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Post by Joey Jojo Junior Shabadoo on May 7, 2010 13:17:55 GMT -5
INT. PARKER HOUSE (KITCHEN) - DAY
Four year old GWEN STACY stands in the corner of the kitchen with her hands over her eyes.
GWEN
Five, four, three, two, one. Ready or not, here I come!
Gwen looks around and starts searching for her target. She wanders around, checking every nook and cranny. She hears the sound of a knock on the front door and goes to check.
INT. PARKER HOUSE (LIVING ROOM) - DAY
Peeking around the corner she sees UNCLE BEN open the door to a man in a military uniform and an eye patch carrying a folded flag, NICK FURY.
NICK FURY
Ben Parker?
UNCLE BEN
Oh God. Yes. That's me.
NICK FURY
Nick Fury, Agent of S.H.I.E.L.D.. It is my duty to regretfully inform you that at 2:43am on the night of August 31st we lost contact with a helicopter carrying Agents Richard and Mary Parker. They are missing and presumed dead. I'm sorry.
Fury hands over the flag and Ben stands staring at it for a moment before shutting the door. He slowly turns around to find Gwen watching from the hallway.
UNCLE BEN
Gwen, dear, I think you'd better go home. Your parents are probably waiting for you. You can play with Peter tomorrow.
GWEN
I thought Peter was going home tonight.
UNCLE BEN
I... I think I hear your dad calling out for you. You'd better get going.
Ben opens the door and watches as a confused Gwen runs next door and goes inside.
INT. PARKER HOUSE (CLOSET) - DAY
Light barely makes it through the crack under the door, just enough to make out the row of jackets, scarves, and sweaters hanging from the rack. Upon closer inspection, hidden among the jackets is a young boy hanging onto a scarf like a spider to a thread. He listens intently as muffled through the door he can just barely hear the worried voices of his aunt and uncle.
AUNT MAY
(Off screen)
Where's Peter? Did he hear?
UNCLE BEN
(O.S.)
I don't know. Hold on... I think I hear him.
Footsteps are heard before the door opens and Peter drops to the ground as he finds his elders looking softly at him.
INT. OSCORP LOBBY - DAY
Superimpose: TWELVE YEARS LATER
NORMAN OSBORN, middle aged, wearing a lab coat, escorts a tour of students around a building full of complicated scientific instruments. The otherwise sterile lobby is filled with out of place Halloween decorations. Among the students are 16 year old Peter, who wears a camera around his neck, Gwen, and their friend HARRY OSBORN, who bears a strong resemblance to his father at the head of the room.
NORMAN
Welcome to Oscorp. Over the past twenty years we have risen from a small upstart by a young inventor fresh out of college into a world leader in technological advances, and the largest supplier of research and products for the US military. I am Norman Osborn, founder of Oscorp, as well as father of your friend, Harry. Hi son!
Harry nervously laughs as he gives a somewhat embarrassed wave from the back of the crowd.
NORMAN
I'm happy to host a tour of our facilities for my son's class, but I'm afraid no photography is allowed.
PETER
Sorry, Dr. Osborn.
NORMAN
That wasn't just for you, Peter. Before we begin I'll need everyone to leave their phones and other electronic devices with security.
Norman gestures to the side of the room where numerous baskets are placed near a guard. The students let out a collective groan as they part with their possessions.
NORMAN
You might also want to leave any jewelry in there, and I hope you don't have any metal piercings that you don't mind parting with now. Trust me, it's much better than parting with them later. The equipment in here uses some pretty powerful magnets.
Norman laughs to himself as a thick metal door automatically opens into an empty room leading to an identical door. The class enters and the door shuts behind them.
INT. OCTAVIUS' LAB - DAY
The second door opens and the tour walks into a hallway with a large window to one side. Through it a man in a lab coat and sunglasses wears four huge metal arms on his back which are all reaching through a thick metal wall, each finely working on a metal board which uses small jets to hover in the air.
NORMAN
Good. Everyone followed the rules. If somebody hadn't we would've seen some serious consequences by now. The magnets in the room opposite this window would be powerful enough to rip the earrings right out of your head before you got a chance to follow them, but who wants to think of a thing so morbid? The reason we use such apparati is because of the technology we are trying to create. Dr. Octavius here is working on a real-life hovercraft. As you can see, we're getting pretty far into development. The magnetism in the room is pulling the craft toward the floor, and with a relatively small amount of fuel and heat, it is managing to resist and float. The good doctor is performing some fine tuning, very fine. Those robotic arms are attached directly to his nervous system and allow for more precise and powerful movements than even the human hand, and of course are resistant to the great heat and magnetism in the room.
Octavius gives a somewhat annoyed look to Norman.
NORMAN
You know what, I think maybe we're getting a little distracting. Perhaps we should move on.
Norman leads the tour through another set of double doors.
INT. NORMAN'S LAB - DAY
The group walks into a large room full of animal cages. In the back another doctor examines a tank full of spiders.
NORMAN
This is my division. We're currently working with the military on what is perhaps the longest running science project in history. Back in World War II the allies perfected a formula that would greatly increase a subject's strength and speed, but after only one successful trial the lab and all those working on it were... destroyed. Tragedies of war. For decades teams around the world have been working on rebuilding the formula. As I remind you all of the non-disclosure agreements you and your parents signed, I can tell you that we have recently moved into the stage of animal testing.
The other doctor gestures to Norman, his face showing restrained worry. Peter notices the look on his face and is intrigued.
NORMAN
Excuse me if you will while I speak with Doctor Stromm. Feel free to look at all the animals, but I ask that you don't touch the cages.
The class disperses. Some flock to dogs and chimps, but Peter immediately heads for the tank which had Dr. Stromm worried. He examines it closely for a moment, finding small, unremarkable spiders roaming their habitat. After a moment Gwen comes to join him.
GWEN
I can't believe what they're doing to all those poor animals. They have an ape over there that I swear spoke to me in sign language.
PETER
What did it say?
GWEN
I don't know sign language.
PETER
So the ape is smarter than you?
GWEN
Shut up. What are you looking at here?
PETER
That doctor seemed freaked out by something in this tank. I wonder what it was.
GWEN
Spiders. They freak people out. I hate them.
PETER
You don't think they deserve the same compassion you show the apes?
GWEN
Spiders are filthy creatures that sneak around crawl all where they don't belong and creep up and bite you when you don't even know they're there.
PETER
They're not that bad. I think they're sort of cool. Ah!
Peter flicks his hand and looks at it to find a tiny bite mark.
GWEN
What was that?
PETER
Umm... Nothing.
Harry runs over to the spider tank.
HARRY
Gwen, are you okay?
PETER
No... That was me...
HARRY
Of course.
Norman re-enters the room.
NORMAN
Sorry about the delay, everybody. We seem to have... misplaced one of our subjects, but Dr. Stromm is already working on that. Let's move on to the next room. Here you'll find we're working on a very interesting method by which we may eventually be able to help amputees regrow lost limbs...
As the tour moves into the next room, Peter lags behind and suddenly collapses onto the floor. Gwen immediately rushes to his aid.
HARRY
Pete? I'll get help.
Harry runs ahead to get the tour's attention.
INT. HOSPITAL ROOM - NIGHT
Peter lies on the bed and slowly awakens to find Harry sitting next to him reading a magazine.
PETER
Hey.
HARRY
Finally awake. You feelin' alright?
PETER
Actually... yeah. I feel great. Really well rested.
HARRY
Good. Everyone was pretty freaked out about you. My dad cut the tour short. He said he wanted to come and make sure you were okay, but there was something really important at the lab.
PETER
So you're the only one who showed up?
HARRY
Gwen was here for a while. Her dad just came to pick her up, and we just got the call that your aunt and uncle are on their way.
PETER
I hope they're not too worried.
HARRY
The doctors told them you were fine, just sleeping.
PETER
So then why are you still here?
HARRY
I'm waiting for someone.
PETER
Like... a date?
HARRY
You could say that again.
PETER
What is she? A doctor?
HARRY
A model.
PETER
Yeah right.
HARRY
I swear. You've seen her, she's on that perfume billboard across from the school.
PETER
You liar!
HARRY
Have I ever lied to you? She'll be here in a minute.
PETER
Alright. I'm happy for you.
HARRY
And a little jealous?
PETER
And a little jealous.
HARRY
I don't see why. If you just went for it I know one girl that would definitely go out with you.
PETER
Who?
HARRY
...
PETER
Yeah. No.
HARRY
I see the way you act around her. You actually act like yourself. Around the kids at school you're always a smartass, around adults you pretend to be this ultra-polite nerd, she's one of the only people you act normal around.
PETER
That's because I've known her for as long as I can remember. She's like my sister. You know what? I'm not talking about this with you.
HARRY
Come on, I've noticed you looking at her, and that's no way to look at a sister. And guess what? She looks back at you, man.
Peter looks a bit embarrassed and is at a slight loss for words when the silence is broken by a tall redhead walking into the room.
HARRY
MJ! Great to see you. Peter, this is Mary Jane Watson. MJ, Peter.
Peter gives a slight wave and MJ uninterestedly nods back at him.
MJ
So should we get going?
HARRY
Yeah, let's go. I'll see you tomorrow, Pete.
Harry and MJ walk away, leaving Peter alone.
INT. SCHOOL HALLWAY - DAY
The bell rings and students begin filing out of their classrooms. Peter walks along with his books when the loudspeaker goes off.
LOUDSPEAKER
All contributors to the school's newspaper please report to room 199 for a mandatory meeting. Repeat. All contributors to the school's newspaper please report to room 199 for a mandatory meeting.
Peter sighs and turns around, walking right into tall, stereotypical jock, FLASH THOMPSON.
FLASH
Hey Parker! I thought you were sick!
PETER
Not now, I gotta go.
FLASH
You don't look sick to me. What, were you fakin' it?
PETER
The only one faking anything last night was your girlfriend.
FLASH
What? Does that comeback even make sense, Parker?
PETER
It does if that was your girlfriend I ran into this morning. You're Flash, right? She tells me she gave you that nickname in bed.
FLASH
That's it, you're dead.
Flash swings at Peter, who quickly dodges, amazing both of them, but Pete doesn't let down his guard.
PETER
You're definitely not Flash because you're fast moving. My grandmother could've dodged that punch.
A crowd has started to gather around, including students, teachers, the janitor... Flash throws several more punches, each missing Peter by a wide margin. Flash throws a punch aimed at Peter's face, and Peter jumps several feet backward to dodge it. Growing more enraged, Flash lines up for a tackle and misses when Pete jumps straight into the air and hangs onto a pipe in the ceiling. He drops down and lands right on Flash's shoulders, who runs around frantically, trying to free himself. Pete jumps off just before Flash runs into a row of lockers, leaving a loud crash and Flash unconscious on the floor. Peter looks around, surprised at his own actions, even more surprised than the shocked onlookers, not the least of whom are Harry and Gwen. A teacher steps forward and confronts Peter.
TEACHER
Parker, come with me. I have two things to say to you. First, I don't know what kind of punishment you're getting for this, but trust me, it'll be huge, and second, have you ever thought of joining the wrestling team?
INT. PARKER HOUSE (LIVING ROOM) - DUSK
Peter walks into the house as the sun sets outside. Uncle Ben and Aunt May are waiting for him as he gets inside.
AUNT MAY
Peter, where have you been? We were worried about you!
UNCLE BEN
You go to the hospital yesterday then get home late today. We don't know what to think.
PETER
Sorry, I had some things.
UNCLE BEN
What things?
PETER
Tryouts... and detention.
AUNT MAY
Detention?! What did you do?
PETER
I got in a fight.
AUNT MAY
Oh my... Are you alright? Who was it?
PETER
Flash Thompson.
AUNT MAY
That boy that beat you up before?
PETER
That was in second grade, Aunt May, and he didn't beat me up... it was a tie.
UNCLE BEN
Well whatever the case I'm sure this Flash got what was coming to him.
PETER
You could say that.
UNCLE BEN
That's my boy!
AUNT MAY
Ben! Don't encourage this sort of behavior!
UNCLE BEN
You're right. Peter, we can't have you going around starting fights.
PETER
I didn't start that fight, I swear. I didn't even throw a punch.
AUNT MAY
We're just glad you're okay.
UNCLE BEN
Yes. Let's just put that behind us. What sort of tryouts did you go to?
PETER
The wrestling team.
UNCLE BEN
Wrestling team! Well then you'll like this present I got you!
Uncle Ben hands Peter an envelope which Peter opens to find two tickets.
PETER
Wrestling tickets?
UNCLE BEN
For tonight. I didn't think it was your thing, but I got them cheap.
AUNT MAY
Don't tell him that!
UNCLE BEN
He doesn't care! Do you, Pete?
PETER
No, this is great.
UNCLE BEN
Alright! Get ready. We'll leave in a few minutes.
INT. WRESTLING RING - NIGHT
Peter and Ben each carry a bag of popcorn as they find their seats, not too far from the front.
UNCLE BEN
Your aunt doesn't like me watching this on TV, but what's she going to say when I tell her the tickets are a present for you? She doesn't want to get in the way of our quality time.
Peter laughs as an announcer steps into the ring holding a microphone.
ANNOUNCER
Ladies and gentlemen! Prepare yourselves for tonight's main event! The ultimate battle between evil and evil! The challenger, six-foot-eight, weighing in at two-hundred-eighty-six pounds, Bonesaw McGraw!
The crowd boos as a huge man in a black leotard climbs into the ring and eggs them on.
ANNOUNCER
Seven feet tall, three-hundred-twenty-four pounds, the reigning heavyweight champion of the world, the incredible... Crusher Hogan!
The crows gasps then returns to boos as an even larger and angrier combatant enters the ring. While Bonesaw continues to woo the crowd Crusher Hogan blindly sucker punches him, driving the crowd wild. Their excitement begins to die down, however, when Bonesaw fails to get up. As he notices the crowd's growing anger the announcer seems to be at a loss as to what to do. He approaches Crusher Hogan and whispers to him.
ANNOUNCER
What are you doing?! That wasn't part of the script! These people paid for a show!
CRUSHER HOGAN
A show?! You think this is a show?! This is real life, buddy, and this is war!
Crusher Hogan lifts the announcer right over his head and throws him into the crowd, knocking several people out cold. This does not please the rest of the audience, and people start throwing food and drinks at the villain. Crusher leaps out of the ring and begins attacking the angry crowd, advancing dangerously close to the Parkers. The man sitting in front of Uncle Ben, clearly drunk, decides to throw the rest of his beer at the raging wrestler. Crusher loses interest in his current victim and moves toward the drunk. He grabs him by the collar when Ben decides he's had enough.
UNCLE BEN
Alright, Hogan. Enough is enough. I'd say to pick on someone your own size but you're clearly the biggest one here, so why don't you just relax?
CRUSHER HOGAN
You think you're tough, old man? Why don't you mind your own business?!
Crusher leans back and throws a punch, only to be caught by Peter. Crusher pulls his hand free and goes for another punch, this time at Peter. Quick thinking, Pete picks up his folding chair and blocks with it. Crusher grabs it from him and lifts it over his head. He begins to swing it when he is knocked straight down the aisle by the skinny teenager. Hogan is out cold and the crowd is going wild as Peter and Ben step out of the room.
INT. GYMNASIUM - DAY
Two teams of wrestlers are lined up on the benches watching Peter's first match. The opponent is angry and fierce, but each attack misses as Peter rolls and jumps out of the way until he finally ends the match by flipping the opponent right over his shoulders and out of the ring. The bleachers have a few scattered spectators, including a suspicious looking man in a suit who keeps glancing at Peter. Each member of Peter's team wears a unitard with a devil logo on it. Pete steps onto the bench as the next match begins and notices the man watching him, but tries to ignore it. The next match is fairly even, it could go either way, when one member of Peter's team starts chanting.
CHANT
Let's go Devils, let's go! Let's go Devils, let's go!
He throws his hands up, doing some rock 'n roll devil horns. The rest of the team follows suit and joins the chant. Pete is only half watching the match, distracted by the man who keeps glancing at him, but halfheartedly joins in. He raises his hand like his teammates, a white string shoots out of his wrist and hits a bell on the wall. The alarm goes off, startling everybody, and helping them not notice just how freaked out Pete is by the occurrence.
EXT. SCHOOL - DAY
Waits outside the school for the all clear to go back inside. Pete stands alone when the man in the suit comes up to him.
PROMOTER
You're him, aren't you?
PETER
Excuse me?
PROMOTER
You're him. You're the kid that knocked out Crusher Hogan. I was suspicious, just looking at you, but the way you won that match, it was the same way you dodged all of Crusher's punches. The way you move, it's like a spider. You're a freak.
PETER
I think you have the wrong guy...
Peter starts to walk away.
PROMOTER
How would you like a job?
INT. BACKSTAGE - NIGHT
A few stagehands walk around on a dark stage with the curtains closed. The wrestling promoter stands near the edge of the curtain talking to a tall, skinny guy in a rather flamboyant costume. Covered in red and blue spandex, red gloves, boots, and a mask with giant white eyes. The entire ensemble is covered in a webbed pattern and the front and back of the shirt have a distinctive spider logo. He nods to everything the frantic promoter says.
PROMOTER
Like the costume? You know what, I don't care, it cost more than your house. Now, remember your character. You're the bad guy, the one the audience loves to hate. Don't be afraid to make fun of the crowd. Be a jerk. Most importantly, follow the script.
The wrestling announcer's voice is heard from the other side of the curtain.
ANNOUNCER
(O.S.)
Five foot ten, one hundred and twenty pounds, get ready for the villainous, the venomous, the Amazing Spider-Man!
PROMOTER
That's you! Get out there!
INT. WRESTLING RING - NIGHT
Spidey steps out to an audience that hates him. Throwing food, drinks, giant foam fingers... Harry and MJ have front row seats to the action, and sitting at Harry's opposite side is J. JONAH JAMESON, a middle aged man with a flat-top haircut and a toothbrush mustache. He holds an unnecessarily huge bag of popcorn and alternates between throwing a handful at Spider-Man and stuffing his face.
JAMESON
God, I hate that Spider-Man. Boo! Boo!
HARRY
Don't even get me started. Look at that costume! Boo! Boo! Do you mind?
JAMESON
Go ahead, kid.
Harry grabs a handful of popcorn and tosses it at Spider-Man.
HARRY
Boo! Take that you freak!
Harry sees the look on MJ's face and instantly stops his childish actions.
HARRY
Um... I mean... can you believe this guy? How obnoxious!
Jameson continues to heckle Spider-Man until he gets too excited and starts to choke on his snack.
INT. PARKER HOUSE (LIVING ROOM) - NIGHT
Uncle Ben watches the match on TV, very intrigued by this new fighter, but his attention is broken by Aunt May walking down the stairs.
AUNT MAY
What are you watching, Ben?
Ben quickly changes the channel.
UNCLE BEN
Uh, nothing, just, you know, surfing, like the kids say.
AUNT MAY
Well have you seen Peter?
UNCLE BEN
Um... no, I don't think so. He's probably at his friend Harry's house.
INT. OSBORN PENTHOUSE - NIGHT
Norman sits in an elaborately decorated penthouse, thinking hard about something. Out the window a beautiful view of Manhattan can be seen. The silence is broken by Harry walking in carrying a bunch of shopping bags.
HARRY
Hey Dad.
NORMAN
Hi Harry. Listen, I've been meaning to ask you, Peter, he got better, right? They checked him out at the hospital and he's not sick or anything?
HARRY
No, he's doing great, I think. Why?
NORMAN
Just worried. Forget about it. You're out late. With M.J. again?
HARRY
Yeah. Went shopping, caught a show...
NORMAN
Ooh, live theater, that's my boy. What did you see?
HARRY
We went to a wrestling match.
NORMAN
Ouch. Didn't go over well, did it?
HARRY
That's one way to put it.
NORMAN
Yeah, rookie mistake. What's in the bags?
HARRY
Just clothes and stuff. Got a Halloween costume.
NORMAN
Any good? Let me see.
HARRY
Sure.
Harry reaches into one of the bags and pulls out a cheap plastic bag stapled shut at one end with a flimsy piece of cardboard glued onto the front.
NORMAN
Cheap, isn't it?
HARRY
I spent a lot of money today.
NORMAN
Oh, so she's that kind of girl.
HARRY
No, I just really wanted to impress her.
NORMAN
You're a good kid, Harry. You don't need money to impress women.
HARRY
Yeah, thanks. Anyway, I guess I'll be heading to bed. Goodnight.
NORMAN
Goodnight Harry.
Harry goes down the hall and Norman checks over the costume. The cardboard on the front of the bag shows a rather rotund man wearing a green rubber mask, green rubber over his arms and legs, and a purple hat, leotard, gloves, and boots. Norman rips open the bag and takes the costume out. It's in two pieces, the mask with the hat attached, and a one piece suit supposed to cover the rest of the body. All the clothing is actually attached to the rubber body. Norman gives a somewhat impressed look at what at least seems to be a well made costume and picks up the bag again, checking the label. In cheap, plain black font below the picture is the label which makes no attempt to be fancy in describing the costume, "GREEN GOBLIN."
INT. UNCLE BEN'S CAR - DAY
Driving downtown, Uncle Ben parks the car and Pete starts to get out.
PETER
Thanks for the ride. See you later.
UNCLE BEN
Peter, wait.
PETER
Yeah?
UNCLE BEN
Look, I promised not to tell your aunt about this, but I have to tell you that I'm not completely comfortable with what you're doing.
PETER
What do you mean?
UNCLE BEN
All this fighting. You beat up a boy at school, join a fight club...
PETER
It's a team.
UNCLE BEN
About fighting. Then you knock out a professional wrestler. Do you really want to turn this into a job?
PETER
Do you know what kind of money they're gonna pay me? I'm gonna get to be on TV!
UNCLE BEN
Wealth and fame... I thought I taught you to ignore those things, Peter. Look, it's great that you're able to fight for what you believe in, believe me, I'm glad you took out that Hogan fellow, but you have to make sure you truly believe in something before you fight for it, and you have to make sure you fight for it in the right way.
PETER
Yeah, good advice. Listen, I've gotta do makeup and costumes and stuff, so can we cut the lecture short?
UNCLE BEN
Alright Peter, all I'm saying is... that with great power, there must also come great responsibility.
Pete's already halfway out of the car and closing the door.
INT. LETTERMAN'S SET - DAY
The talk show legend sits behind his desk in front of the faux-night-time window as audience applause dies down.
LETTERMAN
Our next guest is a new guy out on the wrestling circuit, an up and comer who's first fight got massive ratings last night. You know him, you hate him, the Amazing Spider-Man!
Spider-Man steps out from behind the curtain to laughs from the crowd. As he nervously walks across the stage and takes his seat next to the desk, Paul Shaffer and the CBS Orchestra play a familiar theme song.
PAUL SCHAFFER
(Singing)
Watch out! Here comes the Spider-Man!
Letterman doesn't bother to try holding a straight face while looking at the ridiculous costume.
LETTERMAN
So I'm to understand you're some sort of spider-like character, right? How'd you get that reputation? You like to bite your opponents or something?
SPIDER-MAN
Well David, I can call you David, right?
LETTERMAN
No.
SPIDER-MAN
Sorry. Well, Mr. Letterman...
LETTERMAN
Kid, I was just kidding, you can call me whatever you like.
SPIDER-MAN
Thanks, I guess I got the name and costume because I'm quick in the ring and stuff. I climb and I jump around a lot.
LETTERMAN
Ha! Jump around! That's good. Listen, we're gonna jump into a commercial, you'll stick around through the break, right?
SPIDER-MAN
Yeah.
LETTERMAN
Great! More with Spider-Man after the break.
The band begins playing again.
PAUL SCHAFFER
(Singing)
Spider-Man! Spider-Man! Does whatever a spider can!
INT. LOBBY - LATER
Spidey walks through the lobby talking to the promoter.
SPIDER-MAN
That was rough.
PROMOTER
Tell me about it. You bombed out there, kid!
EXT. STREETS - NIGHT
Spidey and the promoter exit the building.
PROMOTER
I gotta tell you, I don't know if you've got what it takes.
SPIDER-MAN
What do you mean? I kicked ass last night!
PROMOTER
You followed the script, but you don't know how to play the crowd! Where's the attitude?! Where's the trash talk?!
SPIDER-MAN
I'll get better at it, I swear.
PROMOTER
No you wont, kid. I think we're gonna have to let you go. Here's your pay for the last two days.
The promoter takes out a stack of bills, and hands Peter two.
SPIDER-MAN
Two hundred dollars? You must've made millions off last night alone!
PROMOTER
And that all goes to the stadium and the agents and TV people... There are more people involved than you. More talented people. More skilled people. People who are actually good at their jobs. You're lucky to get two hundred.
A shady character, CARRADINE, walks up behind the promoter and taps him on the shoulder.
CARRADINE
That's some nice money. Can I have it?
Carradine draws a gun from his jacket. The promoter is struck silent and begins to hand over the stack of bills. As Carradine reaches out for the cash, the promoter tries to grab the gun. A shot is fired. The gun and cash fall to the ground. The promoter hits the pavement. Carradine grabs the cash and runs. Spider-Man doesn't move. The promoter turns over, uninjured, and looks at Spidey.
PROMOTER
Go get him! You could decimate that guy! He's getting away with my money!
SPIDER-MAN
Actually, my money. He can have it.
Spider-Man calmly walks away.
EXT. STREETS - NIGHT
Peter waits on the corner in his tights, a sweater thrown over his Spider-Man costume and his mask sticking out of his pocket. He's impatiently checks his watch and looks around, frustrated, and quickly answers when his phone rings.
PETER
Hello? Yeah, is Uncle Ben there? He said he was going to pick me up.
AUNT MAY
(Phone, sobbing hysterically)
Peter... The police just called. They said... They said... Ben's been shot.
Peter is left silent, trying hard to collect his thoughts.
PETER
No. No, what, how could this happen?
AUNT MAY
(Phone)
Carjacking... Somebody...
One block away a car speeds across the intersection followed by a police cruiser.
PETER
I have to go. I'll be home soon.
Peter hangs up and runs after the police chase. In the near distance he sees the driver of the stolen car lean out the window and fire several shots at the cop car. The cops spin out of control and hit the wall, and the shooter turns around just in time to see himself crash into a lamp-post. The cops don't move, but the shooter manages to stagger out and begin climbing a fire escape. Peter puts on his mask, throws off his sweater, and chases after the crook. By the time Spider-Man reaches the fire escape his target has long since reached the top. Spidey shoots up the ladder and peeks his head over the wall to see the thief jump across to the next roof. Thinking he's evaded capture, he stops to catch his breath. Spidey gives a battle cry as he runs across the roof and prepares to leap across the alley. Spider-Man jumps and the criminal is frozen in terror, until his attacker falls out of sight and into the alley below. He turns around and frantically climbs down a fire escape on the other side of the building. The camera pans down into the alley, where Spider-Man sticks to the wall near the top floor. He looks amazed at his own ability, but his concentration is grabbed by a scream from across the street. Spidey nervously climbs onto the roof and looks at the opposite building far taller than the one he's standing on. Through a window on the opposite building the carjacker has apparently startled a young woman by bursting into her apartment. The carjacker stands with his back to the window, facing the door.
CARJACKER
Jessica! God! I need to hide out here for a while. I'm being chased by some sort of... monster.
JESSICA
Get out! Get out of my apartment or I'm calling the cops! I'm sure they're already looking for you.
CARJACKER
You'd call the cops on your own father?!
JESSICA
You stopped being a father when you left us.
CARJACKER
I was in prison!
JESSICA
Like that makes it any better.
CARJACKER
Listen, just let me stay in here for a while. It's not the cops I'm running from. You didn't see this thing. It was all red, screaming. It ran and leaped like... I don't know. It wasn't human. It was some sort of devil.
JESSICA
What?
CARJACKER
A devil!
Across the street, Spider-Man hears the carjacker's scream. He experimentally makes the devil horn gesture with his hand. A white string shoots out of his wrist. He tries again, and the same thing happens. Again, this time he aims his shot near the top of the building across the street. The string connects and he catches the end in his hands. He examines it closely, having a web-like texture. A deep breath, and Spidey swings across the street, crashing through the window and knocking the carjacker to the floor. Jessica screams as Spidey gets up and drags the carjacker to his feet.
SPIDER-MAN
Do you know what you've done today? Do you know who you killed? What gives you the right to choose who lives and who dies?
The carjacker's fear turns to laughter as he gets a good look at his attacker. Spidey gets a good look back. It's Carradine.
CARJACKER
I can't believe this. This is who I was afraid of? You're the guy I saw coming out of the theater. An actor!
Spider-Man drops the carjacker as he realizes that he is right.
CARJACKER
Yeah. See? You're just some punk. You ain't gonna do nothin'. You don't have what it takes to kill someone.
SPIDER-MAN
And you do.
CARJACKER
You're damn right I do.
The carjacker draws his gun. Spidey knocks it out of his hand. A punch in the face and the carjacker slides across the room and hits the wall. He stands up in front of the window as Spidey hits him, one last time. He flips backwards, out the window. It takes Spider-Man a second to calm down and realize what's happened. Jessica screams and picks up her father's gun as Spidey leaps out the window and shoots a web across the street, swinging right into the wall of the opposite building and falls the last few floors to the ground. Jessica fires out the window as Spider-Man runs into the night.
INT. NORMAN'S OFFICE - MORN.
The large, eclectically decorated room is dominated by a large portrait of Norman Osborn on the wall opposite a huge window. Norman's desk sits in front of this window, with a minibar beside it. Norman sits down at the desk and opens that day's DAILY BUGLE when a shocked look hits his face. A second page headline reads "KILLER SPIDER-MAN CRAWLS NEW YORK." His eyes scan over the article, including phrases like "WITNESS CLAIMS KILLER SWUNG FROM WEBS AND 'CRAWLED ON THE WALLS.'" He puts the paper down and sits for a moment.
NORMAN
This can't be him... I can't... No... I... I need to find out for sure.
Norman slowly picks up his phone and dials a number.
NORMAN
Is this Mac Gargan? I have a job for you.
EXT. CEMETARY - DAY
A solemn crowd is gathered between the dying trees on a dark autumn day. They include Peter, Aunt May, Gwen, and her father, CAPTAIN GEORGE STACY, among others. As the ceremony closes and the mourners begin to leave, George sees Peter, lost in his own grief and oblivious to the outside world, and approaches him.
CAPTAIN STACY
Peter? You doin' alright? Er uh... I'm sorry, you don't need to be alright right now. Look, Ben was my neighbor and my friend for thirty years, I watched him raise you since you were a toddler, and I know he always thought of you as a son he could be proud of. He was always a friend I could be proud of. I guess what I'm saying is... Your uncle was a great guy, and I'm always gonna try to live up to the type of person he always tried to be, because I know you will, too, so if you or your aunt ever need anything, you know you can always come to me and Gwen. We always thought of you as family, and I would be honored if you thought the same of us.
Peter nods silently. George sees this is the best response he can hope for and walks away, passing Gwen, who was watching the whole time, and walking with her to their car.
INT. PROMOTER'S OFFICE - DUSK
In a dimly lit room, paint is chipped from the walls and everything has a grimy look to it, including MAC GARGAN, wearing a dirty trench coat and talking into a cell phone.
GARGAN
It's Parker. The guy's real name is Parker. Don't worry about how I know. Do you trust me?
INT. NORMAN'S OFFICE - DUSK
Norman talks nervously on the phone.
NORMAN
You know I don't, Gargan.
INT. PROMOTER'S OFFICE - DUSK
Gargan continues to talk into the phone.
GARGAN
Let's just say it's a reliable source.
Gargan points a gun at the corner of the room, where the wrestling promoter cowers in fear.
GARGAN
Listen Osborn, I want to have a good working relationship with you, but in order for that to happen, there needs to be a certain level of trust. I always trust my employers, but I expect them to trust me back. Now I'm telling you the name is Parker. Are we done here? Good. I'll be collecting my fee tonight, and I hope to do business with you again soon. Oh yeah, and don't worry about my source. He won't be telling anyone else about your... I mean, Parker's... little secret.
Gargan hangs up and fires his gun.
INT. PETER'S ROOM - NIGHT
Peter lies on his bed, staring at the ceiling, when there's a knock at the door.
PETER
Come in.
AUNT MAY
Peter, the police just called... they found... they found Ben's killer.
PETER
Yeah?
AUNT MAY
He's dead. Murdered, apparently right after he got Ben.
PETER
Got what he deserved. Aren't you happy about this?
AUNT MAY
Maybe he did deserve it, Peter, but that's not for me to decide, or whoever killed him. No, I'm not happy that another person is dead.
PETER
That person killed Uncle Ben! Don't you care?!
AUNT MAY
Don't you dare say that to me! Of course I care!
(beat)
We're all upset right now... but I'm not going to let people like that turn me into one of them. I'm not going to let those kinds of people fill my heart with hatred, and I hope you don't, either. That won't bring Ben back, and becoming one of those people won't make them go away.
PETER
I think I'm gonna go to sleep now. I have school tomorrow.
AUNT MAY
Okay. Good night.
EXT. STREETS - MORN.
Peter sullenly walks to school, carrying a heavy backpack on his shoulder. His attention is only taken away from looking down at the ground when someone comes up from behind and taps him on the shoulder. Norman.
PETER
Hi Mr. Osborn.
NORMAN
Hi Peter. I was just out for my morning walk when I spotted you and thought I'd see how you were doing. I heard what happened. Are you okay? I want to help.
PETER
You know, you might have a lot of money, but I doubt even you can bring people back from the dead.
NORMAN
Peter, I know you're going through a lot right now, but that's not what I'm talking about. No, I'm sorry about your uncle, he was a great man, but we both know it's not the biggest event in your life recently.
PETER
I don't know what you're talking about. I need to get to school.
Peter turns around and begins to walk away.
NORMAN
It must be hard, having those powers and still not being able to save him.
Peter stops dead in his tracks.
NORMAN
If only there was something you could have done. You know what I'm trying to do at the lab, Peter. I'm trying to make the world a safer place. Imagine what the Super Soldier Program could do to criminals like the man who killed your uncle. Actually, you know exactly what those people could do to the man who killed your uncle.
Peter turns around and faces Norman, terrified.
PETER
I'm sorry Mr. Osborn, I don't know what you're talking about.
NORMAN
Don't worry, Peter, I'm not going to tell anyone. To be honest, I don't disagree with what you did. I'm asking for your help. You know how you got your powers, so do I, but neither of us truly understands it. I'm asking to study you, Peter, to try to replicate the process. Seventy years of work and you are the closest we've ever come to re-discovering the Super Soldier Formula. Imagine, armies of Captain Americas. They could stop all these senseless crimes. Stop any more people from suffering like your uncle.
PETER
I'm not trying to be rude, but you sound... crazy, right now. I'm sorry, I need to get to school.
Peter turns around and walks away at a brisk pace. Norman follows behind him.
NORMAN
Peter, don't walk away from this. I'm trying to help you. You realize that when they find out about you, they're going to capture and study you anyway, and they might not have your best interests at heart. One way or another you're going to have to face the reality of this, Peter. You can accept my help, or you can wait for the truth to get out, and neither of us wants that. Imagine, the media after you, the government, and how would your poor aunt take it?
Peter ignores Norman and continues on his way. Norman gives up and stops. He watches Peter walk away for a moment before pulling out his phone.
INT. CLASSROOM - DAY
Peter sits in class, not paying attention to anything in particular. Gwen and Harry sit next to each other in the back row, whispering to each other.
HARRY
I can't believe he even came in today. The funeral was only yesterday, right?
GWEN
It was awful. I went with my dad, they were friends for years, but I don't think anyone took it as hard as Pete. I'd never seen him like this.
HARRY
He was worse than today?
GWEN
No, actually. He looks even worse today. I'm really worried about him. I'm worried he's going to spiral into depression. I mean, it's normal for him to be depressed, but... I don't know what to do...
HARRY
Maybe we should take him out today, try to get his mind off things.
GWEN
I don't know if that's the best idea. That's never really been his style. Where could we take him that he could possibly want to go?
The bell rings and students begin to file out of the classroom. Harry gets up, ignoring Gwen's last point, and catches Peter.
HARRY
Hey, Pete, a few of us were gonna skip class and go for pizza. Let's go.
PETER
Harry, I've got stuff to do after school. I've got to return this costume to...
HARRY
Come on, you don't have anything else to do. I'll buy for everybody. I'll call MJ, we'll have fun.
Harry is already ushering Peter out of the room, while Gwen follows unenthusiastically behind.
INT. JOE'S PIZZA - DAY
Harry and MJ sit next to each other, their PDA making everyone in the restaurant, not the least of whom are Peter and Gwen, incredibly awkward. This goes on for quite some time before the two lovers get up out of the booth and head for the back of the room.
GWEN
Well at least we don't have to watch anymore, right?
PETER
Yeah, I guess.
GWEN
Pete, do you even want to be here? It's perfectly understandable if you don't.
PETER
I don't care.
GWEN
Look, it might not be exactly the same, but I think I know how you feel. When my mom died I felt like... like just so many things. I felt like it was so unfair, like it shouldn't have happened, like if I had just done something a little differently maybe it wouldn't have happened. That was the one that got me. If I had told her to stay home that day, or if I had gone with her, maybe I could've stopped it. But I can't blame myself for what happened. There was nothing I could do about it.
PETER
Then you're right. It's not the same. You couldn't really do anything about it. If I had followed his advice, if I had just listened to him, he'd still be here.
GWEN
Stop saying that. It's not true. You were a son to him. He loved you.
PETER
And look what happened. I didn't deserve it.
GWEN
You did deserve it, and he wasn't the only one who could see exactly why.
Gwen suddenly kisses an absolutely shocked Peter, who for the first time in days shows any emotion other than sorrow. Then they're left, neither of them knowing what to say or do next. The silence is suddenly broken by Gargan coming through the door and walking right up to them.
GARGAN
You Parker?
PETER
Um, yeah?
Gargan pulls out a gun and points it at Gwen.
GARGAN
Then your friend here is coming with me. Come on, get up. Yeah, you. Come on.
Gwen, terrified, gets up from the table, and Gargan leads her toward the door.
GARGAN
You want to follow me, Parker? Feel free. Anyone else tries to, and she's dead. So come and get us, kid.
Peter seems stunned for a moment before leaping to his feet.
PETER
Gwen!
GARGAN
Just follow the leader, Parker.
Gargan leads Gwen outside and into a car, then drives away. Peter sprints outside after him, but the car is gone. Peter runs down the street in the direction in which the car left.
EXT. ALLEY - DAY
Peter runs into dark alley and takes off his backpack. He unzips it and pulls out his red and blue wrestling costume.
EXT. STREETS - DAY
Gargan drives, not calling attention to himself at all, keeping his gun below window-height pointing at Gwen to make sure she doesn't either. Moving at a fairly brisk pace, Gargan glances in the rear-view mirror and spots a small red-blue dot moving erratically above the traffic, slowly advancing towards the car. He simply smiles with satisfaction at himself.
INT. ABANDONED WAREHOUSE - DAY
Gargan kicks open a door to an empty warehouse and forces Gwen inside, slamming the door behind him and moving a heavy crate in front of it. He pulls out his phone and speed-dials a number.
GARGAN
Parker should be here any minute.
NORMAN
(Phone)
How do you know? You were supposed to bring him with you.
GARGAN
Like I'm gonna be able to get someone like that over here without killing them. Don't worry, I've got this. I've taken something he'll want back.
NORMAN
(Phone)
What are you talking about, Gargan?
GARGAN
Took his little friend, the blonde.
INT. NORMAN'S OFFICE - DAY
Norman talks worriedly on the phone. He clicks around on his computer and brings up a window showing a view of the inside of the warehouse, where he sees Gargan holding Gwen hostage.
NORMAN
Damn it, you idiot! Do you know who that kid is? Her father's a damn police captain! That place is gonna be swarming with cops!
INT. ABANDONED WAREHOUSE - DAY
A shadow moves across the wall behind Gargan as he continues talking on the phone.
GARGAN
Then you'll have yourself quite a show, won't you? That's what you want, isn't it?
NORMAN
(Phone)
I don't want him killed!
A "thwip" is heard and the gun is pulled out of Gargan's hand by a thin string.
NORMAN
(Phone)
What the hell was...
Spider-Man swings across the room and kicks Gargan to the ground. The phone flies out of his hand and smashes into pieces. Gargan gets to his feet to face his attacker. He begins to reach into his coat when Spidey fires a stream of web at his hand, wrapping it up and making him unable to grasp anything, let alone fire a gun. He begins to move his other hand only for the web-slinger to repeat the process. Spidey finally advances on Gargan and throws him across the room into the shadows. Gwen watches as her savior steps into the darkness, and hears shuffling and rustling before Spider-Man drops from the ceiling and lands right behind her.
SPIDER-MAN
We should get out of here.
Gwen is lifted off her feet as Spider-Man leaps with her up and out through a second story window.
EXT. ABANDONED WAREHOUSE - DAY
They land outside, Gwen looking rightfully shocked at what's just happened.
GWEN
You... you're...
SPIDER-MAN
Amazing?
GWEN
You're the killer they were talking about on the news this morning! Help!
SPIDER-MAN
What? I just saved your life!
GWEN
Police! Somebody!
People begin to hear Gwen's calls and advance toward Spidey.
SPIDER-MAN
Come on! I... Fine. I gotta go.
Spider-Man jumps into the air, fires a web, and swings away.
EXT. ALLEY - DAY
Spidey retreats into an alley, latching onto a wall several stories up. He takes a second to catch his breath when he notices two people below him. One holds a knife to the other's throat and grabs a wallet out of their victim's pocket.
EXT. STREETS - NIGHT
Flashback: Carradine threatens the promoter and forces him to hand over his money.
EXT. ALLEY - DAY
The assailant begins to leave, the victim frozen in terror, when a thread wraps around the mugger and lifts them into the air. The wallet falls into the victim's hands as they watch their mysterious hero swing away.
INT. ABANDONED WAREHOUSE - DAY
Police rush into the warehouse and shine their flashlights into the darkness to find Gargan tangled up in a giant spider-web in the corner of the room.
BROCK
(Voice over)
New York is tangled up in the web of a mysterious vigilante, who seems responsible for stopping several crimes throughout the city yesterday.
EXT. ALLEY - DAY
The mugger hangs two stories two stories above where they snatched the wallet, completely wrapped in webbing.
BROCK
(V.O., continued)
Leaving each criminal he catches at the scene of the crime, tied up in some form of webbing.
EXT. STREETS - DAY
A man holds a microphone and speaks into the camera. A graphic at the bottom of the screen identifies him as "EDDIE BROCK - CRIME REPORTER," as he stands in front of two robbers covered in cliché black clothing who have been left hanging upside down from a streetlight, their huge sacks with dollar signs on them hanging beside them.
BROCK
Witnesses claim the vigilante is extremely fast and agile, and can stick to walls like a spider. Descriptions match the wrestler and minor celebrity known as Spider-Man, as well as a figure wanted for the recent murder of one Dennis Carradine. Still, all reports are so far unconfirmed, and more solid proof of the wall-crawler is the topic of the day. The Daily Bugle is even offering cash rewards for photos of Spider-Man...
INT. STACEY HOUSE (BASEMENT) - DAY
Gwen turns off the TV, leaving Peter, Harry, and MJ somewhat upset.
HARRY
Come on! We were watching that!
GWEN
I'm sick of hearing about that freak.
MJ
That freak who saved your life.
GWEN
Did you not hear that he's a murder suspect?
MJ
Sounds to me like he's going after the bad guys. Everyone knows half the cops in this town are in the pocket of mobsters like The Kingpin. That's the only reason they're after him.
GWEN
My father is a police officer, for your information. I don't know who you think you are...
MJ
Now you know I didn't mean it like that. I know your dad is a good guy, and I'm not trying to say he's only against Spider-Man because...
GWEN
That's not even it. He can't get enough of this guy. Says he thinks he's just trying to help out. I don't see how he isn't worried about someone like this running around.
HARRY
I'm with you, Gwen. We don't need some mutant running around playing hero, acting like he thinks he's better than the rest of us. Right Pete?
GWEN
Hey, woah, come on, Harry, do you need to start with the mutant stuff?
PETER
Yeah, that's really not cool, man. You don't even know if this guy is a mutant.
HARRY
He's a freak. That's enough for me. What? Are you sticking up for him, now?
PETER
Well... I don't know... I mean, Gwen, who knows what would've happened if he didn't show up. Don't you think he deserves some thanks for that?
GWEN
You too? None of you were there! None of you know...
MJ
Whoever this is, he's clearly a hero. Sounds to me like you're just being ungrateful.
GWEN
If you think you can come in here and start talking to me like that just because you and Harry are a package deal, don't think I don't mind kicking both of you out.
MJ
No need, I'm leaving. Harry, you can stay here with your mutant-bashing friends.
MJ gets up and leaves the room.
GWEN
I never said a thing like that! Don't you dare put words in my mouth!
HARRY
MJ, come on, don't!
Harry gets up and follows MJ out of the room.
GWEN
You know I don't hate mutants, right? I didn't say anything like that.
PETER
I know.
GWEN
It's just... I mean, can't you just put yourself in my shoes and see what I went through?
PETER
Look, I'm just glad you're okay, especially after... I mean, it kinda got overshadowed by this whole thing, but... are we gonna talk about it? Or...
GWEN
I've said everything I can say. Do we need to talk about it?
PETER
No, I guess we don't.
Peter returns her earlier favor by leaning in and kissing a surprised Gwen.
INT. OSBORN PENTHOUSE - NIGHT
Harry walks into the apartment in a huff, his mood being noticed by Norman.
NORMAN
Why the long face, son? What's wrong?
HARRY
MJ broke up with me. Apparently there's someone else in her life.
NORMAN
What? Who?
HARRY
Spider-Man.
NORMAN
What are you talking about?
HARRY
Apparently she's a mutant-lover. Cares more about this Spider character than me.
NORMAN
Yeah, I'm not a fan either. I've seen what this person can do. I don't like the idea of someone like that running around, no orders or control. Somebody needs to do something about it... Listen, Harry, I've gotta work at the lab tonight. You'll be okay here, right?
HARRY
Yes, relax.
NORMAN
Hey, don't worry about this stuff. MJ, she's a fool if she has a problem with you, and this Spider-Man? He's not gonna be around for long. Someone like that can't just run around freely without somebody putting a stop to it. Somebody's going to get him eventually.
INT. PRISON CELL - DAY
Gargan, now in a prison jumpsuit, is escorted into a cell where he meets his new cellmate, HERMAN SCHULTZ, sewing some yellow and red fabric together.
GUARD
Schultz, your new cellmate is here. Gargan, Schultz. I'm sure you'll be the best of friends.
The guards close the bars behind him and leave.
GARGAN
Mind if I ask what you're sewing for?
SCHULTZ
Workin' on something.
GARGAN
Like what?
SCHULTZ
New invention.
GARGAN
And you need to sew a quilt for that?
SCHULTZ
You're asking too many questions, pal. Is that what got you in here?
GARGAN
My problem was that I don't ask enough questions. Took a job and didn't know what I was getting into.
SCHULTZ
What? Walked into an ambush or something?
GARGAN
Man, just wait until I tell you about this guy...
EXT. CONEY ISLAND - DAY
Peter and Gwen smile and hold hands as they wade through the crowd toward a relatively small roller coaster, as Peter vehemently protests.
PETER
I'm not doing this. You can't make me.
GWEN
Peter, hundreds of people ride this thing every day. You really think that you are so special that it's going to fall apart the one time you try it?
PETER
I don't care. I just... no. No, I'm just not.
GWEN
Come on. What, are you scared or something?
PETER
Yeah. I happen to have a very rare condition called "deathaphobia." It prevents me from putting myself in situations where people die.
GWEN
Look, just try it once. Come on, you trust me, don't you?
PETER
That's low. That's really low.
The two of them continue to walk toward the entrance of the coaster.
EXT. CONEY ISLAND - A FEW MINUTES LATER
Peter is hunched over, vomiting into a garbage can, as Gwen stands by, apologizing.
GWEN
Okay, that one didn't work. That was my fault, I'm sorry. What can I do to make it up to you? You want me to win you one of those prizes? Yeah? Do you want one of those big stuffed animals?
Peter wearily stands up, still looking quite queasy.
PETER
Gwen, come on, don't patronize me.
(beat)
But I want that bear.
EXT. CONEY ISLAND - NIGHT
Peter carries a large purple stuffed bear as he and Gwen walk away from a game booth.
GWEN
That bear ended up costing fifty dollars. Are you happy now?
PETER
Yes. Very much so.
GWEN
I like that you don't feel the urge to be a "typical" boyfriend.
PETER
That's, uh... we're just saying that now?
GWEN
Well, what?
PETER
Nothing, it's just, it takes some getting used to, that's all. You know, Harry said he thought that... uh... That you, you know, were into me, for like, a while.
GWEN
Into you? Really? Are those really the words you're going to choose right now? You're just making it sound weird.
PETER
Well, I don't have much experience here. I don't really know how to put it.
GWEN
I'm just kidding with you. Whatever. Harry can be a pretty smart guy sometimes.
PETER
You mean he was right?
GWEN
Well, yeah. I mean, I'm into you now, right? And it's not like some big thing happened to you recently that suddenly made you so spectacular. I've always thought you were pretty great, Peter, even if you almost get killed by everything from spiders to roller coasters.
PETER
I thought you were the one who hated spiders?
GWEN
Yeah, but I'm not going to let one send me to the hospital.
Peter doesn't respond.
GWEN
Come on, I'm just joking! Why so serious today? What's up?
PETER
Don't worry. It's fine. It's nothing.
GWEN
Don't give me that. I know you. You're usually a lot more fun than this.
PETER
What's that supposed to mean?
GWEN
I'm just saying, you are. I know you're upset about something. Just, could you please tell me? It's not me, is it?
PETER
No. It's really not. It's... I heard Aunt May on the phone this morning. She was saying she doesn't think she'll be able to come up with the money for the mortgage this month. We might get kicked out of the house.
GWEN
Wow, that's awful.
PETER
You think? I'm trying to think of a way I can help out, but I don't know what place will hire me for a job.
GWEN
I heard the Daily Bugle was paying cash for pictures of Spider-Man. You take pictures for the school newspaper and stuff. Maybe you could stake out downtown and try to get a few pictures of him. You get some money, and you get some evidence on that freak to help put him behind bars.
PETER
You know, that's actually a pretty great idea.
GWEN
See? There you go. You even get to call yourself a professional photographer. How cool is that? Wait, I just realized... when did it become night? How long did I spend playing that stupid game?
PETER
Uh... I guess it was a pretty long time.
GWEN
Okay, I'm going home now, then. I wanna catch my dad before he heads to work. He has the night shift again, and I know that's when all the weirdos come out. Also, I have no money left. It all went into the bear.
PETER
Well, you can have it, if you want.
GWEN
No, it's fine. I want you to enjoy it, but it counts as a birthday present.
PETER
It's the best birthday present anyone's ever gotten me, except for that year I got a PlayStation 2. That was sweet.
GWEN
Oh Peter, you are such a charmer.
INT. OSCORP LOBBY - NIGHT
Norman walks through the lobby carrying a large duffel bag. A security guard begins to approach him before recognizing who it is. Norman continues on his way, through the complex security doors
INT. OCTAVIUS' LAB - NIGHT
Norman walks past Octavius, the hovercraft he was working on earlier resting in the corner. The doctor is using his mechanical arms to work on what seems to be another mechanical arm.
OCTAVIUS
Norman, what are you doing here so late?
NORMAN
Just came to check on some results. Why are you still here?
OCTAVIUS
One of these arms has been acting up. I'm finishing up work on a replacement.
NORMAN
You already finished the glider?
OCTAVIUS
Working perfectly.
NORMAN
Great.
Norman continues into the next room.
INT. NORMAN'S LAB - NIGHT
Norman enters the room filled with animals and walks over to the spider-tank. He peers into the tank only to find it empty.
NORMAN
Damn Stromm. I told him to save the specimen!
Norman heads through a small door in the back of the room.
INT. NORMAN'S LAB (BACK ROOM) - NIGHT
Inside, there is a plethora of complicated testing equipment. Norman reaches for a small green vial and syringe, then moves towards several small tanks in a cluttered corner of the room, filled with small animals like lizards, chameleons, and spiders. He reaches into the spider-tank and picks up one of the larger ones, trying to hold it still while he inches the syringe closer to it. The spider's small fangs pinch down on his hand, causing him to suddenly jerk and prick himself with the needle. A look of terror comes over his face, yet he brings himself to push the syringe and inject himself with the formula. His worry turns into frustration and he slams his fist down on a nearby desk, shattering right through it. He looks with amazement at his new-found strength, until a simple look of satisfaction hits him. He heads back out into the animal room and makes his way to Octavius' Lab.
INT. OCTAVIUS' LAB - NIGHT
Norman walks through the door to approach Octavius, who seems somewhat annoyed by Norman's presence.
OCTAVIUS
What now, Norman?
Norman grabs Octavius by the throat and throws him across the room, then eyes the now completed glider.
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Post by Joey Jojo Junior Shabadoo on May 7, 2010 13:20:35 GMT -5
EXT. DOWNTOWN - NIGHT
A camera is suspended by a web on the side of a tall building and flashes, evidently on a timer, while Spider-Man swings and flips between the skyscrapers. Suddenly a large explosion is seen in the distance.
SPIDER-MAN
Woah. Well, I guess that's enough pics for the Bugle.
Spidey lands on a rooftop and looks at the flames, where an object begins to fly in Spider-Man's direction. It gains speed as it glides through the air toward Spidey, who can start to make out a human shape, a human shape that raises its arm and throws a small object. Spidey leaps away, across to another rooftop, as the bomb hits and destroys part of the rooftop he was standing on. As the figure flies near, it can finally be made out, a green... goblin wearing a purple hat, leotard, and boots, and flying on a metal hovercraft. The glider fires a stream of bullets at Spider-Man, who leaps into the air to avoid them, and fires several bursts of web at the attacker, knocking him off his glider, and landing on the rooftop. Spidey lands and approaches the downed body.
SPIDER-MAN
You look like you need more practice on your toy, there. Now, I don't know if you noticed, but you actually made a pretty big mess. What do you have to say for yourself?
The figure gets up, shakily off the ground, looking like he is about to collapse. Spider-Man throws a punch at him, only to have it easily dodged by the creature. He throws another, only for the goblin to catch his fist in his hand, and punch Spider-Man in the gut, leaving him doubled over. A faint whining fades in as sirens are heard approaching the scene.
SPIDER-MAN
What do you want?
GREEN GOBLIN
For you to stop this! You give up your mask, your double life, I give up mine!
SPIDER-MAN
I'm helping people! I need to use my powers for good!
GREEN GOBLIN
You fool! You think you're making a difference, taking down street-level thugs?! I'm doing this for your own good! It was only a matter of time! Sooner or later some freak was going to come along and beat you, I'm just making it sooner. I'm giving you a chance to quit while you're ahead.
SPIDER-MAN
Never!
The goblin throws another punch at Spidey, only to have his fist caught by the web-slinger, who fires a burst of web at his face and kicks him clear over the side of the building. Suddenly aware of what he's just done, Spider-Man peers over the edge of the building, finding several police cars and officers crowding the street. Among them is Captain Stacey, who looks up at the rooftop and spots Spidey.
CAPTAIN STACEY
Spider-Man! Look out!
The other officers turn to face the rooftop, all immediately drawing their guns.
SPIDER-MAN
Fantastic, that's all I need right now.
Captain Stacy continues to gesture toward Spider-Man. It is only after a few moments that he realizes Stacey isn't trying to bring Spidey to the officers' attention, but is trying to direct Spidey's attention elsewhere. Just as Spidey realizes this, the goblin, hovering on his glider, comes out from under the awning Spidey is standing on, and grabs him by the throat. He throws Spider-Man across the street, hitting the side of a building before landing among the group of police officers. The goblin makes a movement with his foot and a bomb shoots out of his glider and into his hand.
GREEN GOBLIN
You had your chance. Now you've spun your last web, Spider-Man!
The goblin throws the bomb at Spider-Man, who is just beginning to stumble to his feet. Captain Stacey dashes toward Spidey and throws him to the ground, causing the bomb to miss and hit the wall behind them. Huge chunks of the building fall apart, and Stacey gets trapped beneath a pile of rubble as Spider-Man struggles to hold up the rest of the wall and keep it from falling on the incapacitated officer. Several of the other police on the scene run over to give their assistance, while one, clearly terrified by the situation, draws his gun and takes aim at Spider-Man. As both the wall-crawler and law enforcement are distracted, the goblin takes the opportunity to fly away from his severely outnumbered battle. The cop pointing his gun at Spider-Man trembles as he attempts an arrest.
COP
You... you're under arrest. Please, put your hands up.
SPIDER-MAN
Hey, buddy, come on. I'm not the one you need to worry about here. How about you put the gun away and help free this guy. I can't hold this forever.
The scared officer doesn't move, other than his constant trembling.
SPIDER-MAN
Seriously, guy, I'm starting to slip. Really, I need your help.
Spidey loses his footing and slips slightly. Just as he begins to catch himself, the officer opens fire, causing the wall to fall on top of Spider-Man and several of the cops, including Stacey. Spidey fights his way through the rubble, trying to throw away as much debris as he can to save the other victims, when the scared cop opens fire again. Left with no other choices, the cut and bruised Spider-Man leaps into the air and fires a web at his camera, still on the side of the building. He pulls it into his hands and swings away into the alleys and out of the view of the cops.
EXT. CHRYSLER BUILDING - NIGHT
Peter, his mask removed and laid next to him, sits solemnly on a ledge dozens of stories in the air, next to a large, foreboding gargoyle. He clicks through the pictures on his camera, first seeing the fun, carefree images of himself swinging and flipping between the rooftops, then several images of the Green Goblin advancing toward the frame, a shot of Stacey tackling Spidey to the ground, and another of Spidey holding up the wall while the nervous cop gets ready to fire. Finally, the image of Spider-Man leaping out of the rubble, with several bodies jutting out from under the bricks and mortar, comes up on the screen. Peter clicks through to the next image, which cycles around to the first picture of his acrobatics. Peter puts the camera down and lays his head in his hands. We focus in on the camera, still showing the picture of Spider-Man...
INT. JAMESON'S OFFICE - DAY
...And continue clicking through the cycle of photos again, though it repeats itself before it reaches the pictures of the goblin.
JAMESON
(O.S.)
Crap. Crap. Crap...
We zoom out to see Jameson sitting behind a desk clicking through the photos on his computer, dismissing each one while Peter stands nervously, having his work judged.
JAMESON
I'll give you fifty bucks for the set.
PETER
Do you know what I went through to get these? These are the best pictures you're going to get of Spider-Man, and you know they're worth more than that.
JAMESON
Pictures of a guy in tights doing acrobatics. I can get better pictures of that at the circus. For these, I'll give you fifty bucks, take it or leave it.
Peter reaches into his pocket and takes out a small USB stick.
PETER
I have a few more, but...
JAMESON
What's the matter with you? Hand them over!
Peter does as he is told and Jameson plugs the USB stick into the computer. His face lights up as he sees the rest of the pictures. The goblin flying towards the frame, police officers seemingly fighting Spider-Man, the wall-crawler emerging from the rubble, leaving bodies in his wake.
JAMESON
Now this is what I'm talking about! Who's this character here? Spider-Man's partner in crime? I can see the front page now: "SPIDER-MAN AND THE GREEN GOBLIN SQUARE OFF AGAINST NYPD!"
PETER
Green Goblin?
JAMESON
Great idea, isn't it? That's why I'm editor!
PETER
Either way, he wasn't helping Spider-Man. Spider-Man was trying to save those police officers from that other guy.
JAMESON
Potter, was it?
PETER
Parker.
JAMESON
Yeah, whatever. Listen, this is good stuff you got right here. You keep bringing in this kind of material and I think we can be friends, you and me, but let's get the rules straight first, you get the pictures, I make the headlines. You got that?
PETER
Yes, Mr. Jameson.
JAMESON
Good. I'll give you two-hundred for the lot of these.
PETER
Three-hundred.
JAMESON
Three-hundred?! Outrageous! Fine.
Jameson hits the button on his intercom.
JAMESON
Ms. Brant, get Potter here...
PETER
Parker.
JAMESON
... Shut up, kid. Get him a check for two-hundred-fifty bucks.
PETER
Hey!
JAMESON
Alright, alright. Three-hundred bucks. You happy now, Parker? Okay then, get out of here! Go on! Come back when you have more photos of Spider-Man and his amazing friends!
Peter walks out of Jameson's office...
INT. DAILY BUGLE (LOBBY) - DAY
... and into the lobby, where BETTY BRANT sits at a desk and stamps a check before handing it to Peter.
PETER
Is he always like this?
BETTY
Oh, no, no. You caught him on a good day.
INT. NORMAN'S OFFICE - DAY
Norman paces back and forth in his office. He slams a Daily Bugle newspaper down on the desk, "SPECIAL EDITION" in bold print on the front along with several of Peter's photos and the headline "SPIDER-MAN AND GREEN GOBLIN SQUARE OFF AGAINST NYPD!"
NORMAN
Failure! I can't believe I let Spider-Man get away, and the secrets to the Super Solder formula with him! No. No, I don't need him anymore. The formula worked on me. I'm stronger and faster than I've ever been in my life. It worked. But not well enough! Everything I can do, everything I am now, Spider-Man is still better, stronger, faster! And that's exactly why I can't beat him. I'll never be able to capture him, to beat him until he surrenders. Spider-Man is too powerful an enemy. But Parker isn't! He's just some kid who doesn't know what he's getting himself into! And I'm the only one he has to turn to when he finally realizes that he can't keep up his superhero charade forever! All I have to do is speed up the process.
INT. PETER'S ROOM - DAY
Peter sits on his bed, looking at his small pile of cash, the look on his face bearing nothing but unmistakable disgust, when a knock is heard on the door and Aunt May walks in.
AUNT MAY
Peter? Can we talk?
PETER
Yeah, of course.
AUNT MAY
It's... oh dear... you've seen it in the news already, haven't you? What that Spiderman and the Goblinman or whatever their names are supposed to be... what they did last night, to those police officers?
Blankness washes over Peter's face, as he simply doesn't know how to react. He just nods his acknowledgment.
AUNT MAY
Oh I... I don't know how to say this... George, Mr. Stacy, was one of the victims, Peter. He... he didn't make it.
May scans Peter's face, not realizing that the expression that covers it is guilt.
AUNT MAY
You haven't been talking to Gwen, have you? With your computers or your texting or whatever it is you do these days?
Peter shakes his head.
AUNT MAY
Well... Peter, she doesn't have any place to stay, and she and her father have always been like family anyway, and this place has been feeling empty lately, with what happened to Ben... so I said she could stay here, with us. Lord knows George would've done the same for you if something had happened to me. Anyway, I just needed to let you know...
PETER
I got a job.
AUNT MAY
What?
PETER
I got a job. I sold some pictures to the Daily Bugle, and they gave me three-hundred dollars for my first set and I think there's more where that came from, and I had another two-hundred saved already, but anyway I got five-hundred dollars and I think you should have it.
AUNT MAY
Peter...
PETER
I know money's been tight around here, and now this stuff with Gwen, which, I'm really glad you're doing, but I know it's hard, especially since you already took in one child and treated them like your own, and then Uncle Ben is gone, and... I just feel like I should be taking some responsibility.
AUNT MAY
Peter, you're still a child, you shouldn't have to worry about things like this.
PETER
But I do, and it's okay. I'm going to be taking pictures anyway, I'm with the school newspaper and stuff, and it's not like I have any important things to spend the money on, so please, just... I want to help out around here. Please, take it.
Peter holds out the small pile of bills.
PETER
Please.
Aunt May reluctantly takes the money and begins to turn around and walk away, stopping just before she leaves to say a few more words to Peter.
AUNT MAY
I appreciate this, you know? I really do. You're such a good boy, but sometimes you seem like you're growing up too fast. You're not giving yourself a chance to enjoy your childhood, and not worry about the problems of the world. Now I'm worried with what's happened to George, poor Gwen is going to be going through the same thing, but just... Just try not to worry about things, Peter. Until you're an adult, it's my job to do the worrying for you.
Aunt May leaves the room, closing the door behind her, and Peter grabs a remote and turns on the TV. Eddie Brock delivers a live news report, clearly panicked as explosions happen all around him. The graphic at the bottom of the screen reads "SHOCKING PRISON BREAK."
BROCK
It remains unconfirmed if the costumed criminal who is causing this wreckage is linked to Spider-Man and the Green Goblin, though one can't help but notice a trend in the rise of these characters since the first appearance of the wall-crawling arachnid last week...
Peter gets up and turns off the TV.
PETER
And people wonder what I have to worry about...
EXT. STREETS - DAY
Harry drives an expensive European convertible, while MJ sits somewhat blankly in the passenger seat.
HARRY
Isn't this awesome? My dad promised he'd buy me one of these as soon as I got my license. He promised it when I was five, but I made sure to hold him to it. Isn't it just... awesome?
MJ
Yeah, sure.
HARRY
MJ, can't you try to enjoy yourself here? You know I'm trying to make things work with us. Is that really what's going to be what broke us up? We're going to break up over Spider-Man?
MJ
Of course it's not about Spider-Man. How could you even think that?
HARRY
Then what is it about? We have fun, right? I can't see what the problem is.
MJ
You know, Harry, you're a really nice person at first. I mean, when we hang out, yeah, we do have fun, and I know you try to be nice to most people, but, as I've gotten to know you better, and... I mean, really get to know you... this is going to sound mean, but... Harry, you're just... I just don't think you're a very good person, at all, really.
HARRY
What? And just what the hell is that supposed to mean?
MJ
Look, I know it sounds mean, and it's not like I want to make you feel bad, I really don't, but, you know, even though you're nice on the surface, underneath, you're just... You can't take responsibility for anything, like right now, you're trying to blame us breaking up on Spider-Man, and even when I see you trying to be nice, you're not thinking about what they think, about what they feel, you're just trying to get them to go along with whatever you're trying to do, and then... Harry, you're a racist. I mean... how can I even put that any other way? I just... I can't tolerate someone like that.
HARRY
So it is about mutants!
MJ
It's about you, Harry! Do I really need to explain why I'm offended by racism?
HARRY
So you're some sort of mutant lover now?
MJ
What if I am? You don't know if any members of my family are mutants! Hell, you don't even know if I'm a mutant!
HARRY
Don't even joke about that, MJ, that's just gross.
MJ
What? Maybe I've had some mutant abilities for years, and just never told anyone because I was afraid of what people like you would say.
HARRY
Yeah, maybe your mutant power is to be a real...
As they're talking, a wave of air hits their car, flipping it over, along with many others, with a loud sonic boom. As the dust settles, MJ finds herself pinned under the car, able to wiggle around just enough to see Harry climb out and run away frantically. She screams to him for help, but can barely hear herself over the ringing in her ears. Suddenly, her attention is caught by the red and blue web-slinger swinging overhead.
EXT. PRISON - DAY
A huge portion of the prison wall is collapsed, and the street in front is full of flipped and flaming cars, many of which are police cruisers. In the center of the wreckage is THE SHOCKER, a figure covered in a costume which seems to be made of some sort of yellow quilted material, with a quilted red leotard around his torso and two cybernetic gloves covering his hands. A police cruiser speeds onto the scene, only for The Shocker to raise his hand and fire a shockwave out of his palm, sending the cruiser flipping through the air... and landing in a net of webbing. The Shocker looks around, confused, for the source of the police' savior, and his attention is caught by Spider-Man calling to him from the top of a streetlight.
SPIDER-MAN
What's up with the quilts? Let me guess, you're a mascot for a new paper towel company, and this publicity stunt has just gotten way out of hand. Well I hope you're able to clean this up as fast as in the commercials.
The Shocker fires a wave at Spider-Man, who flips away just in time, but the streetlight he was on, and several cars behind it, are sent flying.
SPIDER-MAN
Hey, Mr. Stay Puft, how about you quit it with the Jedi force powers before I go Wookie on you and rip your arms off?
Shocker fires another blast at Spidey, who easily dodges, but huge damage is still done to the surrounding area.
SPIDER-MAN
Okay, maybe you just can't hear me with that padding over your ears, but I did warn you. Plus, all this noise is just giving me a headache.
Spidey leaps toward the Shocker, dodging yet another of his blasts, and punches him in the chest, the padding in his suit completely absorbing the blow.
SHOCKER
I made this suit to absorb the impact from a super-sonic cannon, you don't think it can absorb the impact from a scrawny wimp like you?
SPIDER-MAN
You know, you're right, maybe I didn't think that one...
Shocker fires point blank at Spider-Man, sending him flying down the street, landing among a ton of wrecked cars, one of which has pinned Mary Jane.
MJ
Spider-Man! Are you okay?
Spider-Man stumbles to his feet, slowly recognizing the voice calling to him...
SPIDER-MAN
Mary Jane?
MJ
Spider-Man! Can you hear me? Help! I'm pinned under this car!
SPIDER-MAN
Can you speak up? I have the worst ringing in my ears.
MJ
I'm pinned under the...!
SPIDER-MAN
No, no, I'm just kidding, it's okay. I got this...
Spidey approaches the expensive, and now totally wrecked, car, and manages to lift it just enough for MJ to crawl out from under it before Spidey sets it down.
MJ
Oh man, you have no idea how thankful I am. My boyfriend totally just bailed on me when...
Spider-Man grabs MJ and leaps with her into the air as a wave of wrecked cars flies down the street.
EXT. ROOFTOPS - DAY
Spidey swings onto a rooftop and sets MJ down.
SPIDER-MAN
I need you to stay here for a minute, okay? There's this guy down there, and I know he looks cuddly, but he's actually pretty dangerous. I'll come and get you down when it's safe, alright? You should be fine here.
MJ
Sure, of course. Go do what you gotta do. Good luck.
SPIDER-MAN
You know, you have no idea how much it means to finally hear that from somebody. Every day it's just been... Actually, it's okay, I really need to go. But, um, before I do, you don't have any idea on how I could stop this guy, do you? He's got padding or something that... you know what? That's not your job. I'll be back.
EXT. PRISON - DAY
Spider-Man jumps off the building and swings down the street to find the villain, though he keeps his distance this time, landing on an electric pole some distance away.
SPIDER-MAN
So what exactly was your plan here? You escape from jail, right? Then what?
SHOCKER
What's your plan? You do the same thing, running around the city, killing cops, and you didn't even have freedom to gain out of it. What's the difference between me and you?
SPIDER-MAN
I don't wear the world's gayest hockey pads.
Shocker fires another blast at Spidey, who once again dodges. The destruction of the power lines sends sparks and bolts of electricity flying.
SPIDER-MAN
Dude, this is getting ridiculous. Can you not see how dangerous this is?
SHOCKER
Why can't you just shut up?!
SPIDER-MAN
You know, I suppose if I had to think about it, it would be because I use humor to deal with stress. In a way, you should be flattered. I'm actually having a lot more trouble with you that I would have expected. I suppose it does make sense that Spider-Man would be defeated by Quilted-Paper-Towel-Man.
SHOCKER
It's The Shocker.
SPIDER-MAN
What?
SHOCKER
The name, it's The Shocker.
SPIDER-MAN
You mean you took the time to come up with your own supervillain name? I suppose it makes sense. You don't want to end up with something as ridiculous as that Green Goblin. Still, I don't think you really thought about your name hard enough. Sure, it's cool sounding and all, but "Shocker?" It makes it sound as if your powers are about electricity or... something...
Shocker fires another blast at Spidey, which once again misses and simply takes out more power lines. As he flies through the air, Spider-Man slings two webs at the villain, and uses them to throw him through the air, into the sparking power lines. Shocker's cybernetic gloves start to crackle and smoke, but he gets up, unphased by the electricity.
SPIDER-MAN
Why won't you stay down?
SHOCKER
Suit's insulated against electri...
SPIDER-MAN
Yeah, I figured that out, actually. Ever hear of a rhetorical question?
SHOCKER
You want to hear something? Listen to this!
Shocker motions to fire another shockwave, but it has no effect. He tries again and again, growing panicked as Spider-Man walks toward him.
EXT. ROOFTOPS - DAY
MJ is mildly surprised as Spider-Man jumps up onto the rooftop to greet her.
SPIDER-MAN
Hi.
MJ
Oh, uh, yeah, hi.
SPIDER-MAN
Are you okay? Not hurt at all?
MJ
No, I'm fine.
SPIDER-MAN
What about Ha... what about your boyfriend, you mentioned him earlier, right? Was he in the car?
MJ
He's not hurt. Not so badly he couldn't run away and leave me to get killed by a supervillain. What happened with that, anyway? You won?
SPIDER-MAN
That guy? Please. He was a joke.
EXT. PRISON - DAY
Several police vehicles speed onto the scene and the officers get out to survey the wreckage. From one of the few standing streetlights hangs The Shocker, wrapped nearly entirely in webbing, and left swinging upside-down by his feet. Stuck to his chest is a piece of paper which reads "One Shocker, shocked, courtesy of your friendly neighborhood Spider-Man."
EXT. STREETS - DAY
Spider-Man swings through the city, carrying MJ with him, who is simply amazed by the experience. They land in an alley and Spidey sets her down.
SPIDER-MAN
You'll be able to get home from here, right?
MJ
Yeah, um, yeah, I'll be fine. Thank you. It's nice to have somebody who actually does some good around here, and doesn't just ignore it or run at the first sign of trouble.
SPIDER-MAN
Hey, about your boyfriend, maybe you should cut him some slack. Just because he isn't a hero doesn't mean he's a bad guy. I mean, could he really have done that much? Do you think you would have if you were in his position?
MJ
I guess you might be right about that, but that's not really the whole point.
SPIDER-MAN
I'm just saying, even though I haven't, like, met him or anything, I have a feeling I'd get along pretty well with this guy, I mean, if I got to know him, of course.
MJ
Believe me, you wouldn't want to know him.
SPIDER-MAN
Well if he's such as bad person to know, why would you go out with him?
MJ
I thought I did know him, I really thought I did, but I didn't, not really. It's like, someone can be nice on the surface, but really they're just hiding their real self.
Spider-Man tilts his head, making a "face" through his mask.
MJ
Oh, no, not like you. I mean, I get that you're protecting your friends and family and stuff, but Harry, my boyfriend, he... he hates you because he thinks you're a mutant. I mean, uh, are you?
SPIDER-MAN
Uh... I don't think so, not that there's anything wrong with that.
MJ
Well there is according to Harry. He can't stand you. He thinks you're just a dangerous criminal.
SPIDER-MAN
Yeah, that's not exactly an uncommon feeling here in our fair city. He certainly wouldn't be the only one I know who thinks I'm nothing but a worthless web-head. (Beat) Well, I'm doing an awful lot of talking for someone who's mask covers their mouth. I should probably be going, but I'll see you later, M... I mean, uh... I hope I see you again, except, uh... not that I hope I have to rescue you again, but, uh...
MJ
Yeah, I get it. I know. It was really cool to meet you.
SPIDER-MAN
Your friends won't believe it, right?
MJ
No, they would believe it. You rescued my friend Gwen a few days ago. Blonde, incredibly ungrateful?
SPIDER-MAN
Hey, you don't need to call her that. I mean, I think I know who you're talking about, but it's okay if she... hates me... Yeah, I really need to go now, bye.
Spider-Man leaps up onto a low rooftop, leaving MJ staring up after him.
MJ
Bye...
EXT. CEMETARY - DUSK
The sun sets as Gwen stands in front of two graves, one of them simply a dug out hole, ready to be filled with the coffin of the person who's name is on the stone, "George Stacey." Peter approaches, Gwen hardly notices, and is somewhat surprised when she hears his voice.
PETER
I, um... I haven't been here since my uncle's funeral, I don't know if I was planning to ever come here again, but then, I guess nobody ever wants to have to come here, but... oh man, I really need to learn when to shut up.
GWEN
It's fine.
PETER
The ceremony, or um... with your dad, it's tomorrow?
GWEN
It's a big police event. They say they're expecting police from all over the country. I came here today because... I don't think I can stand to go tomorrow. I mean, with all those people, people who didn't even know him, and...
Gwen wraps her arms around Peter and buries her head in his shoulder.
PETER
Gwen, I'm... you can't imagine how sorry I am.
GWEN
It's okay. It wasn't your fault.
PETER
I swear, somebody's going to find out who was responsible for this.
GWEN
I know. They can't just keep swinging around the city forever. Spider-Man is going to pay.
INT. OSBORN PENTHOUSE - DAY
Harry opens the front door to greet Peter.
HARRY
Hey Pete. What's up? You couldn't have called?
PETER
Uh... sorry, I didn't think of it. Why weren't you at school today?
HARRY
Man, I just... I'm just not going out there today.
PETER
Harry, if this is about what happened yesterday, with the car and stuff, and you need to talk about it with someone...
HARRY
It's not that, man. We live in New York. This city is crazy enough as it is, then we have that Xavier dude start up that freak school upstate, we're like mutant central around here. Point is, no, that Shocker dude and what he did, that's not a big deal. But man, do you know what I was doing yesterday when that happened? I was with MJ.
PETER
Oh, she's okay, right?
HARRY
Okay? She's great. Too good for me, anyway. I really thought we were fixing things, you know? Then she totally flips out on me.
PETER
Flips out? Like how? What did she say?
HARRY
Doesn't matter. She didn't even get to finish her rant when we got hit by that... whatever the hell it was. But you know what I did? I ran, man. I just got the hell out of there. I didn't stop to see if she was alright, I didn't think about anything but getting the hell out of there as fast as possible.
PETER
Harry, nobody can blame you for that. Anybody would've done the same. You probably couldn't have done anything anyway.
HARRY
Spider-Man could. Showboating bastard flies in with his mutant powers, making the rest of us look bad.
PETER
He was saving people, Harry. He saved MJ.
HARRY
But why? Why would somebody go out and do that stuff? Go and fight flying trolls and... whatever the hell that Shocker dude was. I just don't understand it. I mean, it can't be just to help people. Nobody would do that. I wouldn't. You wouldn't. I mean, what's this guy's plan? Why does he have to go out there and make the rest of us normals look like asses?
PETER
Harry, MJ breaking up with you didn't have anything to do with Spider-Man. That's just crazy.
HARRY
You know what, Pete? I just... just don't. You've got your fairy tale life and a girl who would die for you, and I don't have anyone who gives a damn about me. You just don't get it.
PETER
Yeah, a fairy tale life where the man who raised me gets murdered, and that girl who would die for me? Her father, another person who's been like family to me since before I can remember, gets killed in practically the same week, and now I have to watch one of my best friends get more depressed than I've seen her in my entire life, and my other best friend whine about how he thinks his model girlfriend dumped him for a goddamn superhero, which he probably wouldn't have a problem with, except that superhero's a dirty mutant, right, Harry?
As Peter and Harry are talking, Norman walks through the door.
NORMAN
Hi Harry. Good day at school?
HARRY
Uh, it was normal, I guess.
NORMAN
And Peter's here! So what's going on in your life, Mr. Parker? Any shocking developments?
PETER
Well, you know, the usual.
NORMAN
Indeed... So everything's good with you guys?
Harry and Peter look at each other, knowing they are about to lie.
HARRY
Yeah, it's all good.
PETER
Everything's fine.
A loud buzzing rings through the room for a second. Harry walks up to an intercom in the wall and hits a button.
HARRY
Hello?
GWEN
(Intercom)
Harry?
HARRY
Oh, Gwen, I'll buzz you up.
Harry hits a second button and begins to walk away from the door, when the buzzing is heard again and he walks back to the intercom.
HARRY
Yeah?
GWEN
(Intercom)
It's not working.
HARRY
Hold on, I'll come down and open the door for you. I'll be back in a minute, Pete.
Harry heads out through the door, leaving Peter and Norman alone.
NORMAN
I'm glad you're okay, Peter. I've seen what you've been doing the past few days. Apparently you handled that prison break extremely well, but that, what did the newspaper call him? The Green Goblin? Peter, you shouldn't be doing things like that. That, whatever it was, it killed people. And you let it get away? Who's to say when it shows up again?
PETER
I know. That's actually what I came to talk to you about, Mr. Osborn.
NORMAN
So you finally admit it.
Peter
I... I really need someone to talk to about this stuff, and you're...
NORMAN
I'm the only one you trust. I'm honored, Peter, I really am.
PETER
Well, you're the only one who knows about this already, and...
NORMAN
Peter, if you need advice, you know what I have to say about it. This is too dangerous. Stop this... this amazing fantasy you're trying to live out, and let me try to figure out exactly how this happened. Once my lab is fixed...
PETER
Actually, that's what I was going to talk to you about. Not the quitting part, no, it's kind of the opposite of that. The Green Goblin, I knew I saw that thing he was flying around on before, and then it hit me. It was when we went on that field trip to your lab. That guy was working on it with the metal arms.
NORMAN
Peter, I hope you're not implying Doctor Octavius did this. He was a good man and a good friend, and he was killed by the monster you're accusing him of being. His body was destroyed by the explosion.
PETER
No! No, not at all, but I was thinking, if somebody had to break into your labs to steal that equipment, then maybe they are on the security tapes or something. Maybe we can find out who this is, and make them pay for what they've done.
NORMAN
Believe me, Peter, I wish we could, but the security tapes were destroyed in the fire, and besides, this person beat you in a fight. With your powers? They probably had superpowers of their own.
PETER
Well they certainly did seem as strong as me, maybe more, and yesterday I lifted a car.
NORMAN
Whoever did this was probably a mutant, and we don't know what other sorts of powers they have. They could've turned invisible and walked right through the lab, or teleported in, or walked through the walls. This is clearly an incredibly dangerous person, Peter. Let's say you do find out who they are, what exactly are you planning to do?
PETER
I know exactly what I'm going to do. The Green Goblin has to die.
NORMAN
Now Peter, this character almost killed you before. You can't go out and look for him again. This monster killed your friend's father.
PETER
And that's exactly why I'm going to kill him.
The door opens and Harry and Gwen walk in.
GWEN
Don't worry about her, Harry. Honestly, you can do better.
PETER
Hey! Harry, Gwen. Uh... Gwen, you're looking a lot better.
NORMAN
Ms. Stacey, I'm so sorry about what happened to your father. I saw parts of the ceremony on TV. It was incredibly touching. If there's anything I can do for you...
GWEN
Not unless you can make Spider-Man pay for his crimes.
NORMAN
Well... we'll see what will happen with that. I suppose I'll get out of here, you kids don't want me around, cramping your style. Do the kids still say that?
HARRY
I don't think they ever said that.
NORMAN
Smart mouth. Well, I'll be in my office if you need me.
Norman walks down the hall into his office, closing the door behind him.
PETER
So what were you guys talking about?
GWEN
Can you believe Mary Jane had the nerve to break up with Harry? Really?
PETER
Yeah, I heard. Because it's such a big deal. Mr. Harold Osborn Esquire here has such a difficult life. He's certainly dealing with more problems than any of us.
GWEN
Just because someone has their own problems doesn't mean they can ignore everyone elses.
PETER
Oh, I get it now. Our parents get killed, he doesn't get to have a model for a girlfriend. Potayto potahto, right? No. Just no. What happened to you anyway? After like two days you're able to just put it away in the back of your mind? You're not sad anymore?
GWEN
How dare you?! I'm depressed, I'm angry, I just want to freak out, but there's no point in taking that out on the people around me, unless the people around me happen to be Spider-Man, but I'm fairly certain that doesn't apply to anyone in this room, so would it kill you to show a little compassion?
PETER
You're right. You're right. Harry, I'm sorry, I was being a jerk. You have every right to be upset. I mean, you just got dumped. That's not easy for anyone.
HARRY
Yeah, nice apology, Pete. Really made me feel better.
PETER
Well, I'm trying here!
HARRY
No, yeah, I know, it's okay. I'm just kidding, man. I'm using humour to lighten a bad situation.
PETER
Yeah, I definitely get that.
GWEN
So you guys are done? We're all friends again now?
HARRY
I guess, but don't say it like that. You're making it sound weird.
GWEN
Well whatever. Listen, you guys know Liz Allen, right? From school?
PETER
Well, I know of her.
GWEN
Anyway, apparently she's having a Halloween party tonight, she told me to invite you guys.
HARRY
You were actually invited?
GWEN
Yeah, I was surprised too. I guess... I dunno, she heard about what happened and felt bad for me or something.
HARRY
Pity invite? Well, something good came out of this, right?
PETER
Harry! Totally not cool!
GWEN
No, whatever, just, do you want to go or not?
HARRY
Well, I already bought a costume for this thing MJ invited me to a while back, so... yeah, I'll go.
GWEN
Peter?
PETER
Yeah, I think I can come up with a costume.
INT. PARTY - NIGHT
Spider-Man wanders through the crowd of various Halloween costumes, from the typical cat costumes, two Captain Americas arguing with each other, a bunch of witches, vampires, werewolves, and finally we see Peter wearing a red visor and a blue one piece suit. Harry wanders over to him, wearing his regular street clothes, and starts a conversation.
HARRY
Who are you supposed to be?
PETER
I'm Cyclops. You know, from the X-Men?
HARRY
Yeah, of course you would pick someone like that.
PETER
Really, Harry? You're going to start with that now?
HARRY
I'm just goofin' around, man. Chill out.
PETER
Well what's up with your costume? What are you, exactly? The world's biggest... uh... um...
HARRY
You didn't think that one through, did you?
PETER
I did not.
HARRY
Ha. No, man, I went to get my costume out of the closet and couldn't find it, then I was way late already, so I just figured, what the hell? Nobody actually cares what people wear to these things, right?
Gwen, wearing a black robe, witch's hat, and carrying a broomstick, walks over to Harry and Peter.
GWEN
Did you see that jerk dressed as Spider-Man over there? Honestly? Can you think of anything more offensive?
HARRY
I can. That guy over there! That's my costume!
PETER
Relax, Harry. I'm sure a lot of people bought the same costume...
Peter looks at the direction of Harry's enemy, and tenses when he sees someone in a Green Goblin outfit. Someone hands him a beer and he takes off his mask to chug it, revealing Flash Thompson. Peter doesn't untense at all.
PETER
Nevermind. Yeah, that guy's a jerk.
HARRY
Right?
A tall blonde girl wearing the same cat outfit as a hundred other people in the room, LIZ ALLEN, walks up to Gwen.
LIZ
Hi Gwen. Are you feeling okay? Enjoying yourself?
GWEN
Yeah, everything's great, Liz.
LIZ
Great. Hi, Harry, Greg.
PETER
It's Peter! How do you even get those confused?
LIZ
Yeah, hi. I think I hear the doorbell. You guys have fun now.
Liz walks to the front of the room and opens the door, finding another person in a Green Goblin outfit.
GREEN GOBLIN
Trick or treat?
LIZ
Hi, come in.
GREEN GOBLIN
Answer the question.
LIZ
What?
GREEN GOBLIN
Oh, so it's up to me? I'll pick... trick.
The goblin throws a pumpkin shaped bomb into the house, causing a large explosion and instantly starting a large fire. The goblin's glider flies in from behind him. He hops onto it as it passes under him and he flies above the panicking partiers.
GREEN GOBLIN
You know, I think I'll take a treat for myself, too. But which one? Ah, there you are. Lazy costume, though. I recognized you right away!
The goblin swoops into the crowd and snatches Gwen off of her feet, dropping her hat and broomstick as she is held above the rest of the room. He throws a bomb at the wall and flies through the exit he creates for himself. The guests are already starting to stream out of the house, as Peter stands frozen, looking at the Green Goblin fly toward the Brooklyn Bridge in the distance. Harry grabs his friend and pulls him out of the house.
HARRY
Peter, are you nuts? We have to get out of here! Come on!
EXT. PARTY - NIGHT
Peter and Harry are some of the last few out of the house, as Liz cries hysterically at the front of the crowd outside and Harry walks over to comfort her.
HARRY
Liz, don't worry. Everything's going to be fine. Everyone got out of the house safely. I made sure. Me and Peter were the last ones out, right Peter?
Harry turns around, but Peter is nowhere to be seen.
EXT. BROOKLYN BRIDGE - NIGHT
Each side of the bridge is blocked by raging fires and burnt and exploded cars. Spider-Man swings onto the top of one of the bridge's support beams. A cable car full of people in Halloween costumes hangs over the edge, held up only by a cable held by the Green Goblin on the other side of the bridge. In the Goblin's other hand, he holds Gwen by the back of her robe.
SPIDER-MAN
Gwen! Don't worry, everything is going to be okay!
Spider-Man's calls do nothing to calm her down, and the sight of the web slinger just causes her to panic more and struggle to get out of the goblin's grasp. Her squirming causes her to slip through the robe, and she begins to fall before the goblin catches the back of her shirt. She watches her costume drift down into the water below, showing just how far up she is, but now she is too frozen in fear to squirm again.
GREEN GOBLIN
Be careful, dear. We wouldn't want you to fall... yet.
SPIDER-MAN
Why are you doing this, Goblin? Are you just trying to get my attention? Is that it?
GREEN GOBLIN
Oh Spider-Man, what big brain you have!
SPIDER-MAN
Just stop it! What are you trying to prove?!
GREEN GOBLIN
You can't save everyone, Spidey, and it's only a matter of time before somebody comes along with a sadistic choice. Now, I know which one Spider-Man would pick, but is that really who you want to be? Think about it, "hero!"
The goblin lets go of Gwen and the cable car, and both plummet to the bridge stories below. Spider-Man leaps after the cable car, catching the cable in the same hand he uses to fire a web to attach to the side of one of the support beams. With his other hand, he shoots a web at Gwen, falling faster and faster toward the traffic on the bridge. The web connects with Gwen's abdomen, and a distinct "crack" is heard as her descent immediately stops. Spider-Man screams out as he immediately realizes his mistake. He uses his web to stick the cable of the cable car to the wall, and begins pulling Gwen's motionless body toward himself. He holds her to his chest as he climbs the side of the support beam and lays her down on top and kneels next to her. Gwen blinks slowly, shallowly breathing, she is hurt, but alive, and her eyes lock onto Spider-Man's face. The goblin walks up behind Spider-Man and speaks softly.
GREEN GOBLIN
What am I trying to prove? That being a hero is one fruitless endevour. Poor Ms. Stacy here was always afraid that you would be the death of her, and look at that. She was right!
SPIDER-MAN
No! She's still alive!
GREEN GOBLIN
Oh come on. That's the most naive thing I've heard from you yet. She's done for. Why don't you make her last moments meaningful? How about you let her see the face of her killer? Let her know who you really are?
Spider-Man doesn't respond, and just sobs as he looks into Gwen's confused face.
GREEN GOBLIN
Do it!
The goblin grabs onto Spider-Man's mask and tries to rip it off his face, as Spidey holds and struggles to keep it on.
GREEN GOBLIN
Let it go! Tell her who you are and break her heart!
Spider-Man loses the struggle as the goblin takes the mask and throws it off the bridge into the water below. The unmasked Peter finally makes eye contact with Gwen, only to find her eyes glazed and unfocused.
GREEN GOBLIN
Aw, isn't that a shame? Looks like she died just in time. Well, I guess you won that one, Spidey.
Peter screams out as he spins around and tackles the goblin, sending both of them flying off of the support beam. He pummels the villain as they fly through the air, before he lands on top of the goblin when they hit the bridge below. He continues to mercilessly lay into the costumed criminal before he yells out...
GREEN GOBLIN
Peter, stop! Stop!
His pleas do nothing to phase Peter in his rage, until the goblin manages to reach for his mask and pull it off, revealing Norman Osborn. Peter finally stops, not out of mercy, but out of shock.
PETER
Mr. Osborn?! Why?! Why you? You killed all those people! You killed Gwen!
NORMAN
I didn't want to, Peter! I only wanted to scare you, so that you would stop being Spider-Man and come to me for help! I didn't want to hurt you, I only wanted to help you!
PETER
Help me? Look at what you've done! All the people you've hurt!
Norman begins to stand up and walk toward the edge of the bridge.
NORMAN
I know. I know. I never meant for this to happen. Nobody else will suffer because of my actions. Peter, I'm sorry.
Norman throws himself over the edge of the bridge as Peter runs after him. Peter looks over the edge, but finds no sign of Osborn. Suddenly, Peter is picked up off of his feet as Norman hits him from behind on his glider, and sends him flying out over the water. Peter fires a web that latches on to the underside of the glider, and holds on for dear life as Norman tries desperately to shake him off. Norman flies erratically, whipping Peter along behind him, before he makes a U-turn just as he flies back over the bridge, sending Peter flying into the side of the cable car, barely stuck to the side of the support beam. Peter bounces off the side of the car and falls toward the ground with a thud. He picks himself up off the ground as the web holding the car to the wall begins to slip, and just as he climbs to his feet, he is nearly crushed by the weight of the plummeting car. He just manages to catch it, and struggling to hold himself up, he slowly and gently lays the car on the ground. The crowd inside the car is shocked at their survival, but their shock quickly turns to more fear. Peter sees the looks on their faces, and in the reflection of the car's window, he sees Norman flying toward him.
PETER
Climb out of this thing and run! Get as far away from here as you can!
Peter turns around and fires a burst of webbing, hitting Norman in the face and sending him flying into the beam before he falls off his glider and both fall to the ground. He lies motionless, half on top of the complicated machine, as Peter cautiously approaches. He stands over Norman's body when it suddenly springs to life, grabbing an object off of the glider, a spear, and swinging it under Peter's feet, knocking him to the ground. He pulls the webbing off of his eyes and slams the spear at Peter's chest, who rolls out of the way just in time. He stabs again and again and again, missing each time, before Peter sweeps his legs out from under him and grabs the spear out of his hand as Norman falls to the ground. Norman crawls away in fear as Peter backs him toward the wall until he is pinned and cowering.
NORMAN
Well, I knew this was coming. Go ahead, do it.
PETER
What are you talking about?
NORMAN
Kill me. Just do it. You were planning to anyway. Why do you think I had to do this today? You told me that you would find out who the Green Goblin was and kill them. I didn't mean to kill those police officers, it was a mistake! I only wanted to scare you! When I heard what you were planning to do, of course I had to defend myself! We both know it wouldn't be the first time you killed someone in revenge. So go ahead, kill me.
Peter takes a step back and throws the spear over the side of the bridge.
PETER
No. No, I won't do it. I'm taking you to the police. Death is too good for you, and I'm not going to sink to your level.
NORMAN
Oh Peter, I am so grateful. I don't deserve your mercy, but I always knew that your compassion would be what saved me... and killed you.
Suddenly, the goblin's glider comes flying in from behind Peter. A split second before it hits, Peter leaps into the air, and the glider flies under him, instead hitting Norman and impaling him on the front of his own contraption, pinning him to the wall. Peter is stunned for a second, simply shocked, when the sound of helicopters begins to grow near, and Peter jumps off of the side of the bridge, swinging under it and heading back into the city.
INT. SCHOOL HALLWAY - DAY
Peter walks to his locker, getting pushed and jostled by the crowd, opening it to see a picture of himself, Harry, and Gwen, taped to the inside of the door. He grabs a few books and closes his locker to find Harry, rummaging through his own locker, a blank expression on his face. Peter walks over to him and awkwardly begins talking.
PETER
Harry... I heard what happened with your dad, that... I mean, I heard that he was...
HARRY
The only one out there with the courage to stand up to Spider-Man? Yeah, I know. And that freak still managed to kill him and Gwen in the same night.
PETER
Harry...
HARRY
You know, with MJ gone, and what Spider-Man has done to my dad and Gwen, you're the only person I have left in my life, Peter, and I promise you, I will do everything I can to make the person who did this to us pay.
EXT. ALLEY - DAY
Peter stands in an empty alley behind a dumpster, holding his backpack in front of him, looking at his Spider-Man suit. He stands there contemplating, when a car speeds by, followed by several police cruisers.
INT. JAMESON'S OFFICE - DAY
Jameson sits at his desk, putting together the front page, pictures of Spider-Man and the Green Goblin on the cover.
JAMESON
Looks like those idiots killed each other. Green Goblin taken care of, and no sign of Spider-Man since then. Probably fell right into the East River.
Just as Jameson has written him off, Spider-Man swings past his office window. Jameson simply sits, shocked, his cigar falling out of his gaping mouth.
INT. NORMAN'S OFFICE - DAY
Harry steps into the lifeless office, with a nervousness that shows this is not a place he is usually welcome. He stares at the huge picture of his father on the wall opposite the window, then notices the minibar next to Norman's desk. He pops open a bottle of liquor and pours himself a glass, then walks over to the large window and begins to drink as he watches Spider-Man swing past, far below his high viewpoint.
EXT. STREETS - DAY
Spider-Man continues to swing down the street, passing over MJ on the sidewalk. While most of the other pedestrians are disgusted or scared by him, she is the only one who looks up with a smile on her face, and doesn't care when she calls attention to herself by calling out to the hero.
MJ
Go get 'em, Spidey!
Spidey continues past, glancing back and giving MJ a wave, clearly making her day as she watches the hero swing into the distance.
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