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OVER CENTRAL PARK
Gorgeous fall day. Hot-chestnut weather. Spider-Man sails in off Central Park West on a line of silk. King of the Manhattan skyline. Swinging from a turret of the Dakota.
PETER (V.O.) Look at this guy.
Sailing over the Sheep Meadow, bouncing off the top of Reptile House. Sharp turn onto Fifth Avenue, hard around the Plaza Hotel.
PETER (V.O.) (cont'd) Look at him. Like he doesn't have a care in the world.
is a torrent of taxis and humans and steam from the manholes.
He skims along it like a dragonfly, heading downtown.
PETER (V.O.) You probably think it'd be cool to trade places with this guy. Styling costume. Awesome powers. Greatest damn city in the world.
AT 36TH STREET
He throws down a great big giant elastic band of webbing. Turns a couple of office towers into an enormous slingshot. Curls into a ball and hits the rubber band dead center.
PETER (V.O.) Is that what you're thinking?
He gets just enough bounce to catapult him up over the top of the Empire State Building. Toe barely grazes the needle tip.
PETER (V.O.) (cont'd) Well, maybe you'd better think again.
He pinballs down Fifth Avenue and then out
OVER UNION SQUARE
Heading for the Flatiron Building, with the big DAILY BUGLE sign. Circling in, alighting on its roof.
PETER (V.O.) Maybe you'd better wait until you see the kind of day this guy's having.
J. JONAH JAMESON'S BIG UGLY MUG
So steamed the very air around his head shimmers.
JJJ Parker, you're fired!
INT. JJJ'S OFFICE — DAY
He tosses a stack of photos at PETER PARKER. They're awfully nice photos. Maybe a little too nice.
JJJ Dogs catching Frisbees in the park... Some fat old geezer playing chess... Autumn leaves.
PETER I was thinking maybe the Bugle could show another side of New York for a change–-
JJJ Parker, if I believed for one second those pictures were an accurate reflection of this town, I'd hang myself from the top of the Chrysler Building. I don't pay you to be a sensitive artist! I pay you because for some reason that psycho Spider-Man will pose for you.
PETER Well, it's like I told you, Mr. Jameson. Spider-Man won't let me take any more pictures of him. He says you only use them to slander him. You've turned the
whole city against him.
JJJ A fact I'm very proud of! Having that lunatic around has weakened the moral fiber of New York! The police are demoralized! The citizens lazy! Now get your pretty little "portfolio" out of my face before I go into a diabetic coma!
PETER Mr. Jameson, please. You can't fire me. Even working two jobs I can barely make tuition, and Aunt May's social security doesn't amount to...
JJJ mimes tying a noose around his neck, throws his head back, thrusts his tongue from his mouth. Peter folds.
PETER (cont'd) What if--all right, what if I did have a shot of Spider-Man?
He reaches for it. JJJ eyes it hungrily. Slides out a fantastic shot of Spider-Man saving a nun from an oncoming meat truck. Parker. I'll nominate him for a goddamn medal. you know that. There's no way I can sell you this shot… until you agree to run more balanced coverage of Spider-man. Peter snatches it back.Peter reaches into his knapsack and takes out a manila folder. . Fine. PETER No. PETER Five. I'll give you four. I'll give you three hundred. JJJ It stinks. JJJ I take my journalistic responsibility to present balanced coverage very seriously Parker. You have my word.
SPUTTERING. Get lost. (beat) Done. and runs out. Knowing he has just made big mistake. He leaps to his feet. Right. a hotbox with . EXT. shit. Parker. PETER Time. JJJ (cont'd) All right. you've wasted enough of my precious time. then sits a moment. On the back. looks at his watch: oh. Not a well machine. Peter snaps out of it. grabs his knapsack.JJJ That's outrageous. MINEO'S PIZZA — DAY Peter rides up on an elderly Kawasaki: RUMBLING. Peter lets go of the photo. COUGHING.
I'm sorry. in comes an order from the high-quality law firm of Foehn. MR. MINEO'S — DAY Peter hurtles into the shop. In eight minutes. Life has disappointed Mr. A PAGER beeps. . Aziz. INT. PETER Sorry! Mr. out of breath. frantic. The BEEPING stops. AZIZ Twenty-one minutes ago. Aziz. I am defaulting on the Mineo's twenty-nine minute guarantee. Yanks the pager from his pocket. MR. Indeed numerous banners and signs proclaim the sacred number. Peter's only a side-manifestation. Harmattan & Buran for seventeen extra large deep-dish pizzas. Peter leaps off and runs into the pizzeria. AZIZ hangs up the phone.the Mineo's logo.
AZIZ (cont'd) Then not only will I be receiving no money for these pizzas. Or your ass is to be fired. but you are not dependable. stacking them in Peter's arms until we can't see his face anymore. And they are killing me already. You must cross forty-two blocks in seven and one half minutes. You must make it in time. MR. I will lose the customer forever to Pizza Yurt.MR. AZIZ (cont'd) You are a nice young man. He starts thrusting pizzas at Peter. . PETER Why didn't you send Salim? MR. This is the last chance I can give you. AZIZ Salim was deported yesterday. I have no hope but you. Peter.
Mistake. EXT. NEW YORK STREET — DAY Peter halted. A van has collided with a Town Car. An old lady in a . contemplating suicide. Peter pops up onto the sidewalk. EXT. Kicks it again. PETER I don't believe this! Mr. The PASSENGER gets out. Nothing. It's 5:44. 5:47. too. Looks at his watch. He goes slobbering off.NIGHT Peter runs to his bike. kicks it. MINEO'S .Peter checks the big Mineo's clock. Peter kicks it once more and it starts. shouting and threatening each other. Nothing. The three men come to blows. dumps the pizzas into the hotbox. The DRIVERS are on the street. Aziz watches. Climbs on.
Spider-Man's spider sense tingles. he shoots a strand of web. LOWER MANHATTAN . He looks down. sees the trajectories of car. It arcs heavenward. Below. .wheelchair comes out of nowhere. With his hand now free. Peter hits the brakes. At the end of each arc he freefalls until he shoots the next strand of web. pure vectors of physics plotted against the air: collision. One-handed. since the hotbox is tucked under his left arm. Swerves. ball and boys. twisting metal. snapping bolts. A car is coming right at them. Spider-Man heaves the hotbox away.NEW YORK STREET — AERIAL SHOT Spider-Man swings toward the Woolworth Building. two boys chase each other and a basketball into the street. And it's 5:48. With a mighty heave he wrenches the hotbox right off the back of the motorcycle. He kicks wildly at the starter: dead. The bike stalls. Then he ducks into an alley. EXT. Peter leaps off the bike.
DAY Peter rushes in with the stack of pizzas. silly grin on his face. horn BLARING. The car squeals past. circling in. WOOLWORTH BUILDING . The basketball shoots in. Spider-Man catches up to the hotbox as it hurtles earthward. Sets them on their feet. dazed. The receptionist stares at him. They look up at the sky. The boys. then at the pizzas: disgust. Snags it with a web and drags it back up. Out of breath. Spider-Man snags its pinnacle and arcs around it. INT. PETER Pizza time! He sets the pizzas on the desk. past him. One of them catches it.LAW OFFICES . kind of wild looking. a web-slung chest pass. A big. The Woolworth Building looms.A lasso of web encircles the boys and yanks the boys toward the opposite side of the street. Peter looks--there's a .
MR. the twenty-nine minute guarantee is a promise. but to me it is serious. AZIZ You are fired. PETER (cont'd) Sorry. The pizzas arrived three minutes late! Peter. too. PETER It's serious to me. Aziz. INT. Mr.gob of webbing on the top box. MINEO'S PIZZA — EVENING Peter struts in. that is what you are. I know a promise means nothing to you. PETER Mr. grinning. Sheepish he scrapes it off. Aziz whirls on him. . Aziz! I'm back! I-- Mr.
He climbs off it. I-- GOON . GOON Christ. Aziz shakes his head. A shadow looms. backfiring. please give me another chance. I think you broke my tailbone! PETER Oh. Peter jumps back. It's a beefy SECURITY GOON. Peter's surging HEARTBEAT. OSBORN/PARKER APARTMENT .NIGHT Peter's tired old Kawasaki pulls up in front of the building. man. Please. Ducks. flips a very large man over his shoulder.Honestly. The guy SLAMS against the lobby floor. then lashes out and grabs hold of his attacker. Peter has flattened the guy. twists. Mr. Peter gives up. I need this job. EXT. I'm sorry. SPIDER SENSE. Trudges into the lobby.
he must have lost his footing. HARRY What the hell you did to my security guy? PETER He surprised me! I grabbed him and he.NIGHT Peter takes out his key. Harry? Did somebody threaten you? HARRY . OSBORN/PARKER APARTMENT .. The door flies open. But instead of a keyhole there's a card-reader. He's puzzled.I was only going ask for your ID! PETER My ID? Since when--? INT. (changing the subject) What's with the muscleman.. (how lame!) I think they just waxed the lobby.
He takes a slender hybrid PDA/remote from his pocket. Steel shutters come down. PETER. Taps some buttons.paranoid. I'm worried about you.. Harry holds up the screen of his super-Palm. I'm lucky Spider-Man hasn't killed me already! He knows I'll spend every last dime I have to take him down. . He flinches. PETER Harry.. It reads ID CONFIRMED: PARKER. Titanium bars slide across the windows. PETER (cont'd) . right? Pete.. Another beam lances from the ceiling and performs a retinal scan of Peter.. Laser trip-beams spin a glowing web across the living room.You're kidding. You've really gotten kind of.
HARRY You could save me a buttload of money and trouble if you would just tell me how you always manage to find the guy. . PETER I would if I could. Trying to be funny but with weird intensity. Harry taps. the beams die. PETER'S FACE The impossibility of the situation. I swear to you. He gets right in Peter's face.HARRY I guess you're who you seem to be. the pain. and all the barriers retract. PETER Please just tell me you didn't put a camera in the bathroom.
DAVIS AUDITORIUM. THE TICKETS THE ANANSI PROJECT: AN INTERIM REPORT. HARRY (cont'd) Hear are those tickets you wanted. tosses them on the table. I know . searching his face. are we? Takes two tickets from his pocket. That Octavius guy at Columbia. Have fun. Harry. Something there that he doesn't quite believe. Falters. I'm serious. You don't need me. HARRY That's fine. I don't need you. Fails. No. 6PM.Harry stares at him. PETER Octavius! Otto Octavius is the god of arachnid biomimetics. Peter struggles to meet Harry's searching gaze. PROFESSOR OTTO OCTAVIUS. We're not even really friends.
Harry stops by the door. Harry can't help smiling. points to the . fine. They start to go out. PETER Great! Okay! Let's bolt. I keep my promises. HARRY And you promised to help me get Spider Man! (subsides) All right. HARRY Lord have mercy on my soul. but come on! You can't miss that! Peter is perfectly serious.you're mad at me. PETER You promised you'd introduce me to him! The rage flares up again in Harry.
MJ'S VOICE Hello. star of the Broadway stage. PETER Hmm. presses play. This is Mary Jane Watson. HARRY Oh. I need to get down to the theater by 8. Geez. Peter goes to the machine.answering machine. there was a message. HARRY Didn't you already see that lame show of . I hope the lecture's over by 7:30. I'm so nervous! Peter checks his watch. For you. (beat) You guys. I didn't feel like picking up.
. did she poison the leading lady? PETER Shut up. And I'm not her boyfriend. and all. PETER Hey. HARRY What. as they shut the door. but that's above and beyond. tonight she's playing the lead! She's the.hers? PETER Twice. Bars descend. Pete. indicators flare. HARRY Christ. As they walk out of the apartment. I know you're her boyfriend. you know. the understudy.
Smiling like a man with a surprise in store for us. winner of a National Science Medal.INT. A stiffness between them. Younger than you might expect.. CZERNOWITZ is introducing Otto Octavius. Czernowitz looks intimidated. director of the Anansi Project. APPLAUSE as Otto strides out. reporters. Wearing a long black Gaultier jacket. COLUMBIA UNIVERSITY — DAVIS AUDITORIUM — NIGHT Packed house of researchers. Otto Octavius. Dr. interested members of the public. It's my great honor to present. PROF.. Now I'm afraid he's left us mere mortals far behind. OTTO Frank. He and Czernowitz meet. CZERNOWITZ .as a doctoral candidate he was dazzling. CZERNOWITZ .
Behind him on a table. Harry is playing Tetris on his Palm Pilot. Laughter. a violin and bow. OTTO He told you I was "dazzling. Grins. spot on Otto. They shake hands awkwardly. We poor humans have always envied our fellow creatures their talents. As he talks. OTTO (cont'd) Biomimetics seeks to adapt for human use the technologies of other species. Peter is rapt. the display will mirror. self mocking. Then Otto strides to the podium. expand on and illustrate his words.Otto. Behind him a large flatpanel monitor descends. The lights dim. ." but what he's too nice to bring up is was what an insufferable little wretch I was. Piano to one side. soon we will share them.
almost precognitive impulse control. HARRY I will never understand this spider thing of yours. the remarkable abilities of spiders. their astonishing. But it's in the area of octopedal locomotion that things are really getting exciting.OTTO (cont'd) My own researches have been into arachnid technology: adapting. The goal is to provide stable motion on every possible kind of terrain and superior manipulation . their web-spinning abilities. Peter takes no notice. Harry notices how spellbound Peter is. OTTO We had some success with manipulating spider RNA. leans over.
it was a chance visit to the Bronx Zoo that gave me the key insight. Otto steps out from behind the podium. OTTO (cont'd) You can't imagine the sheer number crunching might required to control and coordinate eight legs. . networked to the central unit in her brain.at a distance. The center is empty. Really tough. then a diagrammatic human operator appears. Actually. eight legs networked to each other through and to the center. OTTO (cont'd) The octopus has the equivalent of a powerful processor in each leg. along with a diagram of its nervous system. He walks toward the monitor. The display fades to a diagram of the Rig. which displays an octopus.
OTTO (cont'd) Four! Harry sits up. smiling a little coyly.OTTO (cont'd) Now. OTTO (cont'd) I call it a self-articulating network. so far the capacity to control the full complement of eight legs is beyond our capacity. The black stealth-bomber glint of superhard ceramic. Puts away the Palm Pilot. undulant. A gasp from the audience. Then from somewhere behind him a pair of glinting pseudopods snake out. But we've been able to implement a similar system using: Otto takes a step forward. . The 'pods hover over Otto's shoulders a moment. but I'm afraid the name that has stuck is Otto's Octopus.
It is a little warm in here. The music breaks off. afraid. perfectly at ease. OTTO (cont'd) Yes? Oh. the bow. Otto strikes up a Grieg sonata. puffs contentedly. amazed. The arms help him out of the jacket.One 'pod reaches to tap him on the shoulder. another pair of pseudopods is revealed. With his own two hands. arching high into the air. and as it comes off. The audience. The audience goes a little nuts. One 'pod takes up the violin. Among them hangs. thank you. Otto. another. Now the 'pods assume a configuration like a daddy long-legs. Peter with a look of open-mouthed wonder. half suspecting that it's all a prank. "toes" splayed against the dais. he takes out a fat cigar and lights it. One at a time. in . The next pair snake out toward the piano.
he raises and lowers each foot. OTTO (cont'd) Each one of my four assistants here is equipped with its own hundred-teraflop processor. He begins to stride back and forth across the stage on his four dancing pseudopods. He sinks back onto the two lower 'pods. OTTO (cont'd) At times I feel the Rig here has a life of its own. LEFT UPPER PSEUDOPOD takes a piece of paper from Otto's . OTTO (cont'd) Computer architecture so sophisticated and capable of learning it approaches consciousness.turn. The upper ones snake out around him.
walking on the lower pseudopods. overlapping his own flesh. revealing THE RIG nestled right up against his spine. They're eating this up. RIGHT UPPER produces a pen and scrawls something across the paper.. OTTO (cont'd) --Merge into one organism. (rueful smile) ..its systems and my own would actually begin to integrate with each other. Otto. He turns around. The sign says GEEK! Laughter from the audience. whirls his head around. The pseudopods rip away his shirt. back to the audience. OTTO (cont'd) Given time. as if confused...pocket. AUDIENCE . Then the 'pod with the paper slaps it across Otto's back. and a strong enough host.
Then a surge of APPLAUSE.BACKSTAGE . PETER You have to introduce me to him! HARRY Don't you have a diva waiting? Peter checks his watch. INT. even revulsion at the sight of the implants. PETER Gapes. PETER I can make it.NIGHT Otto lurches in on the pseudopods to a ROAR of applause from the hall. bowled over.Shock. . DAVIS AUDITORIUM .
But Peter's spider-sense TINGLES.NIGHT People are still applauding. with a single glowing bubble of air. INT. He gets up. This is a dial with a glass tube at its heart. HARRY Where are you-- . They mount it around him. like a spirit level. The TEAM LEADER twists the Rig's LATCH.The 'pods telescope in and Otto falls to the floor. But one of the 'pods remains slightly extended. DAVIS AUDITORIUM . PETER I'll meet you in the lobby.AUDIENCE . He aligns the bubble with a mark and-- WHAM-the 'pod LASHES out and knocks the Team Leader aside. OTTO'S team crowds around him and drag him over to the NEURAL COUPLER UNIT.
The Rig struggles for a moment. The pseudopods whip and buzzsaw. Keeping a grip on the knot he-- Spins a thick cocoon around each of the lower ones. Spider-Man leaps into the middle of the cyclone. pins them to the wall. He fires web snares at the pods. Ties them in a knot. fires a strand in either direction. Otto falls to the . Otto hangs from it like a doll. INT. Yanks them toward himself. They break free.BACKSTAGE . then powers down. lash out. The 'pods feint and block. Smash lightbulbs. He tries to reach Otto.NIGHT The Rig is out of control. Scatter humans.PETER Too much coffee. Spidey leaps up. They GRIND in protest. padding each out until it's a gently flailing balloon. Knock Spider-Man down. DAVIS AUDITORIUM . snags the upper two 'pods.
The Team Members hurry over with the coupler. The irises of his eyes seem to be leaking into the whites: pinwheels. . muscular back is enhanced by four neural sockets. the 'pods knotted across him. We see that Otto's bare. ASSISTANT Look at his eyes! ASSISTANT 2 We're overdoing the endorphin push. SPLORCH. Strange flowers. Spider-Man kneels beside Otto. The team gets Otto into i and the Team Leader twists the Latch. Spider-Man gets out of the way. Otto opens his eyes. Octopi. The rig pops open. They roll him over. Otto falls out. Making sure he's okay.floor.
OTTO . I'm fine. TEAM LEADER Otto. He stands up. Spider-Man's not there.. OTTO (cont'd) I'm fine! Thank you. it was too long. They try to help him.TEAM LEADER That's the symbiosis routines in the Rig. shaky.. Now. OTTO Was I. You stayed in the Rig too long. Otto sits up. It's actually trying to reconfigure his optical functions. was I fighting Spider-Man? Everyone looks around at Spider-Man. Brushes off their helping hands. get off me.
OTTO (cont'd) Thank you. Sees the broken light bulb. Is he serious? He looks around. OTTO (cont'd) Maybe I stayed in the rig too long. Thanks a lot. He sits down. He accepts their ministrations. the problem is that I didn't stay in it long enough! My system never gets the chance to reach equilibrium with the Rig's! They stare at him. Teddy. The slashed curtain. The shattered chair. They bring him a glass of water and a clean shirt.No. (concerned) Are you all right? I didn't hurt you? TEAM LEADER (relieved) . I don't know.
thanks to the endorphin boosters it feels very good. they're shaking hands. PETER It's so great to meet you. Coming out's a bitch.I'm fine. INT. Otto looks a bit frazzled but basically fine. OTTO Still one or two-(twitches his head) . DAVIS AUDITORIUM . HARRY Doesn't it hurt to be jacked into that thing? OTTO Actually.BACKSTAGE CORRIDOR Harry introduces Peter to Otto. chief. And the Rig's pretty--cool.
Not too mention a true original. PETER Actually.. Well. OTTO (cont'd) So I hear you're into spiders. OTTO Ah. A man. Unfortunately we lost our funding for that project. Any friend of the Osborns is my friend. Doctor.. I was hoping to hear you talk about the superspider research. But basically sound. in a world of mediocrities. Norman Osborn was a huge supporter of my work. He's very sorely missed. At this mention of Norman. I'm afraid it was rather poorly managed. a shadow clouds Harry's face. The Rig's materials and kinetechnology is all Oscorp design and build. call me Otto. . A steady and generous supporter. And please.Kinks to work out.
I have to go. Changed my life. Now! OTTO Ego extravaganza? . but don't you have an ego extravaganza to get to? Peter looks at his watch: it's 7:45. OTTO And you guys had a--field trip? To our lab last year? I hope that was interesting? PETER Oh. my God. HARRY Pete? Not that I really care. PETER Jeez! Oh.PETER It's sort of a hobby. yeah.
PETER It's our friend-- HARRY Your friend. She's the understudy and she's making her big debut in fifteen minutes. then starts away. MARTIN BECK THEATER — NIGHT The Marquee reads: BRIDE! Over it. EXT. He shakes hands with Otto. PETER --MJ. Frankenstein and the Bride. Mary Jane Watson. She's in this musical. PETER (cont'd) You ought to check it out. The name Deirdre DUNN plastered everywhere. enormous cutouts of Dr. . I bet you'd really get into it.
We're with two of the ladies. SOPHIE and ROSE. . Sixty dollars a ticket and we get the understudy. NEBO CENTER FOR ASSISTED LIVING. they are each handed a program. ROSE Wouldn't you know it. A BUNCH OF OLD LADIES file out. Rose notices a leaf of paper poking from the program.A tour bus pulls up in front of the theater. ROSE What's this? THE PIECE OF PAPER DURING TONIGHT'S PERFORMANCE. The nameplate reads: MT. As they enter the lobby. THE ROLE OF ELIZABETH FRANKENSTEIN WILL BE PLAYED BY MARY JANE WATSON. Tugs it out.
the actor playing HENRY FRANKENSTEIN.BACKSTAGE . MJ Got it.SOPHIE Deirdre's probably in rehab again. lounges beside her. We travel down the wings. calm where she's worried. She's in costume as Elizabeth Frankenstein and holding a blond wig in her hands. RENARD Just remember. past actors and crew who crowd the stairs. MJ turns expectantly. THEATER . Clearly troubled rather than nervous.NIGHT Frenetic stagehands make last minute changes. ANOTHER ACTOR'S . RENARD. INT. down to the dressing rooms. The door to the dressing room opens. MJ WATSON sits at the mirror. acting is reacting. making little adjustments to her makeup. He's very good-looking. Actors loiter in the wings.
Big theatrical smile. you know. cheer up. They heard about your big debut. and smiles at herself. Somebody must have called . Puts on the wig. MJ looks sad. RENARD Hey. sits down right beside MJ. Renard pulls a chair over. There's a TV crew here. costumed as an Angry Villager.there. MJ How did they hear? RENARD I don't know. MJ (cont'd) Did you check Will Call? ACTOR The ticket is still there. From New York 1. tugs it straight. The show must go on.
He brushes a flake of mascara from her cheek. ACTOR Boyfriend? MJ No. Flirting hard.them. who is he. who needs him? MJ . No-Show? MJ A friend of mine. I thought he might want to see my debut... your Mr. but I guess he doesn't. RENARD (cont'd) So. Just a friend. ACTOR Eh. act. Somebody who likes the way you.
USHER Whoa. PETER But I-- USHER . Runs up to the theater door. STAGE MANAGER MJ? You ready? I/E. You can't go in there. THEATER — NIGHT Peter tears into the lobby. Points to a sign which confirms this. Nobody seated once the performance begins. A burly USHER stops him.(resolute) That's what I say. Who needs him? The STAGE MANAGER comes in.
(beat) Nobody seated once the performance begins. she is a very nice young lady. But I have to get in there. MJ'S CAST HEADSHOT . USHER And as far as I can tell. You can go in at intermission. Mary Jane Watson is a friend of mine. PETER When's that? USHER (checks watch) About forty-two minutes from now.It's to help maintain the illusion. PETER I understand.
THEATER — LOBBY . Just kind of amazed by how pretty she looks." MJ emotes back at him. A little sultry. SIREN in the distance. "I Created A Man. INT. Her gaze strays toward the house. Henry is singing his big number.Nice picture. a glaringly empty seat. INT. Right in the front row. Faint SQUEAL of tires. THEATER — ONSTAGE . She sings. Peter's gazing at the picture. Spider-sense TINGLES.NIGHT It's on a wall by the front doors.NIGHT MJ as Elizabeth with Renard as Henry F. Back on MJ. OUR TWO OLD LADIES .
THEATER — NIGHT SIREN is louder. Peter looks back at the theater. Two seconds later. Peter ducks out into the street. Then keeps on going downtown. Something is happening and he needs to stop it. . PETER It's not your problem. Pete. Driving way too fast.Way at the at the back of the house. Then another. one two three police cruisers. It's not your problem. In traffic. Then back to the avenue. It's coming from over on Broadway. A CAR flashes through the intersection of 45th and Ninth. Smashes into a car. ROSE She's terrible. It's the police's problem. INT. Then at his watch. Skids.
EXT. Snags the two shooters. THREE GUYS. weaving in and out. Now Spider-Man turns to the DRIVER.NIGHT "CAR CHASE" SCENE (CC) The car roars down the avenue. NINTH AVENUE . Manages to get them both out just before the car slams into a big construction site dumpster and EXPLODES. webs up the Driver's gun. The cruisers in pursuit. Keeps coming back. comes over top. Oh. Pins them to light posts and hangs them out for the police. It's a rag-top. Shot at. Two in the back with machine guns. EXT. Is thrown off. like Spider-Man didn't see that coming! Spider Man flies elegantly through their fire. Lands on the car.NIGHT . CONSTRUCTION SITE . In the end he crawls under the car.
NINTH AVENUE . Spider-Man lowers the poor bastard down to them on a line. They grab him and cuff him. Spider-Man! EXT. SPIDER-MAN Duly noted. The other looks up at Spider Man. POLICEMAN 2 There's no way I can not arrest you for that. One leads him away. . His head snaps left. He fires a web and swings back uptown. Spider sense TINGLES. POLICEMAN 2 It's a lot safer in jail. swings back toward the theater.NIGHT Spider-Man.TWO POLICEMEN come running over. headfirst.
Spider-Man plummets to the ground. It goes slack and Spider-Man falls out of the sky. A bullet snips the dragline neatly in two.Atop a building nearby. in a single piece. slamming his shoulder into the pavement. Two big BRUISERS rush him. MOTHER Maniac! Idiot! Peter stumbles to his feet. Fires a web that snags a small billboard across the street. The webbing peels the entire top sheet off the billboard. He stops falling. Peter falls the last four feet or so. Moving like a diver he twists around. Nearly hits the TWINS. Right under him. . One carries a pair of heavy-duty handcuffs. The next instant a shot rings out. They're on him. A MOTHER is pushing TWINS in a stroller. the flash of a sniper's rifle. Manages to arrest his fall.
S. TAUNTING MAN (cont'd) We get five. Nobody steps forward. two million apiece. All quiet. . but Peter handles them easily with a little fake kung fu. look. That's like. KID You in for it now. There's nothing there now. And sees that a crowd has gathered around him. Spider-Man looks down. It's the ten million dollar man. But he doesn't step forward. we could take him. Most just staring at him like hungry dogs.They're big. Twelve or thirteen. Then a little kid steps forward. Scans the skies over Ninth Avenue. Come on.) Hey. what. Then he looks up. TAUNTING MAN (O. six guys together.
MARTIN BECK THEATER — LOBBY . The lobby's ominously empty. SPIDER-MAN (cont'd) Give it your best shot. INT.$10.000 REWARD.The kid hands Spider-Man an early copy of tomorrow's Bugle.. Bounds right over them and then into the night.NIGHT Peter comes tearing back in. Ready for Peter. New York. The same usher stands there. SPIDER-MAN Ten million dollars. . THE PHOTO PETER SOLD HIM TODAY (captioned SPIDER MAN ASSAULTS NUN!!!) and THE HEADLINE: WANTED -.000. I should arrest myself.
In reply the usher just crosses his arms. THEATER . one of the old ladies watches. INT. At the back of the theater. Peter perks up--no. expressionless. watching the door. Then she's there. EXT. THEATER . Her friend is sound asleep.NIGHT MJ is having a deep scene with the Monster and the Bride. PETER MJ! .PETER Tell me I didn't miss intermission. just before the tragic conclusion. Some actors come out.STAGE DOOR Peter waits.
MJ Well. He goes after her. He takes her by the arm. are you? PETER . then you aren't a very good friend. She isn't going to even speak to him. She shakes it off. Please. PETER I do want to be friends.She turns back to him.She sees him. PETER (cont'd) MJ. I believed you. is pierced through by the sight of him--and keeps walking. She keeps going. when you said you wanted to be friends. On second thought-. MJ You know.
Is she softening? Peter will never know. Renard comes out of the theater. Please. I'm sorry. MJ. They wouldn't let me in. I was a little late. Checks out Peter. can't lie fast enough. Starts away again. I do want to be your friend. She looks at him. I went to get a picture and-- She doesn't want to hear it. RENARD . I mean. MJ But you missed everything! All of it! Why didn't you come in at intermission? Peter doesn't know how to answer this. I got here. PETER Well--there was an accident--in the street. PETER (cont'd) MJ.I tried.
Which I'm not. MJ.. You were wonderful. Her look says. I think you enjoy this idea you have that I'm going around carrying a torch for you. (beat) . MJ Renard's just a friend.Good night. Renard gives Peter the fisheye and then walks off. Gives her a big hug.are you. See? You could lose me. When he lets go. MJ is staring right at Pete. Why. You aren't-. PETER MJ. No. Do you wish I was seeing somebody? Would you like to get rid of me and for all? PETER MJ-- MJ No..
You don't know how much I think about you. I've known you since the first grade but I don't know anything about you. Tomorrow. Looks into her eyes. He looks like he thinks she has a right to be. And then what will you do? She's angry. Six inches of air separates him from having her. fumbles with it. And then nobody will be carrying a torch for you.No. PETER MJ. He's embarrassed. But you know what? I might meet someone. Peter takes a step toward her. How much I-- MJ No. I'm not seeing anybody. You don't know. I don't know anything. His PAGER goes off. I might even fall in love with somebody. that's right. . Peter.
It's Aunt May.PETER Sorry. sitting at the kitchen table. EXT.NIGHT Peter's on the phone. She hardly ever pages me. Not so quietly losing it. It's--oh. worried. what's the matter? Why are you crying? INT. I better-- MJ watches him go. MAY What's the matter? I'm going out of my mind. PETER Aunt May? Aunt May. that's what the matter! I can't take it any more! . Typical. PAYPHONE . AUNT MAY'S HOUSE .SIMULTANEOUS Aunt May's in her bathrobe.
okay. not crying. tears into the kitchen. EXT. Aunt May's just sitting there. PETER Okay. Scarily still. PAYPHONE . He hangs up. settle down. in a pool of light. and runs back down to the alley where he left MJ. TRIBOROUGH BRIDGE . holding a cup of tea.NIGHT Peter races out to Queens on his lousy motorcycle.SIMULTANEOUS Peter is distressed. But she's gone. I'm coming. AUNT MAY'S HOUSE . Aunt May.NIGHT Peter comes running into the house at top speed.EXT. Nice plate of . INT.
Buzzing all around the house. PETER A fly? MAY A fly. I don't know what it is.cookies beside her. I'll take care of it. MAY . it's driving me insane! Who can sleep with a racket like that? Peter: Okay. PETER All right. PETER Aunt May? What-- MAY There's a fly. a bee.
I tried to kill it myself. we would sense that the fly feels a sudden alarm. His eyes dart to a porcelain shepherdess holding up a forty watt bulb and a gilt-edged shade. but I can't. PETER It's in the bedroom on your lamp. If we could detect such things. She gives him a look. AUNT MAY'S HOUSE . AUNT MAY'S HOUSE .KITCHEN Aunt May hears the THWING of Spidey's webbing and then a . There on the shepherdess's bonnet perches a big fat juicy fly. Peter cocks an ear. his hearing spider-sharp. how did he know that? INT. INT. I don't know where it is.BEDROOM Peter steps into the bedroom and closes the door behind him.
MAY Something on your mind? . Peter.SPLAT. PETER He was a handy guy to have around. I know you must think I'm losing my mind. MAY I'm sorry. It's just-. PETER Mission accomplished. Peter emerges from the bedroom. looking satisfied. A beat. (beat) I never realized how much I depended on his advice.your uncle always killed the bugs around here.
. You have to let yourself mourn. PETER Change.... PETER Yeah.. But I-- MAY Peter.PETER Well-- MAY You could talk to me. Peter. Everyone has. Peter looks startled. you know.. What do you mean? MAY You have to grieve him. (taking a chance) I've seen the change that has come over you since Ben died. Guilty.. I know that.? I don't.
. PETER I'm having a very hard day. He takes one. Yeah. MAY Sooner or later. She slides the plate of cookies over to him. I know. (beat) I wish I could. Sighs.PETER Oh. I mean. Peter. Chews it. Aunt May. It might as well be now. you have to let it out. Peter nods. you're right. MAY What? PETER Oh--no. Weight of the world. Sits down.
MAY What? PETER . I can't cry. I don't have the right. Peter. Aunt May. You don't knoweverything there is to know. not me.MAY Go ahead. About how Uncle Ben died. MAY Don't be silly. Of all people-- PETER Of all people. PETER No. The guy who-that punk. Cry. (deep breath) I had a chance to stop him. Aunt May. I can't mourn Uncle Ben.
He was robbing this place. PETER (cont'd) And then like an hour later. And I knew it. that's when Uncle Ben was waiting for me and this guy went up to him and. A couple of hours before he shot Uncle Ben. Then she stands up and takes the plate of cookies away from him.. A little confused. She's just looking at him.The guy. Turns and dumps all the lovely cookies into the trash. I ran into him. I guess I can understand how you didn't want to tell me this. maybe.. Because at the time it didn't seem like my problem. And I could have stopped him easily. She sits a moment longer. Quiet . But I let him run right past me. Dry-eyed. MAY Well.
she cuts herself. then brings it down against the counter. MAY (cont'd) I mean. MAY (cont'd) Ow! Damn it. Pokes her finger into her mouth. Peter tries to put his hand .fury. on the surface. MAY Damn it! She crouches stiffly and begins to pick up the pieces. Peter goes to help her but she pushes him away. As she tosses shards into the trash. it does seem to be something fairly unforgivable. PETER Aunt May? She swings the china plate above her head. It shatters.
NIGHT Peter roars back to the city. MAY (cont'd) Get away from me. EXT. PETER Aunt May-- She ignores him. Get out! He backs away. She takes the Dustbuster from the broom closet and begins noisily to bust dust. As he slows in some traffic.on her shoulder. One leans out of a passing car. Then it actually bursts into flame. the bike begins to backfire and throw sparks. your motorcycle is on fire. butthead. He turns and walks out. Steely eyed. BQE . . vacuuming. Fellow motorists honk at him. FELLOW MOTORIST Yo.
With the aid of a . This quickly devolves into a vicious kicking. Contemplates the flames then starts to stamp them out. PETER Stupid frigging piece of junk! Why can't I have one thing in my life that actually works! Fellow motorists slow their cars to watch as Peter's spider strength renders the bike a heap of junk in seconds. Then turns and starts to limp home along the median. PETER (cont'd) Can't-. INT. Leaps off the burning bike. watching a tape of Barbara Walters interviewing the his father.cross town without bursting into flames-.even-.or being shot at! Peter stands over the corpse of the bike. OSBORN/PARKER APARTMENT — NIGHT Harry is lying on the couch.Peter scrambles over onto the shoulder. heart POUNDING.
And a little amber prescription bottle. He's a wreck. Norman Osborn sheds a single shining tear. god damn it. THUMPING from outside. The barrier goes up. muffled through the blast shutter over the door. PETER I see that. Harry is crying. Onscreen. Peter drags his sorry ass in the door. too. let me in! Harry picks up the remote and punches in the code. HARRY .shaker of martinis. HARRY I made martinis.S. PETER (O.) Harry.
HARRY Have a drink. PETER (cont'd) What are those? HARRY Dinner. PETER'S FACE Oh. PETER . brother. He points to the bottle of pills. Courtesy of Dr.That's the only time that man ever cried. then sits down beside Harry. thanks. You look like you could use one. Here we go. But no. PETER I probably could. Chomsky. He takes a deep breath.
He said I've made it too dangerous for him. They sit and watch the tape of Norman Osborn. Just tell me where to find him. Barbara is laughing. That's all you need to do. Tell me where you meet him. . you're right. I'll take care of the rest. He almost got killed today. HARRY She. Now Norman is his old in-control self again. HARRY (cont'd) Pete. She'd probably be very disappointed in me. No. Peter looks at him. Harry just keeps staring at the screen. telling Barbara Walters a story. He broke off contact with me. PETER I can't.I'm sure he doesn't want you taking them with alcohol.
Norman Osborn is laughing. People get murdered. PETER Bounty! HARRY I'm sorry. now. Your uncle. (beat) Who do you think put up the bounty? Onscreen. It . My father.HARRY I know. did I say bounty? I meant reward. what you're talking about is-- HARRY Murder? Maybe. Pete. too. PETER Harry. A strangely familiar laugh. mad glint of the TV in his eye. His goblin grin is reflected for a moment on his son's face.
don't be-- PETER Mr. PETER I think--it would probably be best for me to move out. PETER . Harry's eyes fill with static. HARRY You'll find another job. Harry. And I can't work for the Bugle anymore. So. The tape goes blank.happens. I'll carry you until you do. I can't afford to pay you rent anymore. no problem. Peter gets up. HARRY What? Because of what I said about Spider-Man? Pete. Aziz fired me today.
HARRY (cont'd) Well. Harry sloshes upright. drunk and stoned but still Harry. Let's not--ah.I couldn't let you do that. HARRY No. PETER Harry. He starts to walk out. come on. forget it. HARRY Pete? Harry sits up. Grinning a twisted grin. Like me. where are you going to go? Home to Aunt May? . You wouldn't want to be a sniveling little do-nothing freeloader. that's right...
recuperating from his show. BOY TALKING HEAD ..potential applications. range from handling nuclear waste to . He climbs up to his bedroom door. I don't think I'm so welcome there anymore. of Otto strutting around the stage. Tries to open it.NIGHT Otto lies in a steaming bathtub. could you please let me into my bedroom? INT. Pushes some buttons. good cigar. PETER (cont'd) Harry. TV flickering in the wall. Video coverage of the lecture.PETER No.. Nothing happens. On the news: His performance. Octavius said. Nice tub. OTTO'S LOFT .
The girl talking head comes back on. Jim. the incident is reported. it seems that Spider-Man is finding New York to be a very tough town. dripping.detonating underwater mines to the exploration of outer space. ranting. GIRL TALKING HEAD (cont'd) . On TV. and pads over to the television wall. Then there's a shot of Spider-Man scaling a wall. We see several shelves of DVD archives arranged above the recorder. He leaps out. watching with a scientist's eye. Jameson is there. Otto zooms in on it. GIRL TALKING HEAD Speaking of creepy crawlies. We see the headline about the reward. Otto hits the record button on his DVD-R. At the words "Spider-Man" Otto sits up in the tub.
All of the other disks are labelled the same way.said that the role will be played by Miss Dunn's understudy.. currently playing the lead in the popular musical Bride! would be taking a temporary leave of absence for some well needed rest.It was a scene right out of All About Eve tonight when a spokesman for Deirdre Dunn announced that the Broadway star. MJ is being interviewed. scrawls a label. Mary Jane Watson. We see that it is labelled: SPIDER-MAN 5/24/04... Otto pops out the disk. in makeup. fits it into its box. Otto's attention is drawn to the screen again. backstage. They go back for a year. Files it on the shelf. MJ (ON TV) . GIRL TALKING HEAD (cont'd) ..
NEW YORK STREET . A dollar bill comes dangling down on a thin silky thread. EXT.DAY . The NEWSVENDOR watches openmouthed as the paper is tugged gently skyward. glistening. this is great opportunity for me. but mostly I just wish for a very speedy recovery for Deirdre. NEW YORK STREET — NEWSSTAND . but somehow softened.LAMPPOST . INSERT The next day's Bugle: NEW YORK TO SPIDER-MAN: DROP DEAD. Otto's gaze remains scientific. Towels off his hair. We pull back and reveal as we do so his four backjacks. THWIP! A fine mesh of webbing spreads across the edge of the paper. each capped with a rubber seal. EXT. watching MJ's lovely face.DAY The newspaper sits atop a pile.Well.
A wet impact. SPIDER-MAN You shot someone for nineteen dollars? That's-- Out of nowhere looms a huge OBJECT. A SCREAM. .Spider-Man crouches atop the lamppost.DAY A THUG runs out with a sackful of money. scanning the paper. Another catches his right arm. A jet of webbing catches his left arm and pins it to the wall. Stuffs his gun into his waistband. TINGLE of spider sense. Head snaps to the left. Opens it and peers inside. A GUNSHOT. Spider-Man picks up the bag. He's pinned and struggling. He drops the bag. EXT. heading for his skull. Crumples it up. KOREAN GROCERY . then THWIP-THWIP each of his legs at the ankle.
SPIDER-MAN (to Grocer) Thanks. I'm sorry. Here. wielded by a pair of YOUNG MEN. A SIREN. . The GROCER comes running over. YOUNG MAN You're under arrest.It's a WATERMELON. A bloody patch on his upper arm. A neat stack of watermelons behind them. Screams at the young men. He jabs the grubby pile of bills toward Spider-Man. Sags. Spider-Man wobbles. Spider-Man closes the Grocer's hand around the money. Spider-Man. Picks up the bag of money. GROCER What's the matter with you? He's a good guy.
A black Volvo pulls up. Fourth and Fifth.As the police run up.NIGHT Two hundred frightened but outraged old Filipina ladies relinquish their bingo money to the pillowcases of the hoods. INT. . Snatches it from his hand. wielding the web like a lariat. A thick strand of webbing lances in and SMACKS the gun of the Lead Hood. knocking him cold. conking the Second Hood on the head. Five HOODS pile out and go running in. then the Third. EXT. BINGO HALL .FILIPINO CULTURAL CENTER . Then swings it into his temple.NIGHT Dusk outside Bingo Hall. SPIDER-MAN Stands in the doorway. Spider-Man takes to the sky. The gun flies through the air. They all go down in under three seconds. QUEENS .
OLD LADY Ten million dollars! They start toward him. BABY. INT.The old ladies turn to Spider-Man. Hard to read their expressions. The other says: NOWHERE TO HIDE. BINGO HALL .NIGHT He stumbles free of them and then leaps to safety. INT. Studying two alternate front pages. CRASH!!!!! A blizzard of broken glass. JJJ ducks under his desk as the avalanche comes down. He waves his fingers. . JJJ'S OFFICE — NIGHT JJJ's working late. One says: NOWHERE TO RUN TO. and then they're on him. bludgeoning him with their handbags.
Sees Spider-Man standing there. Picks up the cocoon. A slick pupa. encases him entirely. JJJ comes out from under the desk. Repeat. SPIDER-MAN Is that S as in "shut the hell up"? He slaps a gob of webbing across JJJ's mouth. Code S. then. Punches a button. Spider-Man sticks the cocoon under his arm and leaps to the . Code S. Garbled CURSING. Jams in the straw about where JJJ's mouth should be. Takes the straw from JJJ's Big Gulp. SPIDER-MAN Got a minute? JJJ picks up his phone. in a few seconds. JJJ This is Jameson.Spider-Man drops down through the skylight over JJJ's desk.
JJJ I-. Jameson. SPIDER-MAN Really. (beat) Look. Cringes and pulls back. I'm fine with you hating me. ROOF OF BUGLE . . Clambers across the newsroom. upside down. I don't know. Fear of heights. I'm even fine with you slandering me.I'm acrophobic. JJJ creeps carefully away from the edge. over the astonished staff.NIGHT Spider-man rips the cocoon away.ceiling. JJJ starts to rant but looks over the cornice and sees the street far below. But getting me killed. Afraid. I thought that was fear of spiders. that kind of irritates me a little. Out a window. EXT.
pal. JJJ (cont'd) Look. a muscle man. You come in here with your tight pants and your sticky fingers and you tell us you're a hero. I'm not fine with anything about you. He starts to close in on Spider-Man. JJJ has Spider-Man on the defensive--backing away. but I do.JJJ The Bugle didn't tell anybody to kill you. . a gangster in spandex. What gives you the right? Because you're the strongest? That's not the country I'm from. You are a danger to this city. But you know what I see? A vigilante. His courage returning. You may not believe in old-fashioned ideas like due process and the rule of law.
Spider-Man looks at them.JJJ (cont'd) You know." Translation: JJJ goes in for the kill. A DOZEN SECURITY GUYS pour out onto the roof.NIGHT ." "Messiah complex. I hired a psychiatrist to do a profile of you. pal. INT. Did you see that story? Did you read what that lady said? "Delusionary. Then leaps over the side of the building. The security men run to the ledge. then back at JJJ. Seems about to speak. and is gone. OSBORN/PARKER APARTMENT ." "Narcissistic. JJJ (cont'd) You need to get a life. A door SLAMS. JJJ (cont'd) Where the hell were you? You're all fired.
the laundry bag tumbles from the pile of suitcases. Harry comes out into the hall to watch him go. You're just going. As he goes out the door. . HARRY You don't have to take dirty clothes. You can still do your wash here. Peter stoops to pick it up. you know. HARRY (cont'd) Where? PETER I found a place out in Sheepshead Bay. Peter starts to say something. he's carrying out three suitcases and big laundry sack. then just nods.Peter has his stuff packed up. that's it. HARRY So.
KEYRING JINGLING.NIGHT 3 AM. INT. earphones THROBBING in his ears. A YOUNG MAN enters. Spider sense TINGLES. PETER I need the big machine. Peter sits in a plastic chair. Deserted.Peter shrugs. LAUNDROMAT . Peter looks up as in slow motion the man walks. Peter doesn't look up. carrying a laundry sack. A pile of similar tomes beside him. Slowly the fingers reach for the lid of the machine. Makes a note in a notebook. The man goes over to a machine. Sees Peter sitting there. reading a thick tome entitled Biomolecular Chemistry. PETER . CHANGE in his pocket.
mister. Take it easy. PETER (cont'd) You can't use that one. soaking wet. Peter waits a moment. YOUNG MAN Okay. Peter lifts the lid. The OUT OF BALANCE light is blinking. . Pulls out the red and blue suit. then runs over to the machine. YOUNG MAN (cont'd) The yellow light's flashing. The man decides that Peter is mad.No! The man gapes at him. That's my machine. He begins to stuff his clothes back into the sack. He shoulders the bag and hurries out.
I thought that dreams were just brain garbage. CHOMSKY Nightmares? HARRY Every night. CHOMSKY They are. DR. last night. CHOMSKY'S OFFICE Harry sits facing Dr. DR. But you can learn a lot about a person by going through their garbage.INT. DR. DR. . Two of them. a petite Korean-American woman. CHOMSKY What are they about? HARRY I didn't think you guys handled dreams anymore. Chomsky.
The doctor stares at him. MARTIN BECK THEATER . Then with a horrible wet sound Harry splits open. HARRY'S NIGHTMARE He's shaking hands with his father.Harry thinks. BACK ON HARRY He opens his eyes. Real pain in them.AUDIENCE . Sighs. They're both smiling. Reaches for the prescription pad. Give me something to help me sleep through them. HARRY They're disgusting. please. right down the center. I don't want to talk about them. Just. INT. and Norman Osborn steps out of the husk. The real Norman starts to laugh his GOBLIN laugh. He closes his eyes.
INT.ONSTAGE MJ sings her big number. MJ I sucked! RENARD You sucked not.Otto sits in the fifth row. "The Mind of the Man I Love. Watching. MARTIN BECK THEATER . DRESSING ROOM . Renard follows right behind. THEATER . INT.CONTINUOUS .NIGHT MJ stalks offstage to lackluster APPLAUSE.AUDIENCE Otto's entranced. center. THEATER .BACKSTAGE . INT." INT. Dissatisfied.
MJ The Bugle was right. MJ If Peter thinks he can… THE CARD It reads: I THINK YOU ARE BRILLIANT." RENARD Someone doesn't agree with you or the Bugle. She goes to them.MJ runs into the dressing room. He points to a big bouquet of black roses. flings herself onto a battered sofa. irritated all at once. There's a Bugle lying there. charmed. I do "manage to be both overstated and paper-thin at the same time. Opens the card. with a card. . she tosses it toward Renard. intrigued.
MJ "O. MARTIN BECK THEATER . OTTO Miss Watson? She turns.O. He's dressed with a sharpness that is only slightly funereal. carrying the flowers. too. EXT.O. .O. startled but somehow having expected it. I--I sent you those flowers. but keeps a certain distance. He doesn't want to frighten her. Otto approaches.?" RENARD Oh oh.NIGHT MJ is walking out. OTTO (cont'd) I'm Otto Octavius.
OTTO I hope that wasn't out of line. Shaking his head.MJ Oh oh. I'm sorry. Excuse me. He turns and walks away. Not so much embarrassed as disturbed by the failure of his experiment. MJ Wait! Slowly Otto turns back. Was it? It was. MJ No! I mean-- OTTO I won't bother you again. MJ (cont'd) .
I meant it. About your being in this show.I loved the flowers. You were brilliant. Which I loved. Unfortunately the drama critic of the Daily Bugle doesn't agree with you. I don't really know him very well at all. OTTO Peter Parker? MJ Yeah…? How do you…? OTTO Peter's a friend. Of a friend. MJ Thank you. But he's the one who told me about you. It was beautiful. Honestly. I've been sort of hoping somebody might send me flowers. OTTO .
A long beat goes by.The man is a well-known idiot. MJ salutes him with the roses. OTTO Do you believe in the value of boldness. The bubble of weirdness between them pops. MJ and the roses go very well together. MJ Thanks for these. Otto stares. MJ Really? OTTO (has no idea) Legendary. Inner turmoil visible. She turns to leave. Miss Watson? MJ . She likes this. We can almost hear it.
At all times. Right now. MJ hesitates. Not because she doesn't want to. . OTTO I like to eat with my hands. I've never-- He wiggles his long elegant fingers. This is a big yes for her. OTTO Have dinner with me. because she does. Faintly but disturbingly tentacular. Wow. MJ Ethiopian. MJ Where did you have in mind? OTTO There's this Ethiopian place on West 47th.
MJ less sure. OTTO Yum.INT.NIGHT A lovely server settles an enormous platter of doro wat and other fine and strange foods before them. MJ It's very… colorful. Look at that. She looks right back at him. Warily. Otto watches her. Otto digs in. MESKEREM ETHIOPIAN RESTAURANT . OTTO Well? MJ Strange but good. . Otto is delighted to see it. After a moment MJ tears off a piece of njera and joins in.
She--no. It's supposed to be funny but he just nods. Let's talk about you. serious.OTTO You were telling me about your mother. INT.LATER They are sitting closer to each other. (self mocking) Not right now. She's finishing a story. and I'm sorry. OTTO Not to me. RESTAURANT . You seem like a much more interesting person than me. MJ I know I was. anyway. OTTO And did you have a dog? MJ When I was little. Tasha. I am .
It sounds fascinating. Come uptown. But you would never believe it. I couldn't-- OTTO Boldness in all things. Right now. . Tell me about what you do. OTTO I'll tell you what. I'll show you the rig. MJ Try me. It's your turn. That's enough. MJ Oh. I'll show you the lab.not going to tell you about my childhood pets. OTTO I could describe it to you.
INT. ANANSI PROJECT LABORATORY . or a 1971 Chevrolet Barracuda.NIGHT The darkened laboratory. (beat) It's a little freaky. a malign orchid. All the lights go on as Otto ushers MJ in. MJ Is that it? Otto is in love with the rig. . Slash of light. The way that a man might be in love with a ship. It hangs in its dock. KEY in the door. of course. OTTO That's it. She gets that he has feelings for his machine. She notices the rig right away. Machines softly interrogate one another. MJ It's beautiful.
OTTO Well.THE RIG As Otto "comes out" to MJ. THE RIG One of its heads. I'm not like anybody you've ever met. Freaky. I'm a little freaky. You should probably know that about me. I taught myself calculus when I was nine. The one with a somehow crafty expression in its staring black sensor. yeah. I'm a freak of nature. POV . I was a chess grandmaster at fifteen. MJ Okay. MJ. OTTO I am not like other people. I don't .
THE RIG Deep in its sensor. Now it's watching MJ. The rig. OTTO But there was always that one pretty girl who also managed somehow to be nice. I'm all right with it. huh? MJ looks away. I'll bet that was you. I accept that I was given the gift of intelligence for a purpose. It was hell on earth.say it as a boast. OTTO (cont'd) Today. I had to fight every day of my life. Otto's . I've learned to embrace being a freak. MJ I knew a kid like that. smiles. a diode pulses. Which is this thing you see.
Much smarter. He goes over to it. faster. She laughs. It makes you better. A touch of the bridegroom. MJ You mean it makes you stronger? OTTO Stronger. I feel . it cuts hair. MJ What does it. OTTO (cont'd) What does it do? It improves you. yes. well… do? OTTO Oh. but also smarter. When I'm jacked in.Octopus. Takes hold of one of its hands.
like my grasp finally equals my reach. I can feel myself--expanding. Not just my physical grasp but my mind, my heart, my soul. I feel enlarged by the experience. And it feels right. Have you ever felt anything like that?
MJ I thought so. One time.
She goes over to the rig. Slowly extends her fingers toward the nearest head. As her fingers draw nearer the diode pulses and we begin to fear for the fate of her fingers. Her fingertips touch-- the eye goes dark.
MJ (cont'd) When you say "jack"…
OTTO There are four shunts that interface directly with my central nervous system. I wear it. But it's also wearing me.
He reaches up and takes hold of the latch, with its spirit level bubble.
OTTO (cont'd) This is the neural integrity seal. The latch, basically.
MJ Does it hurt?
OTTO The system delivers a steady dose of pain blocking endorphins the whole time I'm in it. Which so far has never been longer than a few hours. The goal is a permanent interface. Of course the idea of a permanent human/machine integration makes some people uneasy.
Granted, MJ's looking a little uneasy. Otto fingers the Latch.
The Rig is designed to seek to implement a systems merger with the host. Unfortunately, so far, my flimsy human tissue's not up to the challenge. Not yet. We're working on that.
MJ is freaked, and fascinated.
MJ So you have, like... holes? In your back? Permanent ones?
OTTO Want to see them?
Daring her, a little bit.
MJ Not really, but yes.
He turns. Unbuttons his shirt. Lowers it. Four black glinting discs in his back. Freaky but beautiful.
MJ (cont'd) Whoa! Okay. Thank you. Very nice.
He pulls up the shirt, rebuttons it, turns. Shirttails hanging out.
OTTO It's late.
MJ It is.
A DOORBELL PANEL
A FINGER scans the names. Stops at WATSON. Press the BUZZER.
EXT. MJ'S APARTMENT BUILDING - NIGHT
Peter's standing there. Dressed up. Holding a single red rose. He waits. There's no answer. He checks his watch; it's late. Then cue the TINGLE of spider-sense. He whirls, hears FOOTSTEPS, VOICES.
MJ and Otto approach the building.
Peter's face as he registers the voices: alarmed.
On the front step as MJ and Otto approach. Peter's not there. MJ turns to Otto, carrying the big dark bouquet.
MJ Thank you. I had a really nice, really interesting time. And thank you for the flowers.
Clings to the side of her building, upside down. Takes the single cheap rose from his teeth. Looks at it.
OTTO So, maybe it's out of line. For me to ask you this. But I don't want to make a
fool of myself. Are you seeing Peter Parker? Because if you are.
MJ No. I was. But he wouldn't… He couldn't... He just couldn't.
OTTO It's really none of my business.
But he looks pleased with the information. He holds out his hand.
OTTO (cont'd) Good night.
She takes his hand, then plants a kiss on his cheek.
Watching the kiss. It's breaking his heart.
Stunned at her own brazen behavior. LAMPPOST . A skip in his step. EXT. Feels like dancing with a lamppost.LOBBY . EXT.NIGHT As Otto turns and starts back across town. SCIENCE BUILIDNG . Watching. MJ'S BUILDING .NIGHT As Otto walks through its beam we notice a dark shape crouching on the stanchion. A cybergoth Gene Kelly. INT.NIGHT She presses herself against the door. . MJ'S BUILDING .Turns and lets herself into the building.NIGHT The domed building where it all began for Peter. EXT.
A shadow from the shadows leaps onto the domes. rubs it.NIGHT Peter creeps down the hall just outside. buries his face in his hands. INT. We HEAR the unmistakable WHIRR of the rig. TINGLING. It's Peter.NIGHT The great central hall. Thoughtful. he looks up. . Hears echoes of that afternoon a year ago. A WHIRR. ANANSI PROJECT LABORATORY . then his face breaks. SERIES OF SHOTS . Chokes up. He sits down. He walks around. INT. The spider cages are empty. It's deserted and dim. He looks down at his hand where the spider bit him. SCIENCE BUILDING .COUPLING THE RIG 1) Otto lowers the Rig into position.
Starts to press the decoupler. One of the 'pods reaches toward his face and. Gives up. The irises of his eyes spiral out. Otto reaches back to twist the Latch.2) The Rig watches. The 'pods hone in on the sound at once. Sinking in. Otto flinches. tenderly. Peter. Otto . GASPS. 3) Otto steps into the Rig. then lets go as blessed relief floods his features. quivering. Engages the coupler. A WHINE of hydraulics. grunting. His fingers can't reach. expressionless. Can't reach. He strains. Can't quite see what his fingers are doing. strokes it with steely finger. Then-- --a 'pod reaches in for the Latch and TWISTS IT. watching.
OTTO Who's there?
Peter steps out of the shadows.
OTTO (cont'd) Parker?
OTTO (rattled) What the hell are you doing here?
PETER I wanted to talk to you. But I see you're--what are you doing?
OTTO I was just--uh. Celebrating.
PETER You use that thing... recreationally?
OTTO It helps me relax.
INT. ANANSI PROJECT LABORATORY - NIGHT
Peter sits across a desk from Otto. One 'pod puts on a CD. Two others are busy pouring two cans of Coke. Peter eyes the 'pods warily. Otto taps at the keyboard of his computer.
OTTO The viral delivery system we were using in the superspider project.
PETER That's right.
Otto hits a few more keys.
That's why you came here.
PETER What other reason would there be?
OTTO Here. Yes, we were using a modified arbovirus. Highly infectious in spiders. We replaced the nucleonic RNA with whatever we wanted to code for and the virus did the rest.
PETER Is this arbovirus infectious in humans?
OTTO It could be. If we had wanted to introduce spider material into a human, I suppose we could just have just gotten one of the little critters to bite--
Staring at Peter. Understanding without knowing.
POV - THE RIG
It watches Peter and Otto, pulsing softly.
OTTO Why do you want to know?
PETER I'm just curious.
As Peter says these words:
They are processed by the suit; it subjects them to a
VISUAL VOICE-STRESS ANALYSIS
The pattern is scanned and designated COUNTERFACTUAL.
begins to blink on one of the pods.
AT OTTO'S WORKSTATION
The ROUTER begins to blink in kind.
ON THE MONITOR
Windows pop up, running archive footage of Spider-Man: climbing, swinging, leaping.
Another window: Superspider Inventory: 1 through 15. Number 15 flashes: LOST.
But Otto's not even looking at the monitor; he doesn't need to.
OTTO Spider-Man's a friend of yours, isn't he?
Peter starts to play the question off.
If. He's advancing on Peter now. OTTO We lost a spider. not a friend-- OTTO Know anything about him? PETER Not much. by chance. The 'pods billow and arc.. I wouldn't know.PETER No.. Kind of a quiet guy. Is that what happened? And transferred the viral genotrope in its venom. OTTO Know if he was ever bitten by a spider? PETER He might have been. . it bit him.
OTTO (cont'd) That's great! It's a conceptual breakthrough! PETER Not to him. He's sick of it. because. And the smell! OTTO . (shudders) It's like. he has these little hairs all over him. horribly disfigured. That's why he wears the mask. Up close. and compound eyeballs. To see if there's any way to-- OTTO Why didn't he just come himself? PETER Huh? Oh. uh. it isn't. That's why I came to see you. He's.
PETER What is it? OTTO It's basically an immune system on a chip. Holds up a tiny ziplock bag with a speck inside. PETER Parity? . I suppose. He reaches into a tray behind him. and it pumps out antigens. A tiny bit of circuitry--a spider-mite of silicon. You seed it with a sample of the material you want to defend against. Peter leans in to look. No way to control the process. (beat) He could probably use one of these eventually. I call it a parity chip.Unfortunate. relying on a bite.
He tosses the chip back onto the tray. His eyes stray up to: AN AIRVENT IN CEILING Conveniently located just over the tray. OTTO (cont'd) This is just a prototype. implant it. Peter regards the tray. His salvation. . the little baggie. We're not in fab yet. and knock out the genes that are coding for his spider traits. There it is.OTTO Equilibrium. I'm hoping to use this to boost my body's immunity. In theory your friend could seed this with some of his own spiderized DNA. The Rig is so powerfully integrative that right now it overwhelms my own systems.
Otto is at his workstation. PETER Agreed. INT. THE AIRVENT A tiny thread drops from it. Weighted with little suction . OTTO Terrific girl. asleep in his chair. PETER Oh.OTTO I had dinner with Mary Jane Watson tonight. Yeah. ANANSI PROJECT LABORATORY .NIGHT The Rig is back in the coupler. Peter looks back. All quiet. I know. caught by surprise.
CLERK Can I help you? PETER Yes. VETERINARY SUPPLY STORE . The little fishing line drops into the tray. I need some soft tissue xx. hello. THWIP! The baggie shoots up into the air and through the slats of the vent.cup of webbing. Misses the baggie. CLERK A Y-gauge. And a Y-gauge syringe. Bounces. INT. Snags it. Bounces again. trying to appear nonchalant.DAY Peter walks in.. a rhinoceros? .. what are you trying to treat.
They go back to their game. Then at Ditkovich. DITKOVICH'S HOUSE . (beat) Really big spider. Sweeps everything off the top of it. INT. INT.PETER'S ROOM . .NIGHT A tiny house in Brighton Beach. for money.NIGHT Peter drops a box filled with lab supplies onto his tiny desk. DITKOVICH (in Ukrainian.LIVING ROOM . SOMETHING BREAKS. with his Ukrainian cronies. Ditkovich lays down his cards with a sigh.PETER A spider. subtitled) The new roommate. DITKOVICH is playing cards. HUGE CLATTER. DITKOVICH'S HOUSE . They all look up at the ceiling.
DITKOVICH Mr. A bottle of vodka. Parker? Everything is all right? INT. adhesive tape. A box of Morton's kosher salt. PETER'S ROOM .NIGHT Peter is wiping down the glass surface of the desk with Clorox. We see: gauze pads. subtitled) I think he took my vodka. . A hot plate with a saucepan of boiling water.DITKOVICH (cont'd) (in Ukrainian. DITKOVICH'S HOUSE . INT. PETER Yes! Everything's fine! Sorry! He decants some of the steaming saline into a tube. alcohol.NIGHT Ditkovich calls up as we climb the stairs and start down the upstairs hall. pipette.STAIRS .
He stares into the whirling fluid in the syringe. The chip is sucked in along with it. BEN (O. head in his hands. Then he picks up the chip with a clasp. 3) He crouches at the side of Ben Parker.) . 2) Peter Parker sits despondent in Otto's laboratory. and draws in the fluid. SERIES OF SHOTS . Pokes it down into the tube. scrapes at the inside of his cheek. Jeez.S.He picks up the pipette. Smears the tissue against the chip. Holds up the BIG NEEDLE. watching him die. Drops it into the tube.THE SYRINGE In its swirl: 1) Spider-Man careens like a maniac through Greater Manhattan airspace.
PETER (cont'd) I'm not going to lose Mary Jane because of Spider-Man. Uncle Ben. I can be Spider-Man. I get that. But you know what comes with no power? No worries. Tosses it back. PETER You don't know what it's like.I thought I'd taught you the meaning of responsibility. You don't know how it feel to be such a freak of nature! Okay. No freak show! With his free hand he pours a shot of vodka. Uncle Ben is sitting on the bed behind him. or I can have a life. At least by my death. Peter turns. And drawing a deep breath he jerks up his shirt. baring his . with great power comes great responsibility. That's the part of all this that makes me the saddest. No guilt. A normal life. Peter.
DITKOVICH'S HOUSE . A lot. Squeezes. PETER'S ROOM . DITKOVICH Hit me. Fit. Ditkovich starts to say something. Strong. buttoning his neat civilian clothes. A muffled THUD from above. Pops the needle under the skin. It hurts. opens a panel in . and sticks feet first against the ceiling. INT. Hand to his hip. a tiny dimple under the skin.NIGHT CLINK of coins.LIVING ROOM . Changes his mind.NIGHT Peter wakes up on the floor. Completes a half-flip. His eyes roll back in his head. No visible difference. He dresses with care. He checks himself out in the mirror.hip. then leaps up into the air. Then he goes to the closet. Sits up. INT. Crouches down. Damn. Play stops. He frowns.
Peter picks up still-intact suitcase. EXT. .VACANT LOT . then strikes a match. Peter carries the suitcase down a deserted street and then out into a swampy waste. Here. Takes out a little rolling suitcase with a picture of Wolverine. HOMELESS MEN around a burning steel drum. STUPIDLY HUGE FIREBALL. Kicks over the drum. Peter takes out a can of lighter fluid. Faraway LAUGHTER from the men. The suitcase CLANGS against the inside of the drum. Peter leaps to one side. FAR BROOKLYN . a steel drum standing alone.DAWN Still dark. Unzips it: The red and blue suit. neatly folded. Flame scatters everywhere.the closet wall. HUGE. Douses the thing liberally. He jumps around trying to stamp them out. In the distance.
He stuffs the thing into the steel drum and walks away.PETER Ouch! He shakes the costume out of the smoldering case. smudges of black on his face. Peter sees it. VACANT LOT . Does not look especially unburdened. Near her are a couple of MEN.ANOTHER VIEW A HOMELESS MAN watches Peter walk away from the drum. The dead eyes of the mask stare back.DAY Peter riding in a subway car. Nearest him sits A YOUNG WOMAN in scrubs. He tacks a little unsteadily across the lot toward the drum. . INT. EXT. SUBWAY CAR . Picks it up off the ground. They're staring at her. stares at it.
MAN I'm Jack. She blushes. They laugh. then sit back down. His fingers flex. sweating. The doors open and the girl slips out. His lips narrow. YOUNG WOMAN Hello. I'm Jack. Peter. The woman was trying to ignore him. bitch. SECOND MAN You don't got to be rude. I said. . Peter's spider sense TINGLES as he watches. Hi. His eyes meet the second man's. The train pulls screeching into the station. The men stand up as if to follow her.MAN Hi.
Carrying the charred husk of the suitcase. JJJ Because if you do. INT.One of them flips Peter off. JJJ (cont'd) . Peter looks away. Real. The homeless man unzips the bags and yanks out the costume.DAY The homeless man stands across the desk from JJJ. JJJ I hope you don't have the head of an extraterrestrial in there. you're the third guy this week. HOMELESS MAN No.JJJ'S OFFICE . It's blackened and crumpled but still gorgeous. sir. DAILY BUGLE .
JJJ Set it on fire? He takes the costume and shakes it out by the shoulders.Where the hell did you get that? HOMELESS MAN This guy left it in the garbage. First he tried to set it on fire. JJJ (cont'd) That loser! Quitting on me! In the middle of the best damn story I've had in thirty years! If I hadn't already . Thrown in the towel! Abandoned his sad masquerade! He-- A dark thought occurs. Then he grins. Turns it this way and that. Out in New Lots. JJJ (cont'd) He's out.
He's staring fixedly at the Spidey suit.. I'm hungry. What kind of idiot does he think I am? A burnt costume! How heavy-handed can you get? Sure. mister. I'd crush him again just for giving up on me! JJJ is forgetting his visitor.. please. he's just going underground. . Inventing a whole new identity for himself! HOMELESS MAN Mr. but his heart's not in it. HOMELESS MAN Uh. JJJ Wait a minute. When.crushed him. he wants everybody to think he's quit. in reality. Jameson. JJJ haggles.
carrying a knapsack. then steadily. Hesitant at first. Part of a stream of other students. UNIVERSITY . They rifle the pockets of his jacket. Two are clearly threatening the third. Peter's face. wrestling with the problem. Slap him. Walks past an alley. None of them savory looking. sees THREE MEN standing together.DAY Peter comes up out of the subway.JJJ I'll give you fifty bucks. HOMELESS MAN A hundred. They snatch a little parcel. . Should he do something? He takes a deep breath and keeps on walking. JJJ Seventy-five. EXT.
He's in hiding. pausing by the costume. You people figure out the rest. ROBBIE ROBERSTON turns as he's leaving. And it's going to be my personal mission. STAFFERS keep sneaking glances at it as JJJ harangues them. JJJ'S OFFICE — NIGHT Late editorial meeting. Headline: SPIDEY PLAYS POSSUM! JJJ Spider-Man has put himself into a one-man witness protection program. They all get up and file out. JJJ picks up a front page proof. Sniffs. Some groans. The costume hangs conspicuously from the door.INT. to root him out! Expose him to the light! There's no hiding from the truth. let's show him that! (beat) That's all I have so far. and yours. .
A weird idea comes into his brain.DINING ROOM . DITKOVICH'S HOUSE . Sniffs it. INT. We leave him having a shameless amount of fun. Leans forward. Shuts the door. He goes out. Regards it. Another. JJJ'S OFFICE — NIGHT We're watching him. maybe through the window. INT. A parody of Spidey's characteristic moves. He starts to unbutton his shirt. Finally he does the upside-down hook'em horns webshooting thing. Naturally it's not a perfect fit. completing the costume. Then he catches sight of himself in a mirror.ROBBIE Lighter fluid. He pulls the mask down over his head. movements awkward. He poses stiffly. Jonah goes over to the suit. Strikes a pose.
close. Shoots again. far. Another clear strand shoots out and hits his knapsack. Drops onto the floor. He picks up Biomolecular Chemistry. he smiles. He shakes his hand at the wrist. It shoots clear and thin. Readable but a little blurry. He creeps up the wall and onto the ceiling.The next morning Peter wakes up in bed. PETER It's working. But something is changing. . Holds it close. Hangs there. It sticks. He goes over to a wallpapered wall and lays his palm against it. Maybe he's shrunken a bit. It slides a quarter inch. Not yet. pressing at his hip. Gets out of bed. He smiles. blinking. Then weirdly it SPUTTERS. He FIRES a strand of web. Jerks it back to him. Sits up. FOAMS UP. He frowns.
PETER (cont'd) What a klutz. INT. Peter's not even embarrassed. .STAIRS . PETER Ditkovich! Ditkovich! He gives an exuberant little kick at the bottom of the stairs. Falls on his ass. Loses his footing. Ditkovich looks down at him.DAY Peter comes flying down the stairs. INTERCUT . DITKOVICH'S HOUSE .He's delighted. huh? (grins) I need to use the phone. In Downward Dog pose when the phone rings.PETER AND MJ MJ is doing yoga.
. After your show. Tonight. Peter. Even if I wanted to see you. I already have plans.I want to see you. I've made a few changes. I thought we could have dinner. She doesn't say anything.MJ Hello? PETER MJ? It's Peter. I-. PETER (cont'd) I want to take you out. PETER With Otto Octavius? She's taken by surprise by this. Which I'm not totally sure that I do. MJ I can't.
. OTTO (just kidding around) You jealous? Silly thing. You know what you and I have is special. After a moment he approaches the Rig. Reaches up to touch it. She hangs up. Peter. The shower is actually a hazmat-exposure rinse. In his exuberance. Goodbye.MJ I don't think that's any of your business. He towels off. ANANSI PROJECT LABORATORY . Singing "Tonight" from West Side Story. he is being WATCHED by the Rig. A moment of doubt. INT. leaving Peter looking puzzled.NIGHT Otto's singing in the shower.
MJ Thanks for indulging me. Peels off his shirt. INT. It's very crowded. INT. I almost wish I could take you with me. I know it's a . singing. QUEENS HOT DOG STAND . Don't feel like quite such a fool with you around.STAGE . Upside down.NIGHT MJ's on stage.OTTO (cont'd) Actually. Listening as MJ's voice rises.NIGHT Otto and MJ carrying a couple of dogs apiece toward the counter. Otto's wearing his long coat. Must be the endorphin push. MARTIN BECK THEATER . We do a kind of Citizen Kane rise up into the catwalks high above the stage. Peter Parker dangles by a thread. He looks around.
OTTO (cont'd) It's a very good hot dog. He rights himself. No one has noticed but us. Otto stumbles. OTTO I've never been to Queens before. MJ . But these are the best.long way to come for a hot dog. Two 'pods shoot out of the bottom of his coat and arrest his fall. blushing. OTTO I'm sorry the show's not getting any easier for you. MJ I really needed it. He takes a bite.
MJ You're sort of gaga over me. then cracks up. OTTO I don't agree. I hope that's okay. MJ beams for an instant. OTTO I know we haven't known each other for . I think you're the most marvelously expressive performer I've ever witnessed. but they can't feel me.It's like there's this pane of glass between me and the audience. aren't you? OTTO Sort of. then looks at him. They can see me and hear me. MJ I think so.
MJ You okay? OTTO Bad back. STREETCORNER . . EXT. Through the plate-glass windows we can see Peter watching them from out on the street.very long.NIGHT Otto and MJ stand a foot apart. OTTO So what do you want to do. now? MJ I don't know. and reaches involuntarily for his side. But I-- He winces.
I've been working on a Mozart trio.OTTO Would you like-(flinches) Would you like to come to my place? My home. MJ (confused) You have another Rig at home? Oops. Kind of hard. sort of. man. Otto starts after. You see-- TWO BIG BAD MEN pass. One bumps into Otto. . Not my lab. OTTO (cont'd) Hey. with those freaky octopus eyes. The BBM ignores him. OTTO Well. watch it. this time.
It's a 'pod. .MJ Otto. fatal and alert. Otto seems to rise up.. On MJ She looks fully as if the flesh of the guy that she's sort of getting a crush on has suddenly sprouted four steel arms. natch. MAN Yeah? The 'pods snake out around Otto.. The BBM feels a tap on his shoulder. weirdly looming. OTTO I don't know why human beings persist in believing that mere physical bulk confers some sort of evolutionary advantage.
Grabs it. Otto turns back to MJ. OTTO We wanted to show you what we are. Aglow with the work out. Then stops. SIRENS in the distance.Otto and the faithful Rig make short work of the two men. PETER Oh oh. STREETCORNER . Starts to run toward them. . hanging in the air. Hurricane eyes. Finds a Spider-Man replica t shirt.ANOTHER VIEW Peter is watching from a distance as Otto bursts out into strange bloom. EXT. Looks around. Sees: EXCELSIOR SOUVENIR SHOP He dashes in and looks around. Runs out of the shop with the SHOPOWNER running after him. and a Big Apple ski mask.
Whips her around. She backs away. A 'pod lazily retrieves her. STREETCORNER .ON OTTO AND MJ The arms retract and Otto comes to her. OTTO (cont'd) (normal voice) You're so lovely. Ick. He looks tenderly at her. SIREN getting louder. Tries to run. OTTO (plural voice) Look at us! She meets his gaze. Turns. his clothing in tatters. . EXT.As he runs he pulls on the long-sleeved T-shirt and mask. The fingertip of the 'pod strokes her cheek with the same tenderness.
Otto sidesteps him and. You'll have to TP the house. He won't let go. Otto turns. Laughs. On top of the building they start to fight. Elevated tracks in .S. SPIDER-MAN Put her down! He flies at Otto. OTTO We're out of candy.) Let go of her. A leaping pursuit across the rooftops. SPIDER-MAN (O. reinforcing his grip on MJ.MJ Get away from me! She tries to duck free of the 'pod. Sees Peter standing there. starts to flee up the side of a building. kid.
Peter peers at her through the eyeholes of the ski mask. It's not a fair fight. And leaps over to the next building. He's angry. He's not bad. Don't let him hurt himself... The fight begins.the distance. Please.Do you love him? MJ He's my friend. Otto turns. Otto his hampered by holding MJ. Please. And dangerous. She shakes his arm. . Spider-Man. Spider-Man goes to MJ. Then he sets her gently down. MJ Go get him. PETER Do you. On the next to last rooftop before the tracks. Otto looks at MJ: reproach in his eyes.
Come on. Gets to his feet. Chases him across the last rooftop before the tracks. They smash down onto the top of it and are carried along the rushing tracks. HITS and they both tumble over the side of the building. Or maybe the myth of Sisyphus. A train is passing at that moment. "TRAIN SEQUENCE" (TR) They fall onto the elevated tracks that run alongside the building. Spidey rises and then it's basically a five mile long version of King of the Hill. and Spidey comes after . at high speed. Otto digs at the head of the car. Spider-Man flies at him headfirst. and Spidey comes after him. And goes after Otto. Otto rights himself. Otto hesitates on the ledge.Spider-Man nods. OTTO I'm ready. And Otto throws him off.
At one point Spidey manages to get right onto Otto's back. But he always climbs back on. The last time. Spider-Man snares them all in webs. reaches in with his 'pods. It SNAPS and swings free. . Still attached. Every time he falls off the train. After the Latch busts. He starts yanking people right out and tossing them to the side. He knocks Spidey off again. Pulls on it. He gets his hand in at the root of the 'pods and grabs hold of the Latch. And Otto HURLS him off the train. his webbing SPUTTERS before it fires. He's winded. But we notice that Spidey seems to be tiring. Otto just keeps getting stronger.him. something worse happens to Spider-Man than the time before. Spidey climbs back on. But useless. and then smashes in the window of the car beneath his feet. So it makes Otto angry that Spidey keeps on coming. It's brutal.
and cuts the lead ones loose. And it's a good thing. Then he gets behind the first three cars (now empty). But not enough. right in down between. Railroad ties SNAP-SNAP-SNAP and the momentum slows. Then he jumps off the train. smash through the guard rail. and PLUNGE over the side of the elevated. Plants his legs against the speeding track itself. Spider-Man manages to get all the passengers evacuated to the rear half of the train. They race ahead. He can't just leave it. Gives them a mighty push.Finally Otto rips the controls right out of the car. Spider-Man wants to go after him. Now Spider-Man has to stop the part with the PASSENGERS. And the train is going much too fast to take the turn. He stays. He jumps down in front of the car that's now the lead. But the train is now hurtling out of control. because a big L-bend in the tracks is coming up. .
with all those tons of train shoving right up against him. Then falls-- And is caught. his makeshift costume tattered. For good. And stops. Leaning out of the front windows of the train. . web SPUTTERING. Spider-Man hangs over the abyss. Utterly spent.Finally. The Passengers CHEER. He hangs suspended for a moment. by the Passengers. And the train slows. at the very limit of his strength. And then-- AT HIS WRISTS The webbing gives out. And slows. The spinnerets FOAM OVER like emptied aerosol cans. held in place by the tension of his webbing against the bulk of the train behind him. gaping holes in his mask. And slows. making himself into the focus of a giant slingshot. Spider-Man strings his own body between buildings with webbing. clinging to the edge.
His mask is so torn and stretched that you can see more than half his face. Tries it again. he remembers in FLASHBACK . It's loose.NIGHT Otto stumbles back into the lab. It advances to a certain point and then stalls. PRESENT MOMENT . He's crying. The passengers look down at him. He backs into the coupler and activates it. ANANSI PROJECT LABORATORY . His hand reaches for the Latch. Then AN OLDER MAN reaches down and tugs the mask back over Spider'man's face. INT. Looks up at the others: Anybody got a problem with my doing that? Nobody does. nothing.FIGHT As Spider-Man BUSTS the latch while trying to decouple Otto.They drag him back in and lay him on the floor.LAB .
INT. Wearing headphones. listening to the Flaming Lips. ASSISTANT . turns on lights. A look on Otto's face of inexpressible rapture or possibly unbearable pain. Nicest time of the day. ANANSI PROJECT LABORATORY . One of the GRADUATE ASSISTANTS lets lets herself in. Doffs the headphones.A glinting black 'pod joins his hand on the Latch. Singing along. Takes a moment or two to sense that something is amiss. This pretty much freaks out the Graduate Assistant completely. hangs up coat. He sinks to the ground.DAY Early the next morning. They are together forever now. Turns to look at: THE EMPTY COUPLER Cables dangling loose.
Lies on the floor, naked, in the rig. Weird fluid seeping from the flesh/machine interface. The assistant goes for the phone, stabs out a code.
ASSISTANT This is Gretchen McCord, in the Anansi lab. I need help. I need doctors. A lot of doctors.
An ALARM begins to sound.
INT. RESEARCH CENTER - CORRIDOR - DAY
A special team of commando DOCTORS, extreme surgeons, rush along, wheeling equipment and gear. They're like Helmut Newton doctors, packing in a portable operating theater.
INT. ANANSI PROJECT LABORATORY - DAY
Converted to an impromptu surgery. Otto lies on a table with the 'pods wilting around him.
The X-docs go to work. They're wearing mirrored eyeshades and using laser instruments. It's a complicated ballet of machinery and surgeons and blood. The ANESTHESIOLOGIST monitors the EKG.
DOCTOR 1 Jesus! Look at his tissue! It's changing so fast you can see it.
DOCTOR 2 His autoimmune function is breaking down completely.
DOCTOR 3 The Rig's like a parasite...that's going to kill its host.
DOCTOR 4 Unless we kill him first by trying to remove it.
The pace of the EKG ratchets up a notch.
ANESTHESIOLOGIST I may need to give him a little more. So are we going to do this or not?
The doctors look at each other.
DOCTOR 3 All right. Come on.
The Anesthesiologist prepares to turn up the gas on Otto.
One of the 'pods stirs faintly. Unobserved. It's diode pulses. Takes in the situation.
The surgeons take up their instruments.
From the pseudpod, a soft WHIRR as we travel down
INTO THE POD ITSELF
Into its systems. Impulses sent to a fabrication unit. A complicated organic molecule takes rapid shape, then a dozen more like it, and we follow them back out of the fab.
The molecules are pumped directly into another system: Otto's nervous system. Up the spine, toward the brain. A soft feminine VOICE wells up, muffled. Almost sounds like it's saying, Wake up, Otto.
We travel up along his hips and chest, through his neck and up to
They snap open.
OTTO I'm awake.
With a ROAR he comes to life. The 'pods windmill and lash and flail. A tornado or turbine.
Within moments, Otto stands surrounded by bodies. He's bleeding himself.
The servo of a 'pseudopod TRILLS softly. The other 'pods gather near it, and turn their attention as one on Otto.
Darting, flexing, the 'pods go to work on Otto's wounds. One cleans with a swab. One secretes an ointment. One radiates a healing light. And one pours him a glass of brandy. He knocks it back. Sighs.
OTTO (cont'd) All right. System report.
He appears to be LISTENING to a voice in his head, a soft feminine MURMUR we can almost make out. Winces.
OTTO (cont'd) Jesus, that's disgusting. How long do we have? (listening) I'm going to have to try the parity chip.
Stacked with their rubberized scrub-jumpsuits. OTTO (cont'd) Spider-Man! He stole it--or Parker stole it for him. His VOICE thickens as he shift to the plural. Holds it up. INT. OTTO (cont'd) We need to find another means of attaining system equilibrium. ANANSI PROJECT LABORATORY . The 'pods take it from him. no time to fab a new one. Of course it's not there.CONTINUOUS Otto opens one of the X-doctors' portable lockers. (listens) No. THE 'PODS .He goes over to the tray. as if another strand had been woven into it. Yes. it will do.
This won't do.Go to work modifying the uniform. MARTIN BECK THEATER — REHEARSAL ROOM . He darkens them. Then they hand it back to Otto. Electrochromic lenses that darken at a touch. OTTO Not bad for a dying man. then smiles at the man in the reflection: Doc Ock.DAY .NIGHT Otto checks himself out in a mirror over a sink. HIS EYES Colored storms race across them. A heat sealer. He looks closer. He picks up a pair of eyeshields. A blade. INT. Pretty styling. now it can fit around the rig. A needle. The surface of Jupiter. INT. LABORATORY . He holds it up.
Looks away. Trying to find around a thorny note in her song. DIRECTOR MJ? Talk to you a minute? MJ looks at the Pianist. DIRECTOR You've been fine. MJ I've been working all day with Renard-- . DIRECTOR'S OFFICE . I know I keep screwing up my blocking in the scene with the couch.DAY MJ's talking fast as he ushers her in. INT. MJ Bobby. The DIRECTOR of Bride! pokes in his head. The Pianist knows.MJ is taking some coaching from a WOMAN AT A PIANO.
MJ When is she coming back? DIRECTOR Tomorrow night. thank you.DIRECTOR Sit down. It's a proven fact that it's harder to cry if you have a mint in your mouth. DIRECTOR Take one. MJ . and she's all ready to go. MJ No. She doesn't get it. Then she gets it. She sits. She's strong and in good voice. He slides a box of mints across the desk.
DIRECTOR (cont'd) Please. I really am. MJ. curious. Frankenstein's understudy. She cocks her head. And as Mrs. no idea what it could be. and-- DIRECTOR I'm glad you feel that way. there's one more thing I have to tell you. I'm glad to hear that. have a mint. She takes a mint. MJ . well. It was a great learning experience for me. DIRECTOR (cont'd) Allie Black is going to take over as the Shepherdess.Well. MJ's eyes fill with tears. But. She goes pale.
MJ. can I ask you something? Do you think I have any talent? DIRECTOR Talent? Yes. She nods. if you don't mind my saying so. MJ Bobby. heads for the door. MJ is in shock now. and Howard agrees with me. why? DIRECTOR Well. Being brave. Before she goes out she turns back. It's the show. It's not you. too.What? Why? Bobby. I just think. But-- MJ But what? DIRECTOR . And guts. Looks. that it would be best. For you. rises. Overall. It's just not the best fit.
Maybe it's even starting to snow. Bills are going up over the posters. . MJ Come on. She nods.DAY MJ stands outside the theater. EXT. She slips out. crushed. and then starts to act like he didn't. that read HER TRIUMPHANT RETURN. next to the words DEIRDRE DUNN. walking into the theater. She just stands there. FOOTSTEPS. bitterly. She knows. There's something broken way down inside of you that you don't want to let out. Really connecting to the audience. But actors have to. THEATER . DIRECTOR You seem to have a hard time opening up. Most people don't. It's raining. It's Renard. You'll be doing me a favor.Nothing. He sees her.
I know how you're feeling. I don't know why I ever thought I-- RENARD Yeah. . There's only one person who knows how I'm feeling right now. I heard. MJ No. you don't. Hey.MJ Renard? RENARD Oh! (bad acting) MJ Hi. that's tough. MJ I should have known. Somehow not quite sincere.
. of Dr..S. HARSH VOICE (O.. HARSH VOICE (O. battered. RECEPTIONIST (O. He's a wreck.) Who is this? PETER I'm a. Octavius has resigned his appointment. please? RECEPTIONIST Just a moment. PETER Dr.S.INT. cut..) Center for Biomimetic Research.DAY Peter is on the phone.S. friend. Octavius. Who is this? . Octavius.) Dr. PETER'S ROOM .
She looks up at him. PETER What happened? She goes to him and bursts into tears. They look at each other. A KNOCK at his bedroom door. Spooked. INT.Peter hangs up. he reads her sadness. He jumps.DAY Peter comes down the stairs. PETER Yeah? Ditkovich opens the door. DITKOVICH Pretty girl is here. MJ is standing in the living room. MJ . He holds her. Strokes her hair. DITKOVICH'S HOUSE .
. I saw you. You always have.. MJ. She turns to look at him. That's what I've always. You were awesome. That's all I can say. PETER Those guys are crazy. EXT. I dropped in the other night. Snow flurries. Everything you are. CONEY ISLAND . MJ. MJ You saw me? When did you see me? PETER Oh.BOARDWALK . Right up front.You're wearing your glasses.DUSK They walk along the deserted boardwalk. MJ . You were fantastic! You put everything you have out there.
PETER I know what a jerk I've been. I said I would always be there for you. MJ. But I swear to you. and then I wasn't. PETER (cont'd) What? I'm serious. MJ Why are things going to be different now? Because you started wearing your glasses .NIGHT Peter drinks coffee. She leaves it there. MJ's eating a huge sundae. DINER . INT. I understand why you got mad at me.What? That's what you always what? He puts his arm around her. things are going to be different now. She rolls her eyes.
again? PETER Because--I can't tell you. if you can't trust me. and-- But MJ's getting steamed. if you can't tell me. then nothing has changed at all! You and your little boy secrets! She pushes away the ice cream. Timidly Peter raises a finger. But you don't need to worry about it. MJ (cont'd) Call me when you're ready to grow up! PEOPLE are staring. . MJ You can't tell me? You can't tell me! Peter Parker. because I have changed.
MJ Isn't there one semi-normal. As he opens his wallet. grown up human male in this whole goddamn city? The WAITRESS brings the check. It's empty. WAITRESS I hope that was a rhetorical question. uh. MJ. PETER I. Scrambles up from the table. . disgusted. please. yanks open her purse.PETER Check. Peter takes out his wallet. I need to get to an ATM. he already knows what he will find in it.
MR. tosses down a twenty. EXT. It tumbles. Aziz comes out.Peter tries to help him gather them. MINEO'S PIZZA . MINEO'S PIZZA . walks out. Mr. PETER Same thing happened to me one time. Things have really changed a lot. MJ shakes her head. GIBREEL is frantic.NIGHT Peter approaches. GIBREEL is out front. AZIZ Peter Parker! INT. struggling to attach a hot box to the back of his motorscooter.NIGHT . Peter lurches to grab it but PIZZAS go scattering everywhere.MJ Yeah.
AZIZ (cont'd) . MR. AZIZ (cont'd) If anything they are even less competent than you. MR. but they are family. AZIZ I am sorry. Mr. but following your downsizement I have been obliged to hire my nephews from home. He reaches for the phone. MR. The phone RINGS and RINGS. Please give me another chance. who is engaged in fatal combat with a round of dough. Peter. Aziz shaking his head.Peter stands supplicant. He nods his head toward SALADIN. PETER It's just I'm flat broke. Aziz. Mr.
give me everything you got. my friend. AZIZ All right. because this is not going to buy you much of a fix. A guy in a realistic Spidey mask.Yes. Aziz can react. but I hope you have a very modest habit. Mr. . VIEW THROUGH THE WINDOW As Gibreel putters away on his scooter. MR. Not Spider man. Mineo's. Hadji. yes. Saladin holds up the sagging round of dough. Aziz. Before Mr. Brandishes it toward Peter. SPIDEY HOOD Okay. Aziz tries to smile. With a big Glock. then Mr. SPIDER-MAN walks in. The hotbox comes loose and smashes against the street.
MR.SPIDEY HOOD Shut up! He CLUBS Mr. Aziz on the head with his gun. Mr. INT. Peter. Peter throws himself on the hood. Aziz is crying. HARRY'S APARTMENT . The hood smashes him over the head with his gun. Tries to get a choke-hold on him. You are a very good person. Aziz comes over and helps Peter to his feet. The hood elbows Peter. Peter tries to grab him again. then punches him hard in the stomach. Peter sags to the floor. Mr. AZIZ Thank you.DAY . The hood snatches all the cash from the register. Peter staggers to his feet.
The guard is dead. He hits the security panel. BRRRONG. I need money. Quickly. It sounds like it's coming from the other side of his titanium security shutters. Account numbers. The address . ALARMS are screaming. Lots of it. OTTO I don't have time to waste. Doc Ock steps in from five stories up. Osborn.Harry's sleeping in the middle of the day. His eyes unstick. ANOTHER WEIRD METALLIC CLUNK. Suppliers. Santa. A CLUNK. He takes a small envelope from his pocket. An image of the lobby station. Harry sits up. holds it out to Harry. Bottles by the bed. The shutters are ripped open. And a well-equipped laboratory. face down. OTTO (cont'd) That's my Christmas list.
Otto can't survive in this intermediate state. Ock masters it. There's something different--the weird plural voice. Are you nuts? You killed one of my security guys! (points to window) You trashed five million dollars worth of bomb shielding! What the hell's your problem? OTTO We must achieve system equilibrium.I want it all sent to. HARRY This is nuts. HARRY Otto can't? He looks curiously at Ock. (grins) I'm going free-lance. OTTO . Otto.
..I need Spider-Man. OTTO (cont'd) I need his body. HARRY His spine? OTTO All you need to know is that in return for your--corporate support--for this procedure... kill Spider-Man. just his immune system. Well. There's a distant rising TROMP of feet. A POUNDING on the outer doors. . And all of his bone marrow. That gets Harry's interest... I guarantee you that transition to the next level of human evolution will.unavoidably. Not all of it. and his spine.
Harry fumbles the catch.) Mr. What would your father want you to do? SECURITY (O. looking around. Osborn! Harry looks at Otto. Otto leaps out through the window. The SECURITY MEN burst in. Opens the door for Harry.DAY A black Mercedes pulls up amid the rolling gray surf of a Queens cemetery. Osborn! Mr. wintry. QUEENS CEMETERY . Barren. who tosses the envelope at him.OTTO (cont'd) Think it over. Junior. A CHAUFFEUR gets out and comes around the car.S. He . Osborn! Are you all right? EXT. Harry gets out and looks around at the. SECURITY MAN Mr.
I know that you were a man of honor. CEMETERY .DAY Harry stands in front of the headstone.) "I know I'm not supposed to take the law into my own hands. Harry gazes at the thirteen unlucky letters: NORMAN OSBORNE.NORMAN'S GRAVE ." What a pussy! HARRY . HARRY Dad. A man who always played by the rules. NORMAN OSBORNE (O.hates it here. And I know I'm not supposed to take the law into my own hands. A hint of spookiness in drift of leaves across the grave. EXT.S. Mocking LAUGHTER.
I swear! INT. . if you aren't man enough to do it yourself.. You'll get everything you need.. HARRY I will. punches a number.DAY Harry flips open his cell phone. Harry falls down onto his knees.Dad-- NORMAN OSBORNE You saw what Spider-Man did to me. Collapses on the grave. HARRY Octavius? Osborn. He's playing by a different sent of rules. LIMOUSINE . Rules for men. Let this Octopus do it for you. But if he fails. Dirt from the grave on his cheek. I expect you to avenge me.
He walks up to Betty Brant's desk. Peter sees: HIS COSTUME The sight of his shocks him. talking urgently. toward Jameson's office.DAY Peter walks into the city room. BUGLE . . He stops when he sees: THROUGH THE PARTITION Harry and JJJ.INT. On the door behind Harry. BETTY You back on the job? PETER I'm hoping to be.
JJJ You can't promise a ten million dollar reward and then change your mind! I've stoked the greed and bloodlust of eight million people to a fever pitch! You're just going to turn your back on that? Harry is strangely cool.) You change your mind?! INT. JJJ (O. . HARRY I've found a more effective means of obtaining my end. Cooler than we've ever seen him.S. JJJ'S OFFICE — DAY JJJ and Harry are face to face.BETTY You sure know how to pick your moments.
. And now that's things are getting a little hot for you. Jabs that Jameson finger at Harry.. How do I know that you aren't Spider-Man? Eh? Maybe this whole reward thing was just an elaborate dodge. JJJ (cont'd) Now go home.JJJ Yeah? And what is that? HARRY You'll know soon enough. I always thought so. you want to call it off! Your father was a strange character. and leave the running of a public smear campaign to the people who really know what they're doing. JJJ Oh. yourself. really? Tell me this.. Maybe you're a little strange. Osborn.
HARRY You're just a grandstanding hack. Peter eyes the costume. brushes past Peter. then turns and walks out. furious. The wire lattice embedded in the safety glass of the partition casts a grid of shadow across Peter's face. Jameson snatches it back. sucking on his sore finger. wincing.Harry grabs the finger and crumples it in his fist. . Jameson! You don't know what it's like to want revenge so bad you can taste it! Harry stalks out. Harry peers at Peter. it looks like webbing. what's going on? Harry whirls. JJJ turns to Peter. PETER Harry? Harry. Peter reaches out to him. fixedly. about to strike.
MAY He isn't here. Parker. I'm looking for Peter Parker. AUNT MAY'S HOUSE . Geraniums.DAY A sunny day. Aunt May's there. MAY Yes? OTTO Excuse me.JJJ Jesus. how many times do I have to fire you? EXT. Sorrow on the old woman's face at the name. Rings. Otto notices the geraniums by the door. Do you mind my asking what this concerns? Are you a friend of Peter's? OTTO .
Where is Parker? . WHIRRING. MAY What hobby is that? OTTO Spider-Man. MAY Spider-Man? (nods) One look at you and I should have known OTTO Please. Otto struggles against a murderous impulse in the 'pods. There's a WHIRR but it's Otto's own meat arm that shoots out. He clutches Aunt May.We share a hobby. OTTO (cont'd) Please! It's very urgent.
Just leave Peter Parker alone. . MAY (cont'd) Now I'll thank you to take your hand off of me! Otto's surprised. Anger. I don't know where he is! And that's the truth. She's lying. I threw him out. We will flush him out. But doubt creases Otto's face. May sees it. Will to live. And suddenly fear gives way to something else. Pride. OTTO We will find Spider-Man. MAY You do that. So is May. He retracts his hand.MAY I haven't seem him in over a week! We had an argument.
PRADA . Goes "shopping. I'm looking for Spider-Man." Trashes the place."OCK'S RAMPAGE" Three scenes of urban destruction. Lands on and crushes some other cars. Then another. A few more besides. EXT. traffic stalled. Then there's a METALLIC GROANING and SCRAPING. . Another car flies out. I am a mad scientist. with panache: OTTO My name is Otto Octavius. LINCOLN TUNNEL . As he's walking out he says.DAY Ock alights outside the flagship store. terrifies fellow shoppers.DAY Cars lined up heading out of town. Drivers touchy. Goes out with cool new clothes. Suddenly a car FLIES right out of the tunnel. EXT.
Hangs over them. dragging an ARMORED CAR behind him. scattering schoolchildren. . Then rips open the armored car. He tosses cars in front of the tunnel mouth to one side. Otto strides among them. slipping and sliding on the ice as they chase the money.Ock emerges. Quickly they turn savage. The destruction will not stop until Spider-Man surrenders himself to me. ROSE SPACE CENTER . I am a mad scientist. Clears a space. fighting each other. EXT. shattering the huge windows.DAY Otto smashes his way into the building. People leap from their cars to harvest the whirling money. OTTO My name is Otto Octavius. They stop fighting and look up.
TOUR GUIDE .DAY Otto stalks down the avenue swinging the space rock at the end of his 'pods like an enormous mace. Grips the Meteorite. INT.. FIFTH AVENUE . Pulls. WASHINGTON SQUARE PARK .found in Oregon. Pulls. He digs in the 'pods. And UPROOTS it..DAY He heads straight for the Willamette Meteorite. Pulls. weighing over 15 tons. OTTO It's closer to sixteen. Gouging huge chunks out of buildings on either side..INT.DAY . SPACE CENTER . Carries right out of the museum. INT..
Gently. He turns to a HORRIFIED CROWD who cower nearby. OTTO Thank you. Spider-Man is responsible for the fate of New York City.Otto winds up like a cricket bowler and then hurls the meteorite through Washington Square Arch. Let me repeat. WOMAN . Turns to a WOMAN. OTTO (cont'd) Did you get that? WOMAN Spider-Man is responsible. OTTO I'm sure you know who I am by now.
one question is increasingly on the mind of New Yorkers--where is Spider-Man? If he won't give himself up to Octavius-. In a bad way. tracery of black webbing across his skin. Denise. We get a good look at him as he goes by. REPORTER As the carnage continues. In pajamas.You're welcome.why doesn't he stop him? INT. TELEVISION NEWS REPORT Features footage of Ock's reign of terror. PETER'S ROOM . The toll on his tissues is becoming visible. Weeks. Unshaven. He looks bad.DAY Peter watches the broadcast on a tiny B&W TV. Otto stalks away. . He looks as if he's been lying there motionless for days.
REPORTER Back to you. please. here in the studio. In recent days.he told us that Spider-Man is responsible for this. Denise. now. Rhonda. Peter's hand strays to the place on his hip where he made the injection.. Do as he says. your paper had been taking some of the credit for apparently driving Spider Man into hiding. publisher of the New York Daily Bugle. we have JJ Jameson.WOMAN ON TV . GIRL TALKING HEAD Thank you. And. Now that he doesn't seem to want to come out of hiding. (to camera) Spider-Man. do you feel your paper deserves some of the blame for-- ..
) Peter? Panic. Makes a frantic. Gives up. doomed attempt to tidy the room.JJJ (ON TV) For the fact that Spider-Man is a damn coward? Absolutely not! As much as I deplore this Doctor Octopus character's methods-- GIRL TALKING HEAD Doctor Octopus? JJJ (ON TV) That's what we're going with. Goes to open the door. MAY (O. Peter ignores it. at first. Peter switches off the television. Then LOUDER.S. Soft. . what do you think? A KNOCK on the door.
PETER You came all the way over here--with soup? MAY And Boston cream pie. Real whipped cream. I made you some soup. Here. PETER Aunt May. Tries to conceal he distaste at the room. carrying grocery bags and a baked good. isn't this--snug. haven't you seen the news? Don't you know what's happening out there? MAY The trains are still running. a Boston cream pie. MAY (cont'd) Well. and your favorite.Aunt May comes in. If the .
The spoon stops halfway to his mouth. that awful Octopus. He came looking for you. dear. MAY You know. Earlier today. Peter. I'm worried about you.trains are still running. He digs right in.NIGHT Peter sits at the table while Aunt May puts a bowl of soup in front of him. Days since he ate. PETER He came to see you? Why? MAY . Freaked by this. INT. it must be all right. Come downstairs and have some soup. KITCHEN . you don't look well. (beat) And I haven't heard from you in so long.
Not looking at him. A long pause. MAY (cont'd) I can't say that he was a very nice man. MAY (cont'd) I sent him packing.He said that he was looking for Spider Man. . Then Peter goes back less heartily to his soup. She's fiddling with the Boston cream pie. tastes it. She pokes a finger into his soup. (beat) Too much dill. MAY (cont'd) For some reason he seemed to feel that you might know where to find him.
It would have been so much easier for both of us. PETER No. Tears in his eyes. Things haven't been very easy at all. PETER I would have liked that.. you don't. The last time we.. And I should have forgiven you before now. MAY You should have told me sooner.. I understand the burden that you've been carrying... MAY Peter.PETER Aunt May. at the house. what I told you. ..
Of responsibility.MAY Yes. The sense of guilt. and you say-- PETER Why me? MAY Yes. . Through no fault of your own. Tragedies. you say. you'll never know the answer to that. PETER I'm so sick of that word. She slices him a piece of Boston cream pie (really a cake). Calamities. And you sit. Peter. I think I do. MAY (cont'd) Responsibilities are thrust on you. why me? And the answer is. MAY But that's how life is.
He isn't crying anymore. The kind of life-- . I just want to have a normal life. He's just listening. and eating pie. Takes a bite.She looks at the pie--why not? Cuts herself a piece. to bring my only nephew some chicken noodle soup and a Boston cream pie. But the real question you should asking is not. MAY (cont'd) Mmm. MAY (cont'd) I don't what the answer is for you. what are you going to do about it? (beat) My particular answer to that question is. Aunt May. But you do. PETER It's so hard. Peter. Not bad. why me? It's.
Ock has been working all night. EXT. Sits down in a chair. Much of the equipment labeled Oscorp Systems. strung out. Inc. irritated. SECRET LAIR .NIGHT Doc Ock's secret lair. HARRY Why don't you have him yet? What am I paying you for? . Harry is there. He steps away from making adjustments to a nasty-looking surgical table.MAY That doesn't break your heart? (beat) That would be nice. RUINED PIER . wouldn't it? Normal.NIGHT A laboratory is in place. I don't think so. INT. It hums with activity within.
The other two take hold of one of his meat arm.. Not good. .OTTO He won't come out. a slice of pizza. Two 'pods snake out and grab a can of soda. One jacks in a blood probe. I can't flush him. OTTO (cont'd) How is it? HARRY How is what? OTTO I'm not talking to you! Otto looks over at: A MONITOR It displays the analysis of his immunoresponse..
BOOM. INT. Her eyes open. HARRY Vector? What do you mean. In the center of it stands Doc Ock.NIGHT Television going. The sound of the 'pods--kzh-kzh kzh. . Fires. She stirs. plural voice) We have one remaining vector. OTTO (normal voice) I mean. A literal path of destruction behind him. MJ'S BEDROOM . MJ dozes in the blue light. I want to see Mary Jane Watson again. BOOM! SCREAMS of people in the street. People running in panic. She goes to the window and looks out. footage of Otto's havoc.OTTO I see. (beat. The buildings across the way lie in rubble.
Why are you doing this? A look of agony passes across his face. Summons her nerve. . Steps out onto the little balcony of her apartment.. OTTO (cont'd) Because we need to catch a spider. Otto. He climbs straight up the face of the building to her.. MJ Otto. OTTO Why? His features harden.OTTO Mary Jane! Mary Jane! She pulls back from the window. Goes to the window and throws it open.
BYSTANDER 1 Where's Spider-Man in all this? BYSTANDER 2 That's what I'm saying. what's his problem? It's like.OTTO (cont'd) And you are the fly. buddy. EXT. trying to see what's happening. Peter steps back. POLICEMAN That's as far as you can go. MJ'S NEIGHBORHOOD . A POLICEMAN stops him. It's cordoned off. how selfish can you be? . Peter comes running up toward the street where she lives. horrified by the destruction. A Nynex guy is standing on top of his truck.NIGHT In flames. Police and rescue crews. People huddle miserably nearby.
I saw it on TV. Ready to fire. .BYSTANDER 3 He's responsible for all of this. Peter hears all this. Jesus. then a series of CRUNCHES BYSTANDER 1 What was that? NYNEX GUY He just climbed up the side of a building. The police raise their weapons. He's talking to some girl! He's grabbing her! There's just time for the shock to register on Peter's face when Ock comes crashing past with MJ caught up struggling in one 'pod. A HUGE CRASH in the distance.
too. Peter gets up. Peter picks up a broken beam lying nearby and hurls it at Ock's legs as hard as he can. Peter runs after them. Ock vanishes from sight. Then lashes at Peter. Jumps into the Nynex truck. and sends him flying. He lands hard. Takes off after Ock at top speed. He steps right over the police line--and right over Peter. you'll hit the girl. PETER MJ! MJ! MJ hears him-- MJ Peter? --but Ock just keeps on going. looks around.COP No. A 'pod lashes out and flicks it away. Ock's moving incredibly fast. The Nynex guy has to leap .
as if to slap her.NIGHT Ock stalks along the street. with a meat hand. stop! Otto reaches back. moving fast. OTTO (cont'd) Okay. Darling. Catches himself. OTTO Okay.off. AVENUE . MJ Otto! Otto. Let me try to . Okay! Poor Otto's brain is shivering into shards. NYNEX GUY That dude took my damn truck! EXT. MJ struggles in the 'pod. MJ.
OTTO (cont'd) No. . I'll let go. Okay. He stops and sets her down somewhat roughly. She stares at him. But don't leave me. (listens) Shut up! MJ I didn't say anything! OTTO I'm not talking to you! Okay.explain this to you. MJ Let me go. OTTO I can't.
OTTO (cont'd) I'm going to die. We promise. AVENUE . MJ notices. MJ turns toward him.He uncoils a 'pod from her waist. She starts to bolt. Sees real pain there.NIGHT Peter races in the truck. one of the 'pods snakes beckoningly out. As he speaks. EXT. You'll be helping us. OTTO Please. MJ! EXT. and she shudders. Sees Ock in the distance. AVENUE . Takes a step his way. Weaving through traffic.NIGHT Otto retracts the arms. . Come.
who is we? GUNNING ENGINE. One of the 'pods snakes up and grabs hold of the chopper's strut. Now a HELICOPTER descends on the intersection. Rises up on the lower pair. . He stands up shakily. Peter lies amid spools of cable and orange plastic fencing. tires squealing. A bicycle chained to the lamppost goes flying and lands with a clatter.MJ Otto. Another reaches right into the whirl of the helicopter's rotors. PLUNGES straight into the cab of the truck and grabs hold of Peter. Then Ock hurls the chopper directly at the police cars. Squad cars arrive from every direction. The truck crashes against a lamppost and splits open. Here comes Peter. His 'pod takes hold of the rotor shaft and with a horrible shrieking brings it to a halt. Rips him out and tosses him aside. Otto snatches MJ up again with one 'pod. And with the fourth.
Then they're gone. she grabs hold of him. He goes over to the wreckage of the Nynex truck. He tries to pry it loose. grinning. abruptly. grim. Pulls out the toolbox.CONEY ISLAND . Opens it. No way. Holds it up. he retreats. holding MJ. SLAMS to the ground. Loses his balance. across the intersection. One 'pod stays aloft. Peter's alone in the rubble. Peter runs to her. OTTO Tell your friend Spider-Man I need to talk to him. He doesn't see: THE WEB That Peter has improvised.Watching the explosion.. It's crooked and lame but Ock stumbles.. Should he? FLASHBACK . Takes out a wicked needle-nose pliers. Defeated. and then. from orange fencing. Now another 'pod snakes in and grabs Peter and bats him lightly aside.
PETER (V.NIGHT He looks around at the smoldering wreckage around him.) --that doesn't break your heart? That would be nice.) I just want to have a normal life.AVENUE . wouldn't it? PRESENT MOMENT .They walk down the boardwalk in the snow. Then at the pliers. He JABS the knife directly into his hip. A few strings of colored lights. A life-- MAY (V.O.O. The worst SPLORCH imaginable results. His eyes roll back in his head. He looks around--needs wheels. He staggers. There's the bicycle. Digs around. He puts his arm around MJ's waist. But he holds up the bloody chip and grimly smiles. A . This is going to hurt.
PETER You really should put that back. watching. AVENUE . frowning. LOOTER Hey. smashing store windows. He takes pedaling after Ock and MJ. It will do. EXT. turns.little bent. LOOTER (cont'd) What are you going to do about it? Peter pedals off. The looter. A LOOTER holds up the television he has snatched.NIGHT Peter rides past LOOTERS. incredulous. I got me my eight-armed discount. . slows again. Peter slows. look here.
The Sikh man crawls out of the melee. . far away. by the Flatiron Building. Far. Peter looks. Peter looks down the Avenue. Peter drops the bike. They turn on him. Then there's a cry for help. Then LOOTERS fall on the Sikh man. Some other LOOTERS have descended on a SIKH man who is defending his store. shut up. His friends laugh. and runs into the midst of the gang. we can see the dancing glint of Ock's 'pods.LOOTER Man. LOOTER (cont'd) Yo. why don't you go back to Baghdad? PETER Hey! Everyone turns to look at him.
throwing sympathy punches. Then.bleeding. He reaches down to yank the stocking cap from one of the men's heads. The Sikh Man looks on. with an audible WHOOSH. The Spidey suit hangs in a nice class case. the gang of looters FLIES BACKWARD. dancing. stomping. leaping. The looters swell around Peter. bloodied but steady. JJJ'S OFFICE — NIGHT JJJ is at his desk. The men come at him again but now he makes short work of them. He goes down under the surf of men. kicking. The looters lie fallen around Peter. People coming and going. Peter rises to his feet. It's like a blossom blooming. JJJ Any sign of him? No? . PETER (cont'd) Are you using this? INT. punching. kicking. on the phone.
lands in front of JJJ's desk. JJJ (cont'd) What the hell do you think-- PETER It makes you look fat. JJJ looks up. stocking cap over his face. He fires a web up out of the skylight. EXT. SHATTERS it. FIFTH AVENUE . splintering it.NIGHT Spider-Man swings along the avenue. Reaches in and takes the suit. ROCKEFELLER CENTER . From the boarded-up skylight. and then Peter. A foot SMASHES through the wood. EXT. gives it a jerk. Holds it up. He goes over to the case.WHAP.NIGHT . trying to catch up to Dock Ock. and then sails out after it. Uh oh.
OTTO Not bad for a couple of freaks. I revel in it. a kind of grace. I embrace my freak nature. on the ice of Wollman Rink. At last Spidey lies defeated at Doc Ock's . But I have the strength of knowing what I am. SPIDER-MAN Speak for yourself. in the snow. And he does. That is why I will win this battle. MJ gets away from Otto but then stays to watch. You will always be fighting against it. OTTO I speak for us both.He catches up to him at Rockefeller Center and they fight. Each combatant gifted in his own way with power. agility. You have the greater power--power I need.
Harry rises wobbling to his feet. OTTO Your father's soul will soon rest in peace. Clearly drugged to the gills. DOC OCK HQ . INT.NIGHT .NIGHT Harry sits watching the destruction on television. Mr. Meet me at the pier. Coolly punches a number. Doc Ock picks him up.numerous feet. HARRY'S APARTMENT . HARRY What. He manages to notice. The phone rings. Click. INT. He takes his cell phone out of his pocket. A strange echoing LAUGHTER in his ears. Osborn. and grabs MJ.
DOC OCK HQ . HARRY MJ? What are you-- Otto turns. MJ he sets down more tenderly to one side. EXT. It looks like it's going to be extremely painful. sits up. I suppose before anything . He has Spider-Man all strapped in. Harry. INT. Sees MJ. now.NIGHT MJ revives. Come to watch? I guess you've been waiting quite some time for this moment.NIGHT Harry's limo pulls up. DOC OCK HQ . Harry stumbles in.Ock tosses Spider-Man onto his BIG NASTY SPINAL-CORD EXTRACTING TABLE. OTTO Hello. Groggy. Looks around nervously. He prepares the procedure. Harry gets out.
Otto reaches out and YANKS the mask off of Peter. Of Spider-Man leaving the corpse of Norman Osborn. green and grinning. Harry draws closer. sees the blood on her cheek. MJ Peter? (dawning shock and horror) Peter! She runs toward the table. Spider-Man's mask--and one other. The memory of Peter and his father shaking hands. HARRY'S FACE Horror. A 'pod lashes out and knocks her brutally aside. He nods. .else you'd like to know who put your father in the ground. fascinated. Masks begin to circle one another in his mind--the masks of Norman Osborn's collection. MJ hangs back. Harry goes to her.
stoned and terrified. Ock swings another fell-looking unit into place near Peter's head. Tucks it behind her back. HARRY No! This isn't-. The LAUGHTER begins to sound louder in his ear and the probe descends. spiked. Picks it up. All of the 'pods are working in balletic unison to prepare the procedure. Starts to inch toward Otto.Looks back at Peter lying on the table as a great. MJ stands. and lurches out of the laboratory. MJ .I'm not-- He stumbles to his feet. She sees a big spanner lying on the ground. vascular probe begins to descend on the torn form of his friend.
We're looking . The other produces a clipper-head. With a few rapid strokes they shave Peter bald. OTTO There's no way to avoid it. really. She's coming closer to Otto. but they're rather crucial pieces. OTTO (cont'd) No. One extrudes foam onto it. We only need pieces of him. Don't do this. we would. You don't want to do this. OTTO (cont'd) If we could take what we needed without killing him.Otto. but alas-- He flips a few more controls. Two of the 'pods zero in on Peter's head. that's not true.
She's close enough. Now all the cruel apparatuses are in place. Think about it. the more we realize that that's just wrong. wriggle toward Peter's bare skull. A 'pod lashes around the wrench and jerks it from her hand. OTTO (cont'd) But the longer we spend at this level of evolution.forward to this death. .. A relic of the savage past. Another 'pod knocks her back against the wall. miniature 'pods.. You know what's interesting? Humans always think of the killer instinct as something very primitive. An urchin of steel spines. now. high and brings it down-- ZWIPP. This is what we're evolving toward. Human beings have only gotten better and better at killing over the last fifty thousand years. She raises the wrench.
. hey? Look at me. MJ Otto. She flinches but doesn't give way. bitch! Ock turns on her.. ready to cut her to ribbons. just above her. Lifts the glasses. Reaches up.. dying eyes. MJ (cont'd) Otto. Please? Just look at me. MJ (cont'd) .. Then takes another step toward him. please. and come within inches of her face. Looking him in the eye. She crosses to him.OTTO (cont'd) (plural voice) Get away from Otto. Peers into his wild. She climbs unsteadily to her feet. and the 'pods lash out and hover. The arms strike.
I can feel you? Can you feel me? The arms WHIRR and twitch. MJ Why? Why survive? Just for the sake of surviving? . impatient as hounds at the end of their leash. MJ Otto you are not a killer.I know that you're in there. I can feel you. Your work is about making us better humans. right? Better at being human. MJ. OTTO Better at surviving in this poisonous world. OTTO Yes. Your work is not about killing.
I do. The WHIRR of the arms ratchets up to a WHINE. There is. MJ There is. Distant sound of SIRENS from outside. Otto's at the limit of his control. For me. OTTO I thought there was a place for me in your heart. All his systems breaking down. The first place I ever felt like I belonged. MJ Yes.Otto points at Peter with a meat hand. OTTO . Otto! There is a place. For you. OTTO You love him.
Into the water below. The walls begin to collapse in on themselves. he pulls the ceiling in. the 'pods snake up toward the rafters of old building. Stuff falling everywhere. 'pods billowing up behind him. A pillar tips over onto Otto. EXT. Lash around them. dragging Otto with it. then smashes through the floor. A streamer.You might be right. With a WHOOSH Otto is thrust down deep into the water. He . With a crash.CONTINUOUS Peter revives. Looks around. OTTO (cont'd) Let's find out.CONTINUOUS Otto plunges. There might be. INT. Pull tight. UNDERWATER . DOC OCK HQ . Slowly.
Peter gives away a little more. in slow motion: The central roof beam give way. Faces four inches apart. MJ. He squats under it like Atlas underneath the heavens. His face is five inches from MJ's. He sees. He sags-. PETER MJ! He leaps across and lands under the beam just at it hits.sags-. . leg pinned under a fallen slab of concrete.sags--stops. The inevitable trajectory that links them. Spider sense TINGLES.kicks and thrashes his way out of the surgical unit. muscles taking on a massive burden of wood and inertia. PETER (cont'd) Hi. with a mighty GROAN.
PETER This is really heavy. I think my leg is broken. Now their faces are less than an inch apart.DAY . The weight seems to increase exponentially. MJ I'm trying. DOC OCK HQ . Three inches.MJ Hi. EXT. MOANING. I'm stuck. CREAKING. Peter sags again. PETER Least of our worries.
DOC OCK HQ . UNDERWATER . For a moment he looks like his namesake. MJ You do love me. PETER MJ. The grand old building carefully goes about the business of sinking into the river.CONTINUOUS Otto thrashes in the Rig as the 'pods struggle toward the surface. In case we die-- But he runs out of breath before he can finish the sentence.Dawn. INT. . MJ is trying to free herself. He's shaking. EXT.DAY Peter is drenched in sweat. MJ If I could just--feel--my foot.
DOC OCK HQ . MJ Even though you said you didn't. then fires a web through a place where the walls have collapsed. Now Peter can only nod. She had better hurry. As it slams through the floor. He yanks them up and out just as: EXT. She crawls out from under the slab. Their faces are nearly close enough for a kiss. He is about to break. No breath to spare.PETER I do. then under Peter's arms as He drops the beam.NIGHT The entire structure upends and then slides with a certain . he snatches her up. MJ's face brightens--she's freed her foot.
DAY Harry Osborn lies in the middle of the floor of a great. . Looks around. A small dark island in a sea of parquet.urgency into the East River. NORMAN'S OSBORNE'S PENTHOUSE . alone. He wakes up like Sal Mineo in Rebel Without a Cause. Draped furniture. Stands up. lost. abandoned. Echoes and ghosts. Carpets rolled. INT. EXT. empty ballroom floor. He wanders the empty rooms and halls. UNDERWATER .CONTINUOUS Otto turns his face away-- And ten thousand tons of ancient lumber comes tumbling down on top of him.
Harry. NORMAN OSBORNE (O. There's nothing there except-- Something in the corner. He lets it drop. . Stops at the door to his father's office. Dad. Goes in. Hesitates. It's your turn now. Norman is there. No. He goes over and picks it up. store-bought Halloween card. To Dad Love Harry. HAVE A BOO-TIFUL HALLOWEEN.) All right. He looks into the mirror over the mantlepiece. It's a little. Harry looks around sharply.S. He's my friend. A small piece of colored paper.Climbs the stairs. No one there. Opens it up. NORMAN OSBORNE (O.) (cont'd) I want to see what kind of stuff you're made of.S. HARRY No. More ghosts.
HARRY Dad. Your friend. make him pay! Harry's leaning his forehead against the mirror. you swore an oath! You put your word. I don't know. I'm not sure." "I'm not sure. I guess that's why he stole your girlfriend.NORMAN OSBORNE Is he. There's a lot I don't understand. your name on the line! You swore to make Spider-Man pay." Harry. your money. NORMAN OSBORNE "I don't know. I guess that's why he killed me. Now. I swear! . It reflects only him. HARRY I swear.
A laboratory of some kind. . MJ'S APARTMENT . MJ Peter! Peter? I can't reach the-- He's there. Hanging from a hook is a grinning green mask. It shatters and falls. A command center.DAY MJ lies on the couch. Her leg in a really big cast. Reading the Daily Bugle. INT. Harry steps into that other world. In his coat. A haunt. THE HEADLINE WACKOS: ONE DOWN. He reaches toward it.As he says this he POUNDS the mirror with his fist. ONE TO GO She reaches for a squeeze bottle that is just out of reach. Leaving. And there on the other side of the universe is a neat little room. Droplets of glass rain down. Backpack on his back.
. that you loved me. Mary Jane Watson. You don't know what it's like. that's all. the uncertainty. It's my destiny.MJ (cont'd) Water. This is my deal. The hatred. . I just can't have you.. I can't ask that of you. PETER I do love you. She falls back against the sofa. PETER Your mother's coming. I have loved you all my life. The danger. MJ (cont'd) You said you'd stay. MJ You also said.
Snow blows in. Lumbering. She sticks her head out. She picks up the paper. MJ Peter! You forgot your camera! . PETER (cont'd) What's he saying? MJ He's saying you're evil incarnate. Then as quickly as she can to the window. Hobbles over to pick up the camera.He nods toward the Bugle. in pain. Peter nods. He goes out. Sees his CAMERA sitting there. Throws it open. Her face crumples. Grabs her crutch. she pulls herself to her feet. She puts the paper down. PETER I'll call you tomorrow.
PETER MJ! He darts under the balcony and catches her. I want to share that gift with you. She lumbers out onto her balcony. And I want you to share it with me.He's on the street below. He turns and looks up. MJ Do you know how amazing it is than I can trust you do that? (beat) You were given a gift. PETER . but sure. MJ forms a quick resolve. You don't have to do it alone. I'll help you. Peter. We can see the divots that Doc Ock tore out of the face of the building. Then throws herself over the side. awkwardly.
MJ . MJ. PETER Wait. hard. MJ It is weird.MJ-- MJ What. did you say married? She hits him. PETER But. Peter Parker. you think police officers don't get to be in love? Firefighters don't get to be married? That's crazy. (beat) But you've always been weird. This is just--this is just so much weirder than being a policeman.
) (cont'd) Does this mean I get to see the Spider Cave? PETER (O.I already know your damn secret identity! He looks at her. MJ (O.S. Then he carries her over to the building and.) There is no Spider-Cave. Peter goes to the window and looks out. MJ'S APARTMENT . walks right up it. Face grim.NIGHT He sets her back down on the couch. MJ'S (O. A lot of SIRENS. Well. Puts down his knapsack.S. with just the tips of his feet. Then around. . lightly. INT. you asked for it. Then SIRENS. Hops the balcony and ducks inside with her.) That sucks.S.
PETER (V. He starts to peel off his shirt. 300 firefighters.) It was a five alarm fire. flashing sirens.MJ Go. Gas fed. NEW YORK STREET — NIGHT The sky glows orange. EXT.O. Spider-Man takes off into the night. And the junior Senator from New York on the seventh floor. MJ You forgot your camera! Spider-Man swings around a corner and straight through the heart of a burning building. Go! I'll be fine. clutching a . He comes swinging out the other side. MJ leans out of the balcony as he sails away to be who he is.
O. PETER (V. ERT techs rush over. toward a PAIR OF CHILDREN.DISTINGUISHED GENTLEMAN and a YOUNG WOMAN DRESSED AS A MAID. Look at him! You want to know the story of his life? No choice in the matter. snatching them from the flames. No way out.O. Spider-Man sails back up into the roaring fire.) (cont'd) With his lovely companion. Doing what he was meant to do. He touches them down gently. PETER (V. PETER (cont'd) Didn't get a single damn picture of any of it. THE END .) (cont'd) Look at that guy.
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