE
                   You're the ones who broke me out?

                             TRACE
                   We only freed your mind.

                             HUMANZ BROTHER
                   Your ass followed.

                             HUMANZ DUDE
                   Hey, Kable...

      DUDE seems to be the most affected by KABLE'S presence -
      BROTHER is calm, in the moment; TRACE is focused, all
      business... DUDE is pure FANBOY.

                             HUMANZ DUDE (cont'd)
                   You're... great.

      HUMANZ BROTHER gives HUMANZ DUDE a look and shakes his head.

                             HUMANZ BROTHER
                       (to Kable)
                   You got questions.

                              KABLE
                   A few.

      He glances over at TRACE.

                             KABLE (cont'd)
                   She took my blood. Why?

                             HUMANZ DUDE
                   The nanex modifies the actual cell
                   structure of your brain...
                             (MORE)
                                                             (CONTINUED)

                                                                 71.
                           WHITE KABLE SCRIPT - 9/19/2007
117   CONTINUED: (2)                                                   117
                          HUMANZ DUDE (cont'd)
                we can crack it, but it's not one
                size fits all; we needed your DNA
                to generate custom code.

                            KABLE
                Alright.    Why me?

                          HUMANZ DUDE
                Because Castle's scared of you.

                          HUMANZ BROTHER
                It ain't just a game, you know,
                Tillman. Everyday there's more
                people steppin forward, wanna be a
                part of Castle's world. Throwing
                away everything it means to be
                human.

                          TRACE
                Right now it's the desperate
                ones... convicts, addicts... the
                sick, the poor... the ones that
                fell through the cracks... they
                have no choice.

                          HUMANZ DUDE
                But this is only the beginning.

                          HUMANZ BROTHER
                Think about it: the federal prison
                system is growing out of control,
                set to bankrupt the whole damn
                USA... Castle rides in on a white
                horse, says he got a plan to bail
                us out and everyone just fall in
                line.

                          TRACE
                So what's next? The health care
                system is collapsing - Castle comes
                to the rescue again...

                          HUMANZ BROTHER
                This time he's pushin total control
                of genetic disease... birth defects
                a thing of the past... all we gotta
                do is exchange our cells for the
                ones he wanna give us.

                          TRACE
                The promise of a longer life and a
                fatter wallet - you think people
                will refuse?


                                                            (CONTINUED)

                                                                    72.
                           WHITE KABLE SCRIPT - 9/19/2007
117   CONTINUED: (3)                                                      117

                             HUMANZ DUDE
                Hell no.

                          HUMANZ BROTHER
                They'll be standing in line to hand
                their babies over to him. Next
                thing you know, we all slaves.

                          TRACE
                We can't let that happen.

                          HUMANZ DUDE
                Gotta bring the man down.

                          TRACE
                You can help us, Tillman.
                    (with urgency)
                You have to help us.

      KABLE takes this in, and starts to WALK AWAY.

                          KABLE
                I can't help you.

                             HUMANZ BROTHER
                Tillman.

      KABLE ignores him - he's OUT.        But HUMANZ BROTHER FREEZES him
      in his tracks:

                          HUMANZ BROTHER (cont'd)
                We know where she is.

118   INT. FBI INTERROGATION - TIME INDETERMINATE                         118

      SIMON is in a stark interrogation room, alone, drumming his
      fingers on the table - thumb-to-pinky, pinky-to-thumb. Trying
      not to show how scared he is.

      The door clicks open and SEVERAL MEN enter. One SITS. We only
      see them from behind, not their faces; SIMON nods waddup.

      The SEATED MAN pushes several PHOTOS across the table to
      SIMON. SIMON glances at the top photo as casually as he can
      manage - it shows SIMON in an MTV TRL-type setting, being
      interviewed in front of a live audience of teenage girls.

      When AGENT KEITH speaks, he is calm, conversational.

                          AGENT KEITH
                Guess you remember that day.

      SIMON nods, noncommitally.


                                                              (CONTINUED)

                                                                   73.
                           WHITE KABLE SCRIPT - 9/19/2007
118   CONTINUED:                                                         118

                             AGENT KEITH (cont'd)
                   You'd just gotten Kable through his
                   tenth consecutive session alive...
                   no one ever thought an I-con could
                   last that long.

      Another photo shows SIMON on a JUMBOTRON posing with his
      fingers in the camera's face, throwing the motion control
      hand signal for FIRE and KILL... in another, he's being
      mobbed at an event, signing an amazing pair of breasts with a
      black marker.

                             AGENT KEITH (cont'd)
                   Pretty hot shit, aren't you? King
                   Player.

                             SIMON
                   Good times.

                            AGENT KEITH
                   Sure. On the outside.        Now look at
                   these.

      A new series of graphic photos show bloody, mangled remains -
      the aftermath of a slayers session.

                              AGENT KEITH (cont'd)
                   This is what it's like on the
                   inside.
                       (beat)
                   Wonder how long you'd last on the
                   other side of the screen.

      This SITS IN THE ROOM for a BEAT - SIMON considers several
      responses, chooses NONE OF THEM.

                             AGENT KEITH (cont'd)
                   Simon, you're being held today
                   suspected of aiding in the escape
                   of a convicted murderer from a
                   maximum security penitentiary. The
                   charge is... beyond serious. Your
                   hard drives have been seized -
                   forensics is decrypting the
                   contents as we speak. Your
                   internet activity over the last ten
                   years is being scrutinized and
                   catalogued in minute, vivid
                   detail...

      SIMON FLINCHES at this one.




                                                              (CONTINUED)

                                                                     74.
                        WHITE KABLE SCRIPT - 9/19/2007
118   CONTINUED: (2)                                                       118

                           AGENT KEITH (cont'd)
                In addition, your father's bank
                accounts have been frozen pending
                further investigation - naturally,
                seeing it was his money that
                essentially funded Mr. Tillman's
                escape.
                    (beat)
                I'm going to need you to tell me
                everything that happened leading up
                to yesterday afternoon. Everyone
                you talked to, everything you
                heard, everything you did. I need
                you to do that... right now.

                          SIMON
                Yeah, um... I need something too.

                          AGENT KEITH
                    (ice cold)
                Do you now? And what might that be?

      SIMON swallows hard.

                          SIMON
                Could you dudes do a sandwich like:
                peanut butter, almond butter,
                walnut butter... pecan butter,
                pistachio butter... pretty much any
                kind of, you know, nut butter. And
                Welch's grape.

      Dead silence. SIMON chews a HANGING CHAD off of a FINGERNAIL.

                          AGENT KEITH
                Pistachio. They make that?

                          SIMON
                It's awesome.

                                                         FADE TO BLACK.

119   INT. GORGE'S LIVING ROOM - DAY                                       119

      FAT FINGERS squeeze air.

      ANGIE, in a white tank top and panties, is pulled to 3-D LIFE-
      SIZE DIMENSIONS on GORGE'S video wall, standing impassively
      in space.

      A FAT TONGUE wets FAT LIPS.




                                                               (CONTINUED)

                                                                        75.
                           WHITE KABLE SCRIPT - 9/19/2007
119   CONTINUED:                                                              119

      GORGE scrolls through options... hair, clothes, makeup...
      from slutty to sci-fi to quirky to casual, and back to
      slutty... as he SELECTS OPTIONS they appear on ANGIE,
      ROTATING HER in three dimensions to model; she's a living,
      breathing BARBIE DOLL.

      ORANGE SHERBET HAIR, then a PLATINUM WHITE Judy JETSON
      PONYTAIL... black CAT-SUIT, DAISY DUKE, Darryl Hannah's PUNK
      REPLICANT from Blade Runner... he chooses a LOOK and LOCKS IT
      IN...

      GORGE lifts an OXYGEN MASK to his face and breathes deep...
      he GOES LIMP in his chair - eyes rolled up in his head, head
      clocked back to face the ceiling... bathed in sweat... the
      MASK falls away... and we...

                                                            FADE TO BLACK.

120   EXT. SOCIETY - DAY                                                      120

      ANGIE is on the sidewalk, a little unsteady on high heels -
      wearing the outfit GORGE CHOSE.

      OTHER PEOPLE are wandering around everywhere. A DEBUTANTE-
      type in a pink ensemble has a poofy SHITZU on a leash; the
      SHITZU is PISSING ON IT'S OWNER'S LEG, but she doesn't seem
      to notice. A TAXI speeds by with FOUR PEOPLE crushed in the
      back seat having CRAZY ANIMAL SEX. ANGIE starts walking.

      She passes a FAMILIAR FACE, who turns to watch her go,
      without expression - is that GINA PARKER SMITH?

      ANGIE walks around the corner to a BAR and goes in.

121   INT. THORAX BAR - CONTINUOUS                                            121

      The THORAX BAR is small, intimate, but ULTRA-STYLED... the
      theme is insect. All manner of exotic bug preserved in
      glass, suspended in ice... one wall is a giant, black-lit ANT
      FARM... green, glowing FIREFLIES dart through the air...
      people lounge on plush seating, gobbling up creatively
      prepared bug delicacies - FRIED PINK GRASSHOPPERS, fat yellow
      GRUBS with red chili oil...

      ANGIE takes a seat at the BAR.

                                BARTENDER
                   The usual?

      She just WINKS, flirtatious.

      The BARTENDER returns a smile and shakes up an AQUA BLUE
      MARTINI... to finish, he plops in a LIVE, WHITE LARVA...


                                                                  (CONTINUED)

                                                                    76.
                              WHITE KABLE SCRIPT - 9/19/2007
121   CONTINUED:                                                          121

      it curls and twists in the liquid, soaking the alcohol into
      it's pulp...

      She takes a SIP, letting the LARVA curl around her tongue...
      swallows it down... as a GUY takes a seat to her left - his
      hair is shiny, slick black licorice.

                                RICK RAPE
                   Hi Nika.

                             ANGIE
                   Oh. Hi. Rick Rape, right?

      In GORGE'S apartment his lips move, ANGIE'S echoing to match.

                             ANGIE (cont'd)
                   I thought you weren't allowed to
                   come here anymore.

      RICK RAPE laughs, throwing his head back and slapping his
      knee - EXAGGERATED.

                             RICK RAPE
                   That was just last month. I was a
                   bad boy.

      ANGIE yawns.

                             ANGIE
                   Are you still a bad boy?

122   INT. ANGIE'S BUILDING, HALLWAY - DAY                                122

      ANGIE EXITS the ELEVATOR on the 3rd floor - a modern,
      minimalist building... RICK RAPE is with her, close behind.

      They come to an apartment door; RICK RAPE pushes her, from
      behind, up against the door - VIOLENT... her right hand SLAPS
      a PALM IDENTIFICATION SENSOR alongside the door and it
      WHISPERS OPEN.

      ANGIE snaps a heel; they stumble in.

123   INT. ANGIE'S APARTMENT - CONTINUOUS                                 123

      ANGIE'S place is some kind of overdecorated, SCHITZOPHRENIC
      blend of GIRLIE/GEEKY/PORN. Shafts of NICOTINE SUNLIGHT
      filter through patterned curtains.

      She crawls along a plush WHITE FUR RUG... RICK RAPE
      follows... he licks his lips - an automatic gesture - and
      begins to UNBUTTON HIS PANTS. ANGIE, on her hands and knees,
      back to him, doesn't even bother to look, until...


                                                               (CONTINUED)

                                                                 77.
                           WHITE KABLE SCRIPT - 9/19/2007
123   CONTINUED:                                                       123

                             RICK RAPE
                   Urkk.

      She TURNS.

      KABLE has RICK RAPE up in the air, holding him like a BARBELL
      - with one hand CRUSHING HIS THROAT, the other his BALLS. He
      brings him down over his knee, SNAPPING HIM like a BROKEN BAT
      - KKRRUNCH.

      ANGIE'S FACE is passive, neutral... but her EYES are NUCLEAR
      with EMOTION.

      KABLE tosses RICK RAPE'S broken body into the bedroom... then
      falls to his knees in front of ANGIE and takes her face in
      his palms, gently - EYES LOCKED INTO HERS.

      GORGE is paralyzed.

                             GORGE/ANGIE
                   Please don't kill me.

      ANGIE says the words, but they don't match her eyes.     KABLE
      just shakes his head, trying to grasp the situation.

                             GORGE/ANGIE (cont'd)
                   I'll do anything.

                             KABLE
                   Don't say that.

      GORGE holds out his hands; ANGIE'S fingers caress KABLE'S
      chest and move toward his crotch...

                             KABLE (cont'd)
                   Stop.

      He pushes her hands away, gently.

                             KABLE (cont'd)
                   This isn't you.

      ANGIE'S eyes WELL UP with TEARS.

                              KABLE (cont'd)
                       (trying to contain his
                        RAGE)
                   God damn it... YOU - in there...
                   controlling her... let her talk,
                   motherfucker.

      GORGE swallows; KABLE is staring straight into his eyeballs.



                                                            (CONTINUED)

                                                                 78.
                           WHITE KABLE SCRIPT - 9/19/2007
123   CONTINUED: (2)                                                   123

                             GORGE/ANGIE
                I can't.

      KABLE buries his face in his hands; it's TEARING HIM UP.

                          GORGE/ANGIE (cont'd)
                She has to say what I tell her.

      KABLE looks deep into ANGIE'S eyes.

                           KABLE
                     (almost whispering)
                You can hear me, baby. I know you
                can.

      He WIPES AWAY A TEAR from her cheek with his thumb.     After
      all he's been through he begins to BREAK DOWN.

                          KABLE (cont'd)
                I love you... love you...

                          GORGE/ANGIE
                I love you too.

                           KABLE
                    (snapping)
                SHUT UP!!!

      He's SCREAMING directly at GORGE, who cowers in his chair as
      if KABLE were in the room with him.

                          KABLE (cont'd)
                Say anything else and I'll find
                you... I'll rip you TO FUCKING
                PIECES, do you understand me?

      GORGE/ANGIE nods.

                          KABLE (cont'd)
                    (to ANGIE)
                I'm getting you out of here.

124   INT. ANGIE'S BUILDING, HALLWAY - DAY                             124

      KABLE pulls ANGIE out the door and down the hall, in tactical
      mode, WEAPON ready... he heads to the ELEVATOR, punches up a
      ride. No sign of trouble.

                           KABLE
                    (quiet)
                I'm going to take you someplace
                where they can turn it off... the
                program...


                                                            (CONTINUED)

                                                                   79.
                           WHITE KABLE SCRIPT - 9/19/2007
124   CONTINUED:                                                         124

      GORGE/ANGIE says NOTHING.       The ELEVATOR DOOR whispers open -

      HACKMAN is standing there with an ASSAULT SHOTGUN.

                              HACKMAN
                       (friendly)
                   Hi, Kable.

      BOOM.

      KABLE TAKES IT IN THE CHEST; he's BLOWN OFF HIS FEET, through
      a wall and into an apartment opposite the ELEVATOR.

      HACKMAN grabs ANGIE'S wrist, drags her onto the ELEVATOR and
      waits a BEAT, smiling pleasantly. The ELEVATOR DOOR CLOSES.

125   INT. APARTMENT - DAY                                               125

      KABLE is ON HIS BACK in rubble. His chest is a BLACK,
      SMOKING HOLE... but as the smoke clears we see that his BODY
      ARMOR has ABSORBED THE BLAST. He's groggy, in excruciating
      pain, wind knocked out of him - but ALIVE.

      TWO GUYS in GAS MASKS and RUBBER SUITS are watching him from
      the next room as he attempts to STRUGGLE TO HIS KNEES; KABLE
      has obviously interrupted something.

126   INT. ELEVATOR - SIMULTANEOUS                                       126

      HACKMAN and ANGIE are having a pleasant ride down, HACKMAN'S
      hands folded in front of him, patiently; the SHOTGUN - still
      smoking - shoulder strapped.

                             HACKMAN
                       (to ANGIE)
                   Anybody in there?

      The ELEVATOR stops and picks up TWO PASSENGERS: a GIGGLING,
      NECKING COUPLE. The doors CLOSE.

      HACKMAN gives GORGE/ANGIE a wink and flashes a NINE INCH
      BOWIE KNIFE, carbon steel, nasty. ANGIE'S eyes go wide with
      TERROR. The COUPLE is oblivious.

      GORGE can't hold back, the SICK FUCK; he squirms in his
      chair, sweating buckets, feeling himself up. And when he
      speaks, ANGIE echoes:

                             GORGE/ANGIE
                   Come on... do it...

      HACKMAN raises his eyebrows - he wasn't expecting that one...
      but he OBLIGES. A flex of his shoulder; the NECKING GIRL'S
      legs buckle under her and she goes down without a peep.

                                                             (CONTINUED)

                                                                  80.
                            WHITE KABLE SCRIPT - 9/19/2007
126   CONTINUED:                                                        126

      The GUY is confused - where'd she go? He looks to ANGIE.
      HACKMAN headlocks him from behind, and slowly - making eye
      contact with GORGE/ANGIE the entire time - SNAPS HIS NECK.

      ANGIE'S eyes stream tears; GORGE is in ECSTASY.

      HACKMAN lets the second body DROP, chuckling, as the ELEVATOR
      DOOR OPENS...

      KABLE is waiting.

127   INT. ANGIE'S BUILDING, LOBBY - CONTINUOUS                         127

      KABLE grabs HACKMAN with both hands, RIPS HIM OUT OF THE
      ELEVATOR and SLAMS HIM into a WALL. A BRUTAL HEAD-BUTT to
      the FACE, smashing bone... ANOTHER. HACKMAN'S FACE erupts
      with BLOOD.

      HACKMAN SWINGS BLIND with the BOWIE KNIFE, once, twice - the
      blade misses KABLE, backpedaling, by fractions of inches;
      displacing some SERIOUS AIR... HACKMAN lets it FLY. The
      BOWIE whistles past KABLE'S FACE and THUNKS into the wall
      behind him, four inches deep.

      HACKMAN smears the BLOOD from his eyes and brings up the
      SHOTGUN, but KABLE is quick - instead of trying to move away,
      HE STEPS IN, pushing the barrel STRAIGHT DOWN as HACKMAN
      FIRES. The BIG HIT puts a CRATER in the floor and takes out
      a set of HACKMAN'S toes.

      KABLE kicks the SHOTGUN from HACKMAN'S hands and brings up
      his own WEAPON to close the deal...

      ... as the GLASS WALLS of the LOBBY EXPLODE.

      MORE SLAYERS are MOVING IN.

      KABLE releases a barrage of cover fire, grabs ANGIE and
      breaks for the BACK EXIT.

128   EXT. SOCIETY - DAY                                                128

      KABLE and ANGIE hit WHITE HOT DAYLIGHT. A BLUE SLAYER breaks
      the corner of the building and KABLE FRAGS HIM.

      KABLE grabs ANGIE by the shoulders and yells directly at
      GORGE:

                              KABLE
                   YOU!   WHERE THE HELL DO WE GO?

      CONTINUOUS SHOT: GORGE/ANGIE starts running across the
      street, leading the way;


                                                             (CONTINUED)

                                                                  81.
                           WHITE KABLE SCRIPT - 9/19/2007
128   CONTINUED:                                                        128

      KABLE takes out another BLUE at a distance, following close
      behind her. They run into a GENERIC, UNMARKED BUILDING...

129   INT. SOCIETY BUILDING - CONTINUOUS                                129

      ... the SHOT CONTINUES, across the LOBBY, through an
      anonymous grey door...

130   INT. STAIRS/PINK CORRIDOR                                         130

      ...and down a FLIGHT OF STAIRS... MUFFLED MUSIC is THUMPING,
      getting LOUDER... down a PINK CORRIDOR and into...

131   INT. UNDERGROUND RAVE - CONTINUOUS                                131

      ... a 24 HOUR UNDERGROUND RAVE, in full effect.

      This thing is FUCKING HUGE... in the DARK it's impossible to
      tell just how big... hundreds of writhing SOCIETY DUDES,
      CHICKS and OTHER... DAY-GLO, moving spotlights, strobes...
      the BUBBLE GIRLS from CRANK make an appearance... along with
      the DISCOVERY CHANNEL SKATERS from the PARK, now in GOTHED-UP
      GEAR...

      KABLE gathers it all... he takes ANGIE'S arm and begins to
      wade through the CHAOS... the BLOOD SPATTERS on his face POP
      in sharp, inverse DAY-GLO, like HARTIGAN'S SCAR in SIN
      CITY...

      A SKATER GIRL takes a hold of the glowing, smoking barrel of
      KABLE'S WEAPON and starts to SKATE CIRCLES around him, ring-
      around-the-rosie... he wrenches it hard, sending her flying
      into a crowd that goes down like BOWLING PINS.

      They continue MOVING... KABLE happens to notice RED LASERS
      moving through the DARK... probing... RAVE LIGHTS? No...

      THOOM.   THOOM THOOM.

      LIGHTNING FLASHES, EXPLOSIONS... a RAVER nearby
      disintegrates, BLOOD and GUTS a DAY GLO VOLCANO.      DANCERS
      slip and FALL ON THEIR ASSES in the viscera.

      The SLAYERS are moving thru the RAVE, hunting. Everyone but
      KABLE and ANGIE are so out of it they don't even notice.

                             KABLE
                       (to GORGE)
                   You. Run.

      ANGIE runs.

      KABLE goes COMMANDO, evading the HUNTERS, ducking under
      EXPLODING SHIT... he moves to FLANK them...

                                                            (CONTINUED)

                                                                 82.
                           WHITE KABLE SCRIPT - 9/19/2007
131   CONTINUED:                                                       131

      the DJ is DECAPITATED by a stray 50 caliber round but the
      GROOVE DON'T STOP...

      LIGHTNING STRIKES FREEZE the ACTION as KABLE engages the
      BLUES, one by one... he takes out THREE of them with CLOSE
      RANGE BLASTS and another HAND-TO-HAND-TO-HEADSNAP - then
      notices more BLUES moving in... too many...

      He catches up to ANGIE and they make for an EXIT, any EXIT...

132   INT. RAVE - LOUNGE AREA                                          132

      They find CURTAINS, run past freaky CHILL LOUNGES and SMOKE
      OUT ROOMS... KABLE blows a hole in a locked maintenance door
      and they duck out of RAVE WORLD into...

133   INT. RAVE - INDUSTRIAL CONCRETE CORRIDOR                         133

      ...an industrial CONCRETE CORRIDOR... MUFFLED BLASTS,
      SCREAMING in the REAR SURROUNDS tell KABLE the BLUES are
      close behind... up more stairs, they SLAM through a SERVICE
      DOOR and back into...

134   EXT. SOCIETY - DAY, CONTINUOUS                                   134

      ... blinding DAYLIGHT.

      A SCOOBY DOO-looking VAN pulls up to the CURB in front of
      them; the back doors SWING OPEN.

                             GINA PARKER SMITH
                   I can get you out.

      Not much choice. KABLE and ANGIE climb in. The ELECTRIC VAN
      drives quietly away, attracting no attention.

135   INT. VAN - CONTINUOUS                                            135

      KABLE slumps against the wall of the VAN, cradling ANGIE in
      his arms - exhausted. ANGIE'S eyes are POST-TRAUMATIC,
      searching.

      GINA is PUMPED.

                             GINA PARKER SMITH
                   I can't believe it's you. This
                   is...
                       (gathering herself)
                   Listen: you can trust me, Kable.

                             KABLE
                       (quietly)
                   If not...


                                                            (CONTINUED)

                                                                        83.
                           WHITE KABLE SCRIPT - 9/19/2007
135   CONTINUED:                                                              135

      He looks her straight in the eye.

                             KABLE (cont'd)
                   You're dead.

      GINA pales. He's not lying.

                                                            FADE TO BLACK.

136   INT. HUMANZ HEADQUARTERS, BACK ROOM - TIME INDETERMINATE                136

      CLOSE-UP: a LANCET is prepared... it PUNCTURES SKIN and
      SUCKS.

      ANGIE is lying on a      black leather couch, unconscious -
      breathing deeply...      TRACE pops the LANCET out of ANGIE'S
      fingertip and plops      a RED DROP into a glass tube of liquid.
      KABLE kneels beside      ANGIE, stroking her hair.

      HUMANZ DUDE, HUMANZ BROTHER and GINA PARKER SMITH are all
      there.

                               KABLE
                   Now what?

                             HUMANZ DUDE
                       (shrugs)
                   The crack works - you're the
                   proof... we put the DNA in the
                   soup, light it up, extract it -
                   then feed my girl's sequence into
                   the code and we're good to go.

                             GINA PARKER SMITH
                       (thinking out loud)
                   It's an anti-spyware program.

                             HUMANZ DUDE
                   Basically. We can't quarantine the
                   foreign cells per se but we can
                   disable their ability to transmit
                   and receive.

      GINA'S not buying this I.T. GUY shit.

                             GINA PARKER SMITH
                   Fuck that. I'd make you cut it out
                   of me.

      TRACE gives her a glance: dumb bitch.

                             TRACE
                   That would be like cutting out part
                   of your brain.
                             (MORE)
                                                                  (CONTINUED)

                                                                    84.
                              WHITE KABLE SCRIPT - 9/19/2007
136   CONTINUED:                                                          136
                             TRACE (cont'd)
                   The nanocells replace the cells
                   they replicate... they become you.

      GINA has no answer.

                             KABLE
                   How long will she sleep?

                             TRACE
                   We're going to have to keep her
                   sedated until we can kill the
                   link... otherwise she's
                   broadcasting everything she sees or
                   hears.

                             HUMANZ DUDE
                   Thirty minutes... you give us a
                   robot, we give you back a super hot
                   human.

      TRACE rolls her eyes.

                                HUMANZ BROTHER
                   Tillman.

      KABLE looks.

                             HUMANZ BROTHER (cont'd)
                   We need to talk, my man.

                                KABLE
                   So talk.

                                HUMANZ BROTHER
                   Come on.

                                                               CUT TO:

137   INT. HUMANZ HEADQUARTERS - MOMENTS LATER                            137

      Primitive, 8-BIT ARCADE DEMO SCREENS: missiles obliterate a
      city in MISSILE COMMAND, line-vector TANKS track 3D targets
      in BATTLEZONE, etc.

                             HUMANZ BROTHER (V.O.)
                   Ken Castle made his first billion
                   designing virtual reality
                   simulators for the US military.
                   Six years ago he brought them
                   something new - a breakthrough so
                   profound, he said, that history
                   would be divided up between
                   everything before and everything
                   that came after.

                                                               (CONTINUED)

                                                                 85.
                           WHITE KABLE SCRIPT - 9/19/2007
137   CONTINUED:                                                       137

      HUMANZ BROTHER and KABLE walk through the DARK ARCADE, past
      rows of machines... the lights and patterns of 8-BIT DEMO
      SEQUENCES and HI SCORE SCREENS flash across their faces.

                             HUMANZ BROTHER (cont'd)
                   They tested it on soldiers... the
                   first volunteer was Corporal Travis
                   Scotch - a friend of yours, I
                   believe.

      They stop.

                             KABLE
                   Yeah. He was.

                             HUMANZ BROTHER
                   The second was you.

      KABLE fights difficult memories.

                             KABLE
                   The idea was to replace your brain,
                   bit by bit, cell by cell,
                   gradual... the new tissue would
                   never break down, never
                   deteriorate.
                       (bitter)
                   A new era in human longevity is
                   what they told us. We were doing
                   the world a favor.

                              HUMANZ BROTHER
                       (nods)
                   Nine weeks later Scotch was dead
                   and you were serving life in
                   maximum. Castle's project was shut
                   down... but the shit wasn't a total
                   loss: the same technology
                   resurfaced within a year... in a
                   game. Castle called it society.

                             KABLE
                   Thank you for the history lesson.

                             HUMANZ BROTHER
                   Dig me, Tillman. Whatever happened
                   in that project is something Castle
                   wanna be buried. We need that shit,
                   baby: what you saw, what you know.

                             KABLE
                   I don't know what to tell you.



                                                            (CONTINUED)

                                                                    86.
                        WHITE KABLE SCRIPT - 9/19/2007
137   CONTINUED: (2)                                                      137

                           HUMANZ BROTHER
                You ain't gotta tell me shit,
                Tillman.
                    (beat)
                I want you to show me.

138   INT. HUMANZ HEADQUARTERS, BACK ROOM - TIME INDETERMINATE            138

      Slow PUSH IN on unconscious ANGIE. We hear TRACE interacting
      with HUMANZ TECHS off-CAMERA as a heart monitor BEEPS
      steadily.

                          TRACE (O.C.)
                Alright. We're ready to rock.

      A sequence is punched in on a keyboard.

                          TRACE (O.C.),(cont'd)
                Let's transmit in three... two...
                one...

      CLICK.

      With a GASP, ANGIE'S EYES SNAP OPEN.

                                                         MATCH CUT TO:

139   INT. GORGE'S LIVING ROOM - NIGHT, SIMULTANEOUS                      139

      GORGE'S EYES SNAP OPEN. He SPAZZES OUT like a turtle on it's
      shell, a moment of panic - he's been PASSED OUT in his chair
      and doesn't immediately know where he is. He looks around the
      DARK ROOM nervously; takes a hit of OXYGEN.

      On the SCREEN, society is gone - there is only a nebulous
      TEST PATTERN.

      Behind him, a SOUND.

                          GORGE
                Hooz there?

      He runs his hand along the CHAIR'S TRACKBALL CONTROL, it
      SPINS around and rolls forward a bit.

      CASTLE'S GEEK SQUAD is standing in the room, silhouettes in
      the dark - scary.

                           GORGE (cont'd)
                     (freaked)
                What are you doing here? Who are
                you?



                                                              (CONTINUED)

                                                                        87.
                           WHITE KABLE SCRIPT - 9/19/2007
139   CONTINUED:                                                              139

                             GEEK LEADER
                   Tech support.

                                                            FADE TO BLACK.

140   INT. HUMANZ HEADQUARTERS, TECH ROOM - NIGHT                             140

      A screen glitches - pixellated, fucked up, highly compressed,
      like an internet feed through a busted satellite. We begin
      to make out a coherent image:

      It is a POV, walking, of an industrial corridor.            Cameras
      mounted and doors with square glass windows.

      We back away from the screen to reveal -

      HUMANZ DUDE, HUMANZ BROTHER and GINA PARKER SMITH are
      watching the image on a LO-FI computer monitor. HUMANZ DUDE
      runs his fingers along a touchpad, MOVING FREQUENCIES around
      on a WAVEFORM MONITOR, trying to dial the picture in better.

      We see KABLE through an OBSERVATION WINDOW, slumped over in a
      chair... DREAMING? Or just CONCENTRATING?

                             GINA PARKER SMITH
                   What are we looking at?

                             HUMANZ BROTHER
                   His memories... translated as raw
                   audiovisual data.

                             GINA PARKER SMITH
                   I read something about this. But
                   that tech is supposed to be a
                   decade away...

      HUMANZ DUDE smirks, shakes his head.

                             HUMANZ DUDE
                   Current exponential rate of growth,
                   I can't imagine a piece of tech
                   that will take that long to come
                   around.

      He bangs on a key, beating up the interface.

                             HUMANZ DUDE (cont'd)
                   They'll have better shit than this
                   in Best Buy within 18 months.

141   INT. MILITARY FACILITY - TIME INDETERMINATE                             141

      KABLE - younger, in UNIFORM - walks down a sterile corridor.
      He is dead calm, emotionless.

                                                                  (CONTINUED)

                                                                        88.
                             WHITE KABLE SCRIPT - 9/19/2007
141   CONTINUED:                                                              141

      Tiny SURVEILLANCE CAMERAS track his movements.            He comes to a
      DOOR; it whispers open and he STEPS IN.

142   INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS                    142

      A WHITE, MINIMAL ROOM - TABLE, TWO CHAIRS. We may recognize
      it from the VIDEO the humanz sent to SIMON. In one chair: a
      MAN, 30s, beard and mustache grown out thick; in UNIFORM.
      KABLE sits down in the other.

                             SCOTCH
                   Tillman. Never thought I'd be so
                   glad to see your ugly grille.

                               KABLE
                   Scotch.

                             SCOTCH
                       (mimicking him)
                   Scotch.
                       (back in character)
                   I'll tell you what man: this place
                   sucks.

                                                                  CUT TO:

143   INT. HUMANZ HEADQUARTERS, TECH ROOM - SIMULTANEOUS                      143

      On the COMPUTER SCREEN: SCOTCH gestures to indicate the WHITE
      ROOM, the FACILITY...

                             SCOTCH
                       (to KABLE, grinning)
                   They got me hooked up to computers
                   five hours a day... nurses feeding
                   me vitamins, giving me shots,
                   wiping my butt - male nurses, I
                   might add...

                                                              CUT BACK TO:

144   INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS                    144

      SCOTCH chuckles, conspiratorial.

                             SCOTCH
                   What about you? You're dressed like
                   a semi-human being... they let you
                   out already?

      KABLE'S response doesn't match SCOTCH'S energy - he's bland,
      generic.



                                                                  (CONTINUED)

                                                                         89.
                             WHITE KABLE SCRIPT - 9/19/2007
144   CONTINUED:                                                               144

                             KABLE
                   I'm not getting out.

                               SCOTCH
                         (confused)
                   OK.
                       (beat)
                   Tillman... dude. Are you good?

                                KABLE
                   I'm fine.

                             SCOTCH
                   Uh huh. You don't look good.

                                KABLE
                   I'm sorry.

      KABLE'S "sorry" seems to refer to something only KABLE knows.

                             SCOTCH
                       (hesitant, making light)
                   Well, it's not like you ever looked
                   that good...

      A BEAT.   SCOTCH is suddenly conscious of the SURVEILLANCE.

      KABLE'S eyes flicker away from SCOTCH'S. He calmly removes
      his military issue .45 from it's holster and lets it rest on
      the table between them. He stares at it intensely, emotion
      starting to seep through the icy lines of his face.

                             SCOTCH (cont'd)
                       (quietly)
                   Tillman, what did they do to you?

145   INT. HUMANZ HEADQUARTERS, TECH ROOM - CONTINUOUS                         145

      The IMAGE on the SCREEN begins to BREAK UP.             Hard to make
      out...

                             GINA PARKER SMITH
                   What's happening?

      HUMANZ BROTHER holds up a finger: shhh.

      Through the OBSERVATION WINDOW we see present-day KABLE jerk
      and spasm in the chair.

146   INT. MILITARY FACILITY, DEBRIEFING ROOM - CONTINUOUS                     146

      KABLE starts to shake; the gun rattles on the table top. A
      bead of sweat creeps down his forehead. It's apparent that
      he is locked in a paralyzing internal struggle...

                                                                   (CONTINUED)

                                                                               90.
                           WHITE KABLE SCRIPT - 9/19/2007
146   CONTINUED:                                                                     146

      A low hum in the room starts to swell and throb, numbing,
      disorienting...

                              SCOTCH
                       (freaked)
                   Tillman...

      It seems to take all of KABLE'S strength to answer.                His
      voice is halting, human - not robotic like before.

                             KABLE
                   I can't stop it... can't...

      KABLE'S eyes meet SCOTCH'S; they are red, rimmed with tears.

                             SCOTCH
                   Who are you?

                                                                    CUT TO:

147   INT. SURVEILLANCE ROOM - SAME TIME                                             147

      We punch in on a wall of TWO WAY GLASS behind SCOTCH,
      pixellated visual noise resolving to murky detail as we move
      in - we punch through the glass to reveal a familiar
      silhouette -

      CASTLE brings up his hand, miming a gun.              He smiles.

                                                                    CUT TO:

148   INT. MILITARY FACILITY, DEBRIEFING ROOM - SAME TIME                            148

      KABLE BRINGS UP THE GUN, points it at SCOTCH'S forehead...
      SCOTCH is too stunned to react.

                             KABLE
                   I'm sorry...

      KABLE SCREAMS -

      CUT TO the SILENT, fixed SURVEILLANCE CAM FOOTAGE that humanz
      sent to SIMON: KABLE pulls the trigger, SOUNDLESS. SCOTCH
      falls over. Black blood pools.

149   INT. HUMANZ HEADQUARTERS, TECH ROOM - CONTINUOUS                               149

      The humanz monitor GOES DEAD.

                             HUMANZ DUDE
                   Not the best commercial for K-soft
                   technology.



                                                                    (CONTINUED)

                                                                   91.
                             WHITE KABLE SCRIPT - 9/19/2007
149   CONTINUED:                                                         149

      GINA PARKER SMITH is practically moist, visions of monster
      ratings dancing in her head.

                             GINA PARKER SMITH
                   You can say that again.

                             TRACE
                       (bitter)
                   He made him do it.       Castle made him
                   do it.

                               HUMANZ BROTHER
                   A test.

      Everyone's eyes had been glued to it - now they look up,
      through the OBSERVATION WINDOW...

      The room is empty.       The CHAIR is knocked over on the floor;
      KABLE is gone.

150   INT. HUMANZ HEADQUARTERS - MOMENTS LATER                           150

      KABLE is slumped against concrete, on his knees... RELIVING
      THE MURDER has knocked the hell out of him, but he's DEALING
      WITH IT.

      A pair of SKINNY LEGS walk up and kneel next to him: ANGIE.

      He touches her face, looks deep into her EYES - they are wet
      with emotion.

                               KABLE
                   It's you.

      She just NODS.    They embrace... finally, for real.

                             ANGIE
                   I missed you... so much...

                             KABLE
                       (softly)
                   Delia.

      ANGIE says nothing, just holds him tighter. KABLE pushes her             *
      hair back - he searches her eyes, desperate with emotion.                *

                             KABLE (cont'd)
                   Baby... what did they do?                                   *

                             ANGIE                                             *
                   I couldn't stop them.                                       *

      ANGIE shakes her head, won't meet his eyes.


                                                              (CONTINUED)

                                                                    92.
                              WHITE KABLE SCRIPT - 9/19/2007
150   CONTINUED:                                                          150

                             TRACE (O.C.)
                   Nobody could.                                                *

      KABLE turns to FACE HER.                                                  *

                             TRACE (cont'd)
                   Your daughter was taken into foster
                   care by the state two years ago.

      KABLE tries to understand...                                              *

                             TRACE (cont'd)
                   The foster parent paid good money
                   to remain anonymous... to make sure
                   the girl would be untraceable. But
                   there's always a data trail, if you
                   know where to look.
                       (shrugs)
                   We do.

      KABLE is gathering himself, focusing... a FURY building.

                             KABLE
                   Where is she?

                             TRACE
                   I'm sorry, Tillman. Guess he needed
                   an insurance policy.
                       (long BEAT)
                   She's with Castle.

                                                               CUT TO:

151   EXT. NYC STREET - NEAR HUMANZ ALLEY - NIGHT                         151

      KABLE slams through CROWDS - he's on a mission. The ALLEY
      leading to the UNDERGROUND HEADQUARTERS is right around the
      corner.

                                GINA PARKER SMITH
                   Tillman!

      GINA fights to catch up to him. She gets a hand on his
      shoulder... he SPINS.

                             GINA PARKER SMITH (cont'd)
                       (out of breath)
                   Wait. I want to come with you.

      KABLE'S eyes leave no room for doubt: not a chance.

                             KABLE
                   That's all the story you're going
                   to get.

                                                               (CONTINUED)

                                                                 93.
                           WHITE KABLE SCRIPT - 9/19/2007
151   CONTINUED:                                                       151

      He BAILS, leaving her there.

      JUST THEN: matching BLACK SUVs pull up to the curb just TEN
      FEET from where she stands.

      CASTLE'S GEEK SQUAD piles out... GINA sees them, recognizes
      them from the interview with CASTLE; she TURNS AWAY just in
      time to avoid being recognized by a GEEK as he scans the
      crowd.

      But they're not after her... they head straight for the
      ALLEY.

                                                            CUT TO:

152   INT. CELL - TIME INDETERMINATE                                   152

      BLACK. A door opens, a switch is thrown... and SIMON is
      blinded by harsh fluorescent light. He sits up on a cot,
      wearing a white T-shirt and pajama pants; fucked up hair,
      groggy. He BELCHES.

                             AGENT KEITH (O.C.)
                   Alright, Silverton. Get up and get
                   out.

                             SIMON
                   Cool.

                             AGENT KEITH
                       (sarcastic)
                   Yeah, ain't it? Looks like someone
                   up the chain decided you're no
                   longer a threat.

                                                            CUT TO:

153   INT. SIMON'S ROOM - TIME INDETERMINATE                           153

      SIMON slides open the door to his room, peaks inside
      hesitantly.

      It's TRASHED. The FLOOR is littered with busted up
      electronics and garbage. The wall-sized screens are all
      running the same thing - a SINGLE WORD, repeated in columns,
      by the thousands - scrolling fast, a digital waterfall of
      words, white on black:

                                      CHEATER

      It's over.

      SIMON sits down in the middle of the detritus, in a state of
      mild SHOCK - he's LOST EVERYTHING.

                                                            (CONTINUED)

                                                                           94.
                           WHITE KABLE SCRIPT - 9/19/2007
153   CONTINUED:                                                                 153

      He gestures at the screen and closes out the SCROLLING
      LOOP... then once again, attempting to activate SLAYERS
      control; the screen shows the same nebulous TEST PATTERN we
      last saw on GORGE'S screen.

                             FEMALE VOICE
                   No link... no link.

      SIMON slumps against the wall, DEFEATED.

                                                              FADE TO BLACK.

154   EXT. CASTLE ESTATE - NIGHT                                                 154

      CASTLE'S ESTATE is like a DESERTED CITY.

      Balconies, underlit DOMES, lush landscaping, abstract
      statues, waterfalls... tiny cameras everywhere... and not a
      soul in sight.

      KABLE drops over a wall and onto grass.               Wind in the leaves,
      cricket music - otherwise DEAD SILENCE.

      He keeps to the trees, making his way toward the central
      MANSION.

      THEN: the sound of DOGS... they come in a PACK, loping across
      the lawn - grey, more like WOLVES...

      KABLE readies his gun to take them out - but the DOGS run
      RIGHT PAST HIM. They round a corner and DISAPPEAR. Weird.

      KABLE looks up, spots a CAMERA... and another, and another...
      stands to reason he's been MARKED already.

      He walks out INTO THE OPEN.

155   INT. CASTLE'S MANSION - NIGHT                                              155

      The GIANT FRONT DOORS of the MANSION are OPEN.              KABLE walks
      right in.

      The interior is HUGE... and EMPTY. NO FURNITURE, no art; no
      people of course. Could anyone possibly live here?

      He explores...

156   INT. CASTLE'S MANSION - EMPTY HALL - NIGHT                                 156

      AND THEN - at the FAR END of a large, empty HALL:

      A LITTLE GIRL, 5 - is sitting on the floor by herself,
      playing with DOLLS, making them walk and talk.


                                                                     (CONTINUED)

                                                                    95.
                              WHITE KABLE SCRIPT - 9/19/2007
156   CONTINUED:                                                          156

      KABLE'S eyes go wide.        He starts to walk toward her, slowly
      at first...

                                KABLE
                   Delia...

      ... and finally breaking into a run - until:

      He SLAMS into what seems to be an INVISIBLE WALL, crumpling
      to the ground. The GIRL doesn't react. KABLE pounds on the
      glass...

                                KABLE (cont'd)
                   DELIA!

      ... then looks closer, running his fingers across the SMOOTH
      SURFACE.

                             KEN CASTLE (O.S.)
                   Not bad for video, eh?

      The VOICE comes from UNSEEN SPEAKERS; it seems to be
      everywhere at once, intimate.

                             KEN CASTLE (O.S.) (cont'd)
                   The latest and greatest... defy you
                   to tell it from real life. You
                   imagine porn on this thing?

      KABLE wants to EXPLODE - but he contains himself. He's
      playing CASTLE'S GAME, and the RULES are still UNDEFINED.

      Then - MUSIC: The SOUND of a SWINGIN' HI-HAT from down a long
      corridor -

      t - t - tssss, t - t - tssss, t - t - tsss...

      KABLE walks toward the source; a bass and piano pick up the
      groove.

157   INT. CASTLE'S MANSION, BALLROOM - CONTINUOUS                        157

      He comes to a BALLROOM - empty, like everything else; shiny
      hardwood floor for DANCING.

      A SPOTLIGHT pops on from above, illuminating KEN CASTLE.
      He's wearing a T-SHIRT and JEANS. Every instinct tells KABLE
      to go after him - but he holds back. Who knows if it's even
      real? And then CASTLE starts to SING...

      ... or more precisely, LIP SYNC - the VOICE is SINATRA, I've
      Got You Under My Skin... CASTLE is doing a spot-on KARAOKE:

      I've got you under my skin

                                                               (CONTINUED)

                                                              96.
                        WHITE KABLE SCRIPT - 9/19/2007
157   CONTINUED:                                                    157

      I've got you deep in the heart of me
      So deep in my heart, that you're really a part of me
      I've got you under my skin...

      He's snapping his fingers, putting on the moves... THEN -
      from behind curtains - a half dozen SLAYERS appear. We
      RECOGNIZE THE SCARRED, BATTLE-TOUGH FACES from the prison,
      the game, the pursuit... only instead of BLUE, they are
      wearing TUXEDOES with BLUE BOW-TIES.

      KABLE grips his weapon, but the men are UNARMED; instead,
      they fall in on the beat and go into a CHOREOGRAPHED DANCE
      behind CASTLE...

      I'd sacrifice anything come what might
      For the sake of having you near
      In spite of a warning voice that comes in the night
      And repeats, and repeats in my ear...

      KABLE notices SHADOWY FIGURES around the perimeter of the
      room... glasses, beards, pony tails - silently, the GEEK
      SQUAD has moved in and taken position. They move their hands
      in rhythm, synchronized... each one seems to control a
      DANCER: they TWIRL A FINGER and the SLAYER SPINS... kick
      with TWO FINGERS FOR LEGS and the SLAYER KICKS like a
      ROCKETTE.

      Suddenly, ON A MUSICAL HIT, everyone - CASTLE, the GEEKS, the
      SLAYERS - points dramatically up at the wall, where a VIDEO
      SCREEN BEGINS TO PLAY: it is footage of the GEEK SQUAD
      busting into humanz headquarters and EFFICIENTLY KILLING
      EVERYONE. ANGIE is tasered unconscious and dragged away.

      Don't you know, little fool, you never can win?
      Use your mentality, wake up to reality...
      But each time I do just the thought of you makes me STOP -
      before I give in
      Cause I've got you, under my skin...

      KABLE hits his breaking point. He brings up his WEAPON to
      open up on the SLAYERS... CLICK. It's DEAD. The GEEKS have
      taken care of that.

      KABLE tosses it aside and sprints for CASTLE, but the SLAYERS
      break off from the choreography to ENGAGE HIM; turns out
      they're flesh and blood after all.

      CASTLE backs away, whistling the melody, and continues his
      SOFTSHOE to the music as KABLE wades into brutal hand-to-hand
      combat... breaking necks, snapping arms, smashing faces...
      it's a full-on BALLET OF DEATH... finally, THE MUSIC ENDS,
      right on cue: KABLE is finishing off the last of the men,
      blood on his hands.


                                                         (CONTINUED)

                                                                       97.
                          WHITE KABLE SCRIPT - 9/19/2007
157   CONTINUED: (2)                                                         157

      CASTLE applauds; the GEEKS follow suit.

                          KEN CASTLE
                    (genuinely stoked)
                You're awesome.

                            KABLE
                Castle.

                            KEN CASTLE
                Kable.

      They speak simultaneously:

                  KABLE                               KEN CASTLE
      I don't care about you.               You don't care about me.

                          KEN CASTLE (cont'd)
                ... you just want your little sugar
                pie, I know. So don't do anything
                stupido. My house, my rules.

      CASTLE walks away, leaving his back open to KABLE seemingly
      without concern, toward a side door.

                           KEN CASTLE (cont'd)
                Come on, I want to show you
                something.

158   INT. CASTLE'S MANSION, HALLWAY - CONTINUOUS                            158

      Tracking along the hallway, MEDIUM CLOSE, profile:

      CASTLE walks along, confidently, KABLE following. The
      background is a black, glittering STARSCAPE.

                          KEN CASTLE
                I've got to thank you for leading
                me to them, by the by - the human-
                zuzz that is...

      Snap out WIDE: the hallway seems to run along the SURFACE OF
      THE MOON - another 3-D projection, no doubt. CRATERS and
      LUNAR DEBRIS stretch to the horizon. The GEEK SQUAD walks
      along behind CASTLE and KABLE at a distance... they are all
      tiny MOON ANTS in the vast lunar panorama... the PLANET EARTH
      rising majestically in the dark heavens.

                          KEN CASTLE (cont'd)
                Of course, soon enough they'd be
                whistling my tune like everybody
                else... but meantime it was that
                little cracker program they dreamed
                up that got my attention...
                          (MORE)
                                                              (CONTINUED)

                                                                      98.
                           WHITE KABLE SCRIPT - 9/19/2007
158   CONTINUED:                                                            158
                             KEN CASTLE (cont'd)
                   that was a genuine nuisance, no
                   doubt about it... One thing even
                   they didn't know, though: I'm wired
                   too.

      SNAP back to CASTLE, MEDIUM       CLOSE.     His eyes are FUCKING
      CRAZY.

                             KEN CASTLE (cont'd)
                   I replaced 98% of my own noodle
                   with nano-tissue years ago...

159   INT. CASTLE'S COURT - CONTINUOUS                                      159

      They leave the hallway and step on to an indoor, NBA
      regulation BASKETBALL COURT; electronic scoreboard,
      bleachers, the whole nine. It's dark, moody - only one bank
      of OVERHEAD FLOODS is turned on.

      At the FAR END of the COURT, HACKMAN is in WARM-UPS, shooting
      baskets. ONE leg - the one with the ABBREVIATED TOES - is in
      a FLEX BRACE.

      The GEEK SQUAD grabs seats in the BLEACHERS.

                             KEN CASTLE
                   But mine's different.
                       (taps his FOREHEAD)
                   Built to send - to transmit .
                   Whereas every other K-soft cell out
                   there - including the ones in...
                       (taps KABLE'S forehead )
                   your head, Kable - is designed to
                   receive. I think it, you do it.

      CASTLE looks across the court at HACKMAN; nods toward him...
      HACKMAN drops the ball and begins to POP LOCK.

                             KEN CASTLE (cont'd)
                   We're talking every Slayer,
                   everyone in Society City... I
                   believe your better half would fall
                   under that category... provided
                   they're within range of my
                   transmitters...

      CASTLE chuckles at HACKMAN; HACKMAN stops dancing, jogs over,
      picks up the ball and resumes shooting.

                             KABLE
                       (sarcastic)
                   Very nice, Castle. So you've got an
                   army of psychotics and deviants to
                   dance around for you.

                                                                (CONTINUED)

                                                                 99.
                           WHITE KABLE SCRIPT - 9/19/2007
159   CONTINUED:                                                       159

      CASTLE narrows his eyes, amusement edging out irritation; he
      walks over to a bin of GRIP POWDER.

                             KEN CASTLE
                   You're thinking small, Kable. But
                   not as small as me.

      He sinks his hands into the POWDER, brings them out and
      CLAPS, making WHITE DUST CLOUDS. KABLE waves the dust AWAY
      FROM HIS FACE.

                             KEN CASTLE (cont'd)
                   See, nano cells are real small, a
                   thousand times smaller than even
                   these dust particulates...
                       (KABLE coughs)
                   Inhale it and they go to work:
                   replicating, spreading... like a
                   virus, multiplying in
                   exponentials... six months time I
                   could have 100 million people
                   converted - ditch diggers, porn
                   stars, presidents - and not one
                   would be the wiser.

      Behind KABLE, HACKMAN lets the ball roll away and silently
      TURNS TOWARD US.

                             KEN CASTLE (cont'd)
                   A hundred million folks that will
                   buy what I want them to buy, vote
                   how I want them to vote, do pretty
                   much damn well anything I figure
                   they ought to do.

      HACKMAN comes running at KABLE from behind, eyes burning, at
      a full charge... running into FOCUS... holding the BOWIE
      KNIFE...

                              KEN CASTLE(cont'd)
                   For instance.

      KABLE hears HACKMAN at the last second, spins and ABSORBS THE
      TACKLE. The men GO TO THE GROUND, grappling, UFC-style.
      KABLE has HACKMAN'S KNIFE HAND by the wrist, stopping it -
      but leaving his face UNPROTECTED...

      HACKMAN brings his free ELBOW down on KABLE'S face,
      connecting and opening a CUT under his eye; then AGAIN - this
      time KABLE catches the elbow with his own free hand and
      WRENCHES IT IN SIDEWAYS, dislocating HACKMAN'S shoulder with
      a sickening POP.



                                                            (CONTINUED)

                                                             100.
                       WHITE KABLE SCRIPT - 9/19/2007
159   CONTINUED: (2)                                                159

      KABLE works around HACKMAN, gets him in a HEADLOCK and
      SQUEEZES... still gripping the knife hand, immobilizing it...
      HACKMAN is choking, BEAT RED... for long, brutal seconds the
      life drains out of him... finally, HACKMAN'S eyes roll back;
      he GOES LIMP. KABLE takes the BOWIE KNIFE from HACKMAN'S
      dead fingers.

      He struggles to his feet, dripping sweat and blood.

                          KABLE
                You should've let him fight for
                himself, Castle - he might've had a
                shot.

                          KEN CASTLE
                    (pleasant)
                I think you're missing the point,
                my man.

                          KABLE
                No, I get it - you're pulling the
                strings on all of this...
                    (starts to move toward
                     CASTLE with BAD INTENT)
                ... which makes my next move pretty
                easy to figure.

      KABLE comes at CASTLE FAST, bringing the KNIFE around to open
      his throat like a PEZ DISPENSER...

      His arm FREEZES IN MID AIR, the BLADE inches from contact.

                          KEN CASTLE
                Neglected to mention: my smart boys
                reversed that hack those fellas
                worked for you - easy breezy, once
                we had access to their drives...

      This is gut-wrenching for KABLE -- after tasting freedom, he
      feels his will ripped away from him... HE'S BEING PUPPETED BY
      THE MAN HE HATES THE MOST.

                          KEN CASTLE (cont'd)
                You're mine, boy.

      With a twitch of CASTLE'S eyes KABLE brings the KNIFE down
      and SLICES OPEN HIS OWN LEG.

                                                        CUT TO:

160   INT. SIMON'S ROOM - SIMULTANEOUS                              160

      SIMON is sitting on the floor, head hung low, in front of the
      dead wall... a glitch, a flicker... the screen comes to life:

                                                        (CONTINUED)

                                                                     101.
                           WHITE KABLE SCRIPT - 9/19/2007
160   CONTINUED:                                                            160

      It's KABLE'S POV of KEN CASTLE.          CASTLE is stripping off his
      shirt.

                             KEN CASTLE
                       (on SCREEN)
                   Come on, lets boogie woogie rock
                   and roll.

                              SIMON
                   Ummm.

                                                            CUT BACK TO:

161   INT. CASTLE'S COURT - CONTINUOUS                                      161

      CASTLE throws a funky KARATE KICK and nails KABLE in the
      jaw... then a haymaker to the GUT, doubling KABLE over.

      He lets KABLE swing the KNIFE just short of his face as he
      backs away.

                             KEN CASTLE
                   Biggest, baddest Slayer in the
                   game... don't seem like much, does
                   he?

      CASTLE is enjoying the hell out of himself. He uppercuts
      KABLE, snapping his head back... then shakes out his
      knuckles.

                              KEN CASTLE (cont'd)
                   Oww!

      KABLE swings his OPEN HAND around - CASTLE choreographs it
      perfectly: KABLE'S nails rake across CASTLE'S STOMACH,
      MARKING HIM UP like BRUCE LEE in Enter The Dragon. CASTLE
      strikes a pose to match.

                             KEN CASTLE (cont'd)
                   Lucky shot.
                       (grins)
                   OK, not really.

      He brings a passable REVERSE CRESCENT KICK that drops KABLE
      to the floor.

                             KEN CASTLE (cont'd)
                   I need an audience, boys.

      A DOOR OPENS at the far end of the court; KABLE looks up
      slowly, afraid of what he knows he'll see:

      ANGIE and DELIA are led into the room. ANGIE presses herself                *
      close to DELIA, holding her shoulders protectively.                         *

                                                                (CONTINUED)

                                                                 102.
                            WHITE KABLE SCRIPT - 9/19/2007
161   CONTINUED:                                                        161

      She keeps her distance from the GEEK SQUAD escorts and tries            *
      to block DELIA from them - there is raw fear and anger in her           *
      eyes; the GEEK SQUAD are not overtly violent or menacing, but           *
      ANGIE seems acutely aware that they are lethal. DELIA seems             *
      oddly neutral and unaffected by the entire situation.                   *

      CASTLE kicks KABLE across the floor, toward them.

                             KEN CASTLE (cont'd)
                   That's right, you crawl on your
                   belly like a toad...
                       (he looks to the GEEK
                        SQUAD, sheepish)
                   Is this bad? I'm really bad.

      He gives KABLE a last kick; KABLE collapses in front of his
      DAUGHTER... she looks down at him, curiously.                           *

      He looks up at DELIA, eyes soaked with emotion... then to               *
      ANGIE. They share a moment of intense eye contact - we feel             *
      that ANGIE wants desperately to go to him but is unsure of              *
      what is the best action to take strategically; she is looking           *
      to KABLE for a clue.                                                    *

      KABLE'S eyes go back to DELIA; he tries to reach up and                 *
      gently touch her face...

                             KEN CASTLE (cont'd)
                   That's sweet.

      CASTLE steps on KABLE'S hand, pinning it to the floor.

                             KEN CASTLE (cont'd)
                   Alright boys, you ready? A true
                   test.

      He steels his eyes on KABLE and concentrates.

      KABLE slowly brings up the KNIFE toward DELIA'S THROAT.

      ANGIE moves to pull DELIA away - CASTLE merely glances up at            *
      her and she FREEZES, paralyzed. We can see her body strain              *
      against invisible control, raw panic in her eyes...                     *

                               KABLE
                         (desperate)
                   No.

                             KEN CASTLE
                   Just like last time. Remember?

      KABLE is FIGHTING IT with all his will, his whole body
      shaking...


                                                             (CONTINUED)

                                                                   103.
                         WHITE KABLE SCRIPT - 9/19/2007
161   CONTINUED: (2)                                                      161

                            KEN CASTLE (cont'd)
                  You're stronger now... a little
                  more fight in you... but I think
                  the end result will be about the
                  same...                                                       *

                            KEN CASTLE (cont'd)
                  Shh.

      The GEEKS look on, impassive. The BLADE is inches away... He              *
      looks into ANGIE'S eyes - she and KABLE are like one; he                  *
      seems to draw strength from her... finally, KABLE WILLS                   *
      EVERYTHING HE HAS and STABS THE KNIFE INTO THE FLOORBOARDS.               *

      Suddenly:

      KABLE's head SNAPS around, his eyes confused... and in one
      quick, smooth movement, KABLE YANKS THE KNIFE out of the
      floor, RISES TO HIS FEET AND SPINS ON CASTLE. He claps a
      hand around CASTLE'S neck and tries to jam the knife up into
      his GUT - but CASTLE is able to FREEZE HIM just short...

                            KEN CASTLE (cont'd)
                      (freaked)
                  What the hell was that?

      The GEEKS break out tiny devices and start quickly scanning.
      Not even KABLE understands this.

                            PONYTAIL GEEK
                  There are 2 networks accessing the
                  same IP address.

                            GEEK LEADER
                  Someone on the outside is sending
                  him commands...

                                                              CUT TO:

162   INT. SIMON'S ROOM - SIMULTANEOUS                                    162

      SIMON is on his feet, in full BADASS GAMER MODE.

      His body is positioned exactly like KABLE'S - right hand
      gripping the virtual blade for an underhand thrust; left hand
      clutching CASTLE'S THROAT... he FORCES HIS RIGHT HAND
      FORWARD...

                                                          CUT BACK TO:

                                                                104.
                       WHITE KABLE SCRIPT - 9/19/2007



163   INT. CASTLE'S COURT - CONTINUOUS                                 163

      ... KABLE'S KNIFE HAND begins to inch forward. Now CASTLE is
      the one struggling for control; he claws weakly at KABLE'S
      hand, trying to loosen it off his neck...

                          KEN CASTLE
                    (panicking)
                JAM THE SIGNAL YOU GOD DAMN
                RETARDS!

                          GEEK
                    (irritated)
                Working on it...

      KABLE'S eyes are locked in on CASTLE'S... straining with
      everything he has... his strength and will overpowering
      CASTLE, but-

                          KEN CASTLE
                    (like he's explaining the
                     obvious to a child)
                I think it.

      KABLE, succumbing to CASTLE'S control, begins to move the
      knife away from CASTLE'S belly.

                          KEN CASTLE (cont'd)
                You... fucking... do it...

      CASTLE delivers a CRUNCHING HEADBUTT to his NOSE, KABLE loses
      his footing, sweat pouring down his face, bloody, drained...
      CASTLE pushes the KNIFE back towards KABLE. He fights back -
      every muscle in his arm fighting against another like Yin &
      Yang, veins rising in his neck...

      Then KABLE senses an opportunity:

                          KABLE
                Look at this knife... imagine me
                sticking it into your gut... think
                about it... make it real.

      CASTLE laughs... BUT HIS EYES FLICKER TO THE KNIFE - of
      course he can't help but picture it...

      ... and in that instant KABLE JAMS IN THE BLADE...

                          GEEK LEADER
                    (blank)
                Oops.




                                                           (CONTINUED)

                                                                 105.
                            WHITE KABLE SCRIPT - 9/19/2007
163   CONTINUED:                                                        163

      ... CASTLE focuses, trying to pull it back out, but KABLE
      shoves it in deeper - CASTLE'S EYES BULGE. Finally KABLE
      TWISTS the KNIFE and lifts CASTLE OFF THE GROUND.

      The paralysis breaks from ANGIE - she lunges forward to throw           *
      her arms around her daughter.                                           *

164   INT. SIMON'S ROOM - CONTINUOUS                                    164

                             SIMON
                       (triumphant)
                   YES!!!

      He drops down into the badass, ROCKSTAR pose...

165   INT. CASTLE'S COURT - SIMULTANEOUS                                165

      ... and KABLE does the same.                                            *

                             KABLE
                   Damn it, kid...

      CASTLE collapses to his knees in front of KABLE, glass-eyed,
      draining life... they are FACE to FACE.

                              KABLE (cont'd)
                   ... is the fuckin pose really
                   necessary?

      CASTLE face-plants on the COURT.

                               SIMON
                   Sorry.

      KABLE'S body relaxes; he tosses the knife across the floor...
      then turns to face his family.

      When DELIA finally speaks there is a trace of CASTLE'S
      Georgia peach accent.

                             DELIA
                   Are you my Daddy Tillman?

      He gathers DELIA in his arms and lifts her off her feet,
      squeezing her close; she SQUEEZES BACK. KABLE grabs ANGIE
      with his other arm and pulls her in.

      The GEEKS look at one another - realize that their employment
      contract with CASTLE has just been terminated... shrug;
      pocket their shit, zip up their backpacks and fanny packs,
      get up and start to file out.

                               KABLE
                   Wait.

                                                             (CONTINUED)

                                                                         106.
                             WHITE KABLE SCRIPT - 9/19/2007
165   CONTINUED:                                                                165

      GEEK LEADER stops.

                             KABLE (cont'd)
                   Shut it off.

                                GEEK
                   Pardon?

                                KABLE
                   The nanex.     Set us free.

      The GEEKS look at one another.

                             KABLE (cont'd)
                   It's nothing to you. A mouse-
                   click.

      GEEK LEADER shrugs.

                                GEEK LEADER
                   True dat.

      He nods to PONYTAIL GEEK: do it.

      The GEEK LEADER betrays a ghost of a smile.

                             GEEK LEADER (cont'd)
                   Well played, Kable.

      KABLE doesn't answer; but his eyes say: how was any of this a
      fucking game?

                              DELIA
                   Mommy. Why did Daddy Tillman hurt
                   Daddy Ken?

                                                              FADE TO BLACK.

166   INT. BATHROOM - TIME INDETERMINATE                                        166

      A VIDEO PLAYER WINDOW POPS UP:

      It's TRACE, filming        herself.

                             TRACE
                   This is for you, you dumb bitch.           I
                   hope you do the right thing with
                   it.

      The IMAGE switches to the CAPTURED FOOTAGE of KABLE in the
      military facility... leading up to SCOTCH'S murder.

      The light from the screen reflects on GINA PARKER SMITH'S
      face - she's wide-eyed, stunned.

                                                                    (CONTINUED)

                                                                       107.
                          WHITE KABLE SCRIPT - 9/19/2007
166   CONTINUED:                                                              166

                             GINA PARKER SMITH
                   Oh, baby...

                                                           FADE TO BLACK.

167   INT. KABLE'S CAR - DAY                                                  167

      SHOOTING STARS fly past us in the dark... the SAME IMAGE WE
      STARTED WITH... only instead of an underground train carrying
      SOLDIERS to battle...

      The TUNNEL ENDS; we break from the side of a mountain into
      BLUE SKY AND SUNLIGHT.

      KABLE is driving on the open highway... ANGIE is in the
      passenger seat, asleep, head pressed up against the window
      glass.

      KABLE checks the rear view window; makes eye contact with
      DELIA, who is suspended in a lightweight car seat in the back
      seat.

                             KABLE
                   You good, sweetheart?

      DELIA nods.

      KABLE allows himself a smile, puts his eyes back on the road.
      ANGIE slowly reaches for KABLE'S hand, she rubs her thumb on
      his tattoo - "I am right here with you" - and falls back
      asleep.

      The CAMERA tilts up, stares out the front window and moves
      into the giant sun.



                                                           SMASH TO BLACK.


                             THE END