Peter Parker: Spider-Man
Screenplay
By David Ellis
Begun: 9-11-00
Completed: 6-30-01
Based on the Marvel Comics characters created by Stan Lee, Steve Ditko, and John Romita Sr.
FADE IN
EXT. NEW YORK CITY SKYLINE - SUNSET
We travel high over the street, the various Manhattan skyscrapers passing us on each side. The golden-red sky is reflected off of the glass windows, causing the buildings to shine like jewels.
However, something's strange about the way we're seeing this. Instead of moving smoothly across the city, as if in a helicopter, our P.O.V. seems to lurch diagonally, down, from one side of the street to the other, in a series or arcs. It's almost like...swinging?
BEGIN OPENING CREDITS
A red-gloved right hand moves outward into view, pointing at the building nearest us, and a thin cable shoots from the wrist. The cord strikes a flat side of the building, and oddly stays there, apparently adhering to it.
The cable pulls taut, and the hand holds on fiercely as the P.O.V. suddenly dips into another arc.
By now, it's clear we are seeing things through the eyes of the person swinging. We reach the bottom of the arc and travel upward toward a building across the street. This time the left hand shoots out and repeats the action of the right hand.
CUT TO
EXT. MANHATTAN BANK - SUNSET
ANGLE ON a stylish, expensive-looking bank that looks somewhat like a hotel. CLOSE IN on the front entrance, as random people move in and out of it, and still more pass by on the sidewalk.
One MAN, dressed in a trench coat, looks around warily, then up, before entering.
INT. MANHATTAN BANK -SUNSET
The bank looks even more impressive on the inside. This establishment must be quite good at what it does. The customers number in the dozens, most of them standing impatiently in line. We even see a few kids held by their parents' hands.
In one corner, a CUSTOMER finds himself having great difficulty figuring out how to work an A.T.M. machine.
CUSTOMER
What the f--? "Rejected"? How can that be? I just got this stupid card yesterday!
The man tries again, and this time, the card is accepted. Over his shoulder, we see on-screen the words, "PROCESSING REQUEST. PLEASE WAIT..."
CUSTOMER
(relieved)
Yess! About time! C'mon...c'mon already...
The man in the trench coat walks by behind him, and stops for a moment, a sly grin crossing his face. He then continues walking.
The ATM machine suddenly experiences a power surge that fries its systems. The screen turns off.
CUSTOMER
What the fuck? STUPID MACHINE!
POV: SECURITY CAMERA
We see the bank lobby as a grainy image, from the point of view of one of the security cameras. In the center of the frame, the man in the trench coat stops and looks directly at the CAMERA, smiling for posterity.
The camera cuts off, and all we see is static.
INT. MANHATTAN BANK - SUNSET
The man in the trench coat looks around with amused curiosity as CLERKS suddenly experience problems with their computers. Frustrated cursing and plenty of ad-libs are heard.
Suddenly, the light go out, and the only light source around is from outside.
The man suddenly raises a hand above him, and a thin stream of electricity travels from it to the ceiling, getting everyone's attention. He announces:
ELECTRO
May I have your attention please?!
He looks around at the customers, who have ducked-and-covered, and are peeking at him with horrified eyes.
ELECTRO
Hm...I guess I do. Anyway, allow me to introduce myself.
He opens his coat and reveals an electric blue outfit with a lightning design adorning it. He balls up the coat, holds it one hand, and zaps it with a handful of electricity, setting it on fire.
ELECTRO
(while doing this)
I AM ELECTRO!
Electro was MAXWELL DILLON, a small-time hood with grand aspirations, until an electrical accident turned him into a small-time hood with grand aspirations and the means to carry them out. However, it seems he often doesn't think things through as well as he should, which has prevented him from success thus far.
Three SECURITY GUARDS draw their guns.
SECURITY GUARD #1
Freeze!
ELECTRO
I can't. My powers don't work that way.
Electro holds up his other hand, and three streaks of electricity shoot from it and strike the guards, dropping them.
ELECTRO
Anyway...believe it or not, folks, this isn't a stick-up. It's just a...publicity stunt, if you will. I'm looking to attract the attention of a certain wall-crawler some of you may know as...Spider-Man.
CUT BACK TO
EXT. NEW YORK CITY SKYLINE - SUNSET
Now, instead of simply his arms, we see the swinging figure's full back view, as he continues commuting in his own unique fashion. We see a red-and- black form-fitting costume. From his shoulders up is red, and the rest is black, though a large red spider design is prominently displayed on his back.
Obviously, this is the guy Electro referred to: SPIDER-MAN.
He shoots a strand of webbing at a building at a different angle, and swings around the building, effectively hanging a left. He continues on his way.
INT. MANHATTAN BANK - SUNSET
Electro paces back and forth, impatiently.
ELECTRO
Somebody needs to get the word out to that web-head. I mean, one would think that holding a freakin' bank hostage would get him to show, but NOOO! He hasn't arrived.
(ponders)
Maybe I should have taken over a media outlet, like a TV station. Nah, I'd short out the equipment before I send the message.
Electro sees an injured guard reaching for his walkie-talkie.
The guard freezes. Electro grins.
ELECTRO
Oh, by all means...call as many cops as you can. It'll inevitably bring Spidey, and then the fun'll begin.
The guard nods slowly and speaks into his walkie-talkie.
One brave soul tries to sneak toward the revolving doors, but Electro catches the movement out of his periphery. Electro zaps him with a glare, toasting his jacket. The man writhes in pain.
ELECTRO
Hey! Who said you could go anywhere? I still need hostages.
CUT TO
INT. SQUAD CAR - SUNSET
Two cops hear an "All Units" alert on the CB.
DISPATCHER
(v.o.)
All units: Hostage situation reported at Sunset National Bank. Supervillain involved.
COP #1
Ten-four. On our way.
COP #2
A supervillain? This is just great. How the hell are we supposed to deal with that?
COP #1 glances at his rearview mirror, and does a double-take when he sees a tiny figure far above street level, moving fast. The figure is dressed in red and black...
COP #1
(turning to his partner)
Looks like we're about to get help. I just saw Spider-Man!
COP #2
Him? Oh god...his help we can do without. Ain't you read the Bugle? That guy's just as shady as the bad guys!
COP #1
Oh, shut up...
CUT BACK TO
INT. MANHATTAN BANK - SUNSET
Electro hears sirens in the distance.
ELECTRO
Ah! Perfect! It shouldn't be too long now, and then I get to zap a spider.
A faint tapping noise is heard, and Electro looks around. The tapping continues, and it finally occurs to him to look up.
UPSHOT of the bank's skylight, where we see a figure looking through the glass at us and waving. This is our first look at Spider-Man's face, covered by a full-faced red mask and large reflective eyepieces.
ELECTRO
(o.s.)
SPIDER-MAN!!
SPIDER-MAN
Well, obviously.
Electro fires a bolt of lightning up at the skylight, shattering it into thousands of melted pieces.
Spider-Man has long since moved to safety.
TIGHT CLOSEUP of Electro as he clenches his teeth and growls.
CLOSEUP of the skylight, where Spidey's gloved hand gestures, "c'mere."
BACK TO ELECTRO.
ELECTRO
Huh..? How does he expect me to follow him? I can't fly--
A thin strand of webbing is shot and attached to Electro's chest.
WIDE SHOT: ELECTRO IS FORCIBLY YANKED OFF HIS FEET AND UP TOWARD THE SKYLIGHT.
ELECTRO
AAAAAAAAAAAAAAAAAHHHHHHHHHH!!!!!!!!!
EXT. BANK ROOFTOP - SUNSET
Electro emerges through the skylight, still screaming his fool head off, and continues for another yard or two before landing chest-first onto the gravel rooftop. He catches his breath and looks up.
Spider-Man is perched on a high ledge, holding his chin in his hand. Even though his face is completely covered, we get the feeling he's wearing a shit-eating grin from ear to ear.
SPIDER-MAN
Hope you enjoyed the ride. That'll be twenty bucks.
Electro shouts his rage and hops to his feet, electricity arcing across his body. The electricity collects into his hands, which glow bluish-white.
Electro fires off the shot, but Spidey jumps with inhuman speed and lands back on the ledge. The building across the street is hit with the lightning, and a sound of thunder is heard in the background.
SPIDER-MAN
Hey! Does this mean you're an unsatisfied customer?
Electro fires another bolt, which just barely misses Spidey.
SPIDER-MAN
YOW! Okay, I'll take that as a yes! Fine then. Zap at me all you want. But just remember, YOU'RE paying the electricity bill!
EXT. MANHATTAN STREET - SUNSET
UPSHOT FROM STREET LEVEL of the bank's roof, where streaks of lighting appear and strike nearby buildings. PEDESTRIANS cover their ears and run.
PEDESTRIAN
Damn! This always happens when Spidey's around!
EXT. BANK ROOFTOP - SUNSET
Spider-Man performs a myriad of acrobatic stunts across the rooftop to avoid Electro's bolts. Almost by accident, one of them connects, and Spidey falls off the roof.
SPIDER-MAN
AARRH!
UPSHOT of the bank rooftop ledge, where Electro peers down toward the street, looking for Spidey.
DOWNSHOT of the street, from Electro's POV, panning quickly from side to side. The only sign of Spider-Man is a webline attached to a flagpole, flapping in the wind.
ELECTRO
(v.o.)
Where the hell?
Electro quickly looks back up and around, frantically. Where did that stupid wall-crawler disappear to?
He feels a tap on his shoulder and whips around, firing another lightning bolt at nothing.
WIDE DOWNSHOT of the roof, where Electro moves around in a 360-degree scan, extremely paranoid.
CLOSEUP of Electro, as a glob of webbing hits him in the back of the head.
SPIDER-MAN
(v.o.)
Hey Sparky, I'm right behind you!
Electro spins around, but this time is smart enough this time to look before zapping.
This time, however, he sees Spider-man swing toward him on a webline, feet extended in a kick.
Electro is slammed in the chest by Spidey's feet, and is pushed off the roof. The two fall toward the street.
Some weird strobing effect happens to Spider-Man's head, and he points a hand to an unseen target, about to fire another web to stop their fall, but Electro clamps onto Spidey's legs and emits a powerful electrostatic pulse. Spidey screams in pain.
EXT. MANHATTAN STREET - SUNSET
The two continue to fall toward the street, as bystanders try to get out of the way. Spidey recovers his wits and kicks at the bank building, pushing off of it while holding onto Electro. The two sail clear across the street. Electro screams the whole time.
Spider-Man lands on the sidewalk, and tosses Electro to the ground. They both catch their breaths.
SPIDER-MAN
Thanks a lot...hhhh.... Sparky...hhh.... you just about...killed us both...
They hear multiple clicking sounds and look up as the POLICE surround them, guns drawn.
POLICE CHIEF
FREEZE! BOTH OF YOU!
ELECTRO
(under breath)
Not this again...
(putting on a brave front)
All right, cops! One step closer and I'll fry ALL of you! I'll do it! You wanna feel a hundred thousand volts, just TRY me!
While Electro says this, Spidey stands up, looks up and around innocently, and kicks at a fire hydrant behind him. The fireplug is knocked clean off, and a stream of high-pressured water erupts into Electro's back, sending him into a parked car. Electro finds himself unable to move due to the water, and his powers are shorted out.
It finally occurs to one of the officers to look around for Spider-man, but the webslinger has already made his escape.
UPSHOT at the NYC skyline as the officer watches Spider-Man swing off in the distance.
CUT TO
EXT. WATER TOWER - SUNSET
Begin the SHOT with the tower in the distance, then CLOSE IN. We see an odd object attached to it, which upon closer look is a photo camera attached to the ladder railing by a glob of webbing. By this time, the camera is close enough to fill most of the frame, but we see a shadow fall across the tower behind it.
Spidey's glove reaches into view and yanks the camera out of the webbing. The hands then check the camera to see if it's been operating properly.
WIDER VIEW of Spider-Man, apparently satisfied, leaping off of the tower and shooting a webline off into the distance. He swings away, as we PULL OUT further to reveal that the camera had been pointed at the bank's rooftop, where Spidey had fought Electro in the previous sequence. The last rays of sunlight are fading into the horizon.
CUT TO
EXT. DAILY BUGLE - NIGHT
The sun has set. We see a prominent, 40s-style building that has been renovated frequently to keep with the times. Adorning the top are giant letters spelling out "DAILY BUGLE". CLOSE IN on one of the top windows. A gruff voice suddenly barks:
J. JONAH JAMESON
(v.o.)
WHERE'S PARKER?
INT. DAILY BUGLE CITY DESK - NIGHT
The City Desk is bustling with people, as one might expect. The noise level is fairly high, since it's crunch time, close to a deadline. People are shouting at each other to be heard, arguing into phones, and typing at incredible speeds. The atmosphere is hectic.
At the center of it stands the publisher, J. JONAH JAMESON, whose voice we just heard. He's an old, hard-boiled newsman from the forties, a very intimidating figure with a crew cut and a cigar that he keeps in a deathgrip between his teeth. Always ready to rant and curse at full blast, he exists in two settings: 'Hardass' and 'Hardass-er'.
JAMESON
(con't, to no one in particular)
Spider-Man was sighted dealing with some electricity-wielding freak, and the only photographer I have that can get decent photos of him isn't HERE! Doesn't that slacker KNOW we have deadline to meet?!
Jameson's secretary, an African American woman named GLORI GRANT, waits for an opening in Jameson's spiel.
GLORI
I'm sure Peter is on his way. He's always delivered the goods to us before.
JAMESON
Yeah, and always at the last possible second! He's been freelancing for us for almost a month...
GLORI
Two weeks, actually...
JAMESON
Right! Two weeks...and not ONCE has that kid brought anything in with time to spare! That was unacceptable in my time! Why, I remember back when--
PETER PARKER
(o.s.)
Mr. Jameson!
Jameson turns, and we see a teenager fighting his way through the crowd of reporters, holding up a package of pictures. This, of course, is PETER PARKER, a 16-year-old high school student. He's skinny, with brown hair, attire that one might wear in church, and a nerdy but excitable demeanor. A camera bag is slung over one shoulder. He looks like he's fought a long hard battle to acquire the pictures he's taken, which is actually a good description of what he just did.
PETER
(reaching Jameson)
Mr. Jameson...I got the pics. I filled up the whole roll, just as you asked.
JAMESON
Parker! It's about time! We've got a deadline to meet! My office!
INT. JAMESON'S OFFICE - NIGHT
Peter and Jameson walk into the latter's spartan office, and Jameson sits at his desk. He grabs the envelope.
JAMESON
These better be damn good photos, or I'm takin' it outta your pay! I've got enough to worry about, without you wasting my time!
PETER
(smiling)
Oh, they are, trust me.
JAMESON
Better than your last ones?
PETER
Absolutely, Mr. Jameson.
JAMESON
(rolling his eyes)
That ain't hard to do...
Jameson opens the envelope, pulls out the photos, and begins looking through them.
OVER HIS SHOULDER, we see various shots of the Spidey/Electro rooftop fight, all from the same angle.
JAMESON
(o.s.)
Mmmm....not bad...boring.... They're almost out of the frame. You should try actually following the action, Parker.... too blurry...
PETER
(o.s.)
Uh, that's because they're moving so fast.
JAMESON
(o.s.)
No excuse.
Jameson finishes and looks up at Peter, who's waiting expectantly for the final verdict.
JAMESON
Not too bad. They'll work. I especially like that one of the aftermath, with the broken fire hydrant on the street, Electro, and the cops.
PETER
(eyes brightening)
Really?
JAMESON
Yeah, I'll run it on Page One along with the clearest Spidey pic.
Peter smiles even wider, but then the other shoe drops.
JAMESON
(con't)
We'll run it with a big headline:
(frames the imagined headline with his hands)
"SPIDER-MAN FIGHTS ELECTRO, ENDANGERS CITIZENS!"
PETER
(frowning)
It figures.
JAMESON
He's a menace, Parker. All he's in it for is the fame! First the TV appearances, and when THAT wasn't enough, he tried to be a big-shot crimefighter!
PETER
Uhm...what's wrong with that?
JAMESON
He does all this behind A MASK! He doesn't want anybody to know who he is because he has a lot to hide! Do you really want someone that shady to protect you?
PETER
(skeptically)
I thought the mask was just for the mystery angle, to keep people guessing.
JAMESON
The only angle he's after is the "bad boy" angle. Everybody nowadays is obsessed with the "edgy" icons. Like you can't be popular anymore without being shady. I mean, just look at the costume! Red and black, with bug eyes, creepy-looking. Like he's trying to scare people!
Peter tries to hold his tongue, though we see that he's visibly wounded by Jameson's appraisal of Spider-Man.
Jameson stuffs the photos back into the envelope, and hands it back to Peter.
JAMESON
Run this over to the Photo department. Make yourself useful, for once.
PETER
(reluctantly)
Err..right away Mr. Jameson...
JAMESON
Get a move on! We have a paper to put out, here! And shut the door behind you!
Peter leaves.
INT. CITY DESK - NIGHT
Peter closes the door behind him, then leans on it, recovering from another encounter with Jameson.
ROBBIE
(o.s.)
He's making you deliver the photos yourself again, Peter?
Peter turns and smiles at Joe "Robbie" Robertson, a black man around Jameson's age, but much friendlier. He treats his employees like his close friends, and is responsible for much of the office morale. He's also the only Daily Bugle reporter (and probably the only man alive) who can win an argument with Jameson. Peter looks up to him.
ROBBIE
(shaking his head)
Here, let me handle that. You've done more than your share.
PETER
Thanks, Mr. Robertson.
Peter gives the envelope to Robbie, who gives him a paycheck in return.
ROBBIE
Call me Robbie, I keep telling you. Really, you do good work. Ol' Jameson will never admit it, but he thinks so too. He depends on your Spidey pictures.
PETER
(shocked)
He does?
ROBBIE
He does. You're one of our best freelancers. Keep up the good work.
Another reporter walks up to Robbie and asks him a question. Robbie smiles and waves Peter on his way.
His spirits renewed, Peter strolls through the chaotic room, greeting familiar faces.
PETER
Hi Ben...hi Phil...hi Fred...Ann...Ned...
(passes a pretty intern)
Hi Betty!
BETTY
Oh...hi Peter.
On his way to the elevator, Peter sees a previous edition of the Daily Bugle newspaper, with a close-up color picture (that Peter himself took) of Spider-Man adorning the front page. The headline reads, "SPIDER-MAN: VILLAIN IN DISGUISE?" Peter frowns and shakes his head.
INT. ELEVATOR
Peter enters the elevator, hands in his pockets. His cheery move has been shelved by the newspaper headline. He leans against the wall, and stares up at the ceiling, rubbing his eyes. We then hear a VOICEOVER by Peter, displaying his thoughts. SLOWLY CLOSE IN on Peter's face.
PETER
(v.o.)
Jameson thinks I'm, or rather Spider-Man is, a shallow showboater. Only in it for the glory. That used to be true, but not anymore. He thinks the mask is hiding some dark secret. He's right on that account. My mask hides a tragic mistake...
DISSOLVE TO
EXT. MIDTOWN HIGH SCHOOL - DAY
We see what's basically an average New York high school. CLOSE IN on it, while a TITLE CAPTION is displayed across the bottom of the screen:
TITLE CAPTION
ONE MONTH AGO...
INT. MIDTOWN HIGH HALLWAY -DAY
Classes have let out for the day. Students swarm the halls, and the scene is reminiscent of the Daily Bugle City Desk we just witnessed. CLOSE IN on Peter, who's at his locker, stuffing books into his backpack. He's wearing glasses, though. He's talking to a friend on his left, HARRY OSBORN. Harry's a troubled rich kid with a dysfunctional home life, which he tries to hide by being a smartass and sci-fi fanboy. He's well dressed, except for an expensive "Star Trek" jacket.
HARRY
Are you as glad as I am that it's Friday?
PETER
At this point, do you even have to ask?
HARRY
Good point. My old man's going to be stuck in the office the whole weekend, which means I'll have the house to myself. You and MJ should keep me company.
PETER
Your father doesn't spend much time with you, does he?
HARRY
Nope. I like it that way, actually. Every time I see him, he makes me wish I didn't.
PETER
(nodding)
I don't blame you, Harry. I've seen what he's like. Sure, it sounds like fun. I'll come if MJ will.
A red-haired girl walks up to them, smiling. She is a serious fox. Why she hangs around geeks like Peter and Harry aren't readily obvious, but the other girls pass by her and sneer with the same contempt they show the two guys. Apparently, Peter, Harry, and she are members of a three-person social clique. By the way, she's MARY JANE WATSON, or "MJ" for short.
MJ
Hey guys! If I will what?
PETER
(smiling)
Hi MJ! We were just talking about spending the weekend at Harry's place.
MJ
Cool! Count me in. I'm always up for a dip in the pool.
Peter studies MJ briefly, as if picturing her in a swimsuit. It's obvious he's attracted to her (any guy with a brain in his head is, actually). He looks away when she glances at him.
FLASH
(o.s.)
Well, if that's what you want, honey, you can take a dip in mine!
Peter, Harry, and MJ turn and glare at the school's resident jock/bully, EUGENE "FLASH" THOMPSON. He's accompanied by his fellow football players, who, like Flash, are dressed in varsity jackets. Peter and his friends have nothing but disgust for him.
MJ
You wish, Eugene. I wouldn't be caught dead in your pool. Well, actually I would. If I ever got near it, I'd be tempted to drown myself from the embarrassment. So I'll have to pass, thanks.
FLASH
(as his buddies chuckle)
Didn't I TELL you not to call me that? It's Flash, not Eugene.
MJ
Whatever...
FLASH
(patting his chest arrogantly)
Oh come on, you know you still want this.
MJ
If I did, I wouldn't have dumped you, would I? I don't WANT some controlling, brainless jock.
It's clear Flash is less than amused by this conversation, even though everyone else is enjoying it immensely.
FLASH
(about to turn away)
Yeah, just keep telling yourself that, bitch.
MJ and her friends glare at Flash, dangerously.
PETER
You might want to take that back, Thompson.
FLASH
(to Peter)
Oh yeah, look who it is, Pussy Parker!
The hallway erupts in snickers and laughter. Well, Peter, MJ, and Harry don't laugh.
FLASH
(con't)
I've been meaning to ask you about what you said in Chem.
PETER
I said a lot in Chem, Flash. Be specific.
FLASH
I meant that crack about me having "HCL on the brain". What the fuck does that mean?
PETER
It might take me a while to explain it to you, but I'll just say that you're proving me right.
Flash knows an insult when he hears one, and he shoves Peter into the locker, grabbing Peter's shirt.
FLASH
(pissed)
Say that again! C'mon, say it!
MJ
(clutching his shoulder, trying to pry him off Peter)
Leave him alone!
Flash shrugs off MJ's grip, then lets go of Peter and steps back.
FLASH
All right, all right, I'm cool...
(smoothes out Peter's shirt)
See? No problem.
Flash moves in close to Peter's face.
FLASH
But you should watch what you say around me. You know what happens when you piss me off.
FLASH walks to his locker, and Peter stares after him, furious.
MJ
Are you all right, Peter?
PETER
(gathering his stuff)
Oh yeah, I'm just peachy. Spiffy, even.
HARRY
C'mon, let's get outta here.
The three of them head toward the main doors, collectively having a bad day.
Flash, crouching at his gym bag, watches them walk, then removes his lucky football from his bag. CLOSE IN on the football.
HARRY
So what movies should we rent? How about that Wesley Snipes movie?
PETER
Hmm...nah. I've had enough violence for one--
Peter is hit in the back of the head with Flash's football. He falls to his knees, and his glasses fall off.
MJ and Harry react in horror.
Everyone else bursts out laughing, especially Flash Thompson, who high- fives a friend.
FLASH
YES! TOUCHDOWN!
Peter rubs the back of his head, tears stinging his eyes. He accidentally breaks his glasses under his knee. He picks them up and inspects them. One of the lenses is cracked, and the frames are bent.
FLASH
(o.s.)
What'samatter, Parker? Windshield damaged? Y'know, you should take care of your glasses better than that!
Peter turns and glares daggers at Flash. The look on his face is one of pure rage. He looks like he's about to kick Flash's ass, never mind that the latter has a hundred pounds on him.
The hallway falls dead silent. They've never seen Peter like this. Any thoughts of leaving the campus and getting the weekend started are forgotten. Even Flash is unnerved.
Finally, Peter, puts his glasses on, grabs his backpack, slings it over his shoulder, and walks out the door without a sound.
Harry and MJ follow, and activities resume in the hallway.
EXT. MIDTOWN HIGH LAWN - DAY
Peter heads for the parking lot, trying to get his anger back under control. MJ and Harry catch up with him.
MJ
Peter? Peter, wait up!
HARRY
Man, what got INTO you?
PETER
I don't want to talk about it.
MJ
Forget Flash! He's just an asshole. He's not worth your time.
PETER
Got it.
MJ
C'mon, Peter, my aunt's here. I'll give you a ride home.
PETER
(icily)
No thanks. I'll walk.
Peter hangs an abrupt left and heads down the sidewalk, still pissed. MJ gazes after him, worried.
MJ
(whispering)
Dammit, Peter...
CUT TO
EXT. OSCORP - DAY
CLOSE IN on a very industrial building, a Research & Development firm where all kinds of products are manufactured, and concepts are created. Oscorp's main innovations are of a chemical and mechanical nature.
INT. OSCORP OFFICE -DAY
PAN ACROSS a large industrial facility, that looks like a cross between an R&D laboratory and a factory. It's filled with computers, research equipment, test tubes full of various chemicals, and three men.
One is NORMAN OSBORN, an angry-looking forty-something businessman, with brown slicked-back hair.
Next to him is MENDEL STROMM, Osborn's business partner, with grey hair and glasses.
The third one is OTTO OCTAVIUS, an intense-looking scientist around Osborn's age or older, who's balding rapidly, and looks like he spends entirely too much time in the lab. Osborn watches with folded arms as Octavius gives a detailed progress report.
OSBORN
I'm running out of patience, Octavius. You promised me the formula would be ready by now, yet now you tell me that it's only 85% complete?
OCTAVIUS
Creating a formula for a biogenic weapon is not easy, Mr. Osborn. It's quite unstable at this point, which means that unless I strike the perfect balance, we won't have a chemical weapon. We'll have a bomb.
OSBORN
I suggest you find that balance soon. My potential buyers are getting restless, and they won't hold out for much longer. If I lose this contract, I will be QUITE unhappy.
Octavius fastens an odd HARNESS CONTRAPTION to his body. The harness looks like a large steel girdle with four long metal snakelike appendages emerging from it. At the end of each appendage are three grasping fingerlike digits.
OCTAVIUS
One cannot rush science, Osborn, especially not something as meticulous as this. The formula is currently so volatile that it must be handled by these appendages of my own devising, instead of imprecise human hands. If I am rushed, if I make even the SLIGHTEST mistake...all the process will be lost.
OSBORN
You have two days to finish the project, Octavius, or your employment will be terminated. Is that clear?
OCTAVIUS
(through gritted teeth)
Perfectly, sir.
Osborn and Stromm walk toward the exit, leaving Octavius to mutter under his breath.
OCTAVIUS
"Yes, Mr. Osborn...right away, Mr. Osborn..."
He thinks I'm expendable and replaceable.
PAN ACROSS the length of one of the appendages, until we reach the fingers, which clench into a makeshift fist with an audible CLANK.
OCTAVIUS
(o.s., casually)
We'll see about that.
INT. OSCORP HALLWAY - DAY
Osborn and Stromm walk down the hallway, discussing Octavius.
STROMM
I don't trust him.
OSBORN
Neither do I, Stromm, which is why I'm keeping a close eye on him.
STROMM
It's my original formula in the first place; he's completely altering it.
OSBORN
That's what I'm paying him to do. We need that biogen weapon working.
STROMM
What about the other formula?
OSBORN
The Goblin Formula? We--
HARRY
(o.s.)
Dad! Wait up!
Osborn turns as his son Harry runs to him. Norman doesn't look happy to see Harry. Stromm walks off.
OSBORN
What is it, Harry? I'm quite busy!
HARRY
(nervously)
Err...I was just wondering...if it'd be okay that..well, since you're going to spend basically the whole weekend here--
OSBORN
(impatiently)
Yes?
HARRY
Well, I was wondering if Peter and Mary Jane could stay over at the house for the weekend.
OSBORN
No.
HARRY
But--
OSBORN
We've been through this, Harry. I don't want you associating with those two. That Parker boy is a loser, and Mary Jane...well...I can't stand either of them!
HARRY
You've...you've never even given them a chance!
OSBORN
Don't TALK back to me, son! You'll be much stronger if you learn to stand on your OWN, instead of relying to loser friends.
HARRY
That's just IT! I'm ALWAYS alone! You never spend ANY time with me, and when you do, it's to berate me for not living up to your expectations!
OSBORN
What do you want me to do? Take you fishing or something?
(beat)
I'll eventually hand this company over to you one day, but as it stands you're not strong enough to handle it. I won't have Oscorp run by some...some...
(appraises Harry with undisguised contempt)
...some weakling. Now if that's all, I have work to do.
Osborn turns down another hallway, leaving his son standing there, completely alone.
HARRY
Well...thanks for understanding, Dad.
CUT TO
EXT. PARKER HOUSEHOLD - DAY
Peter Parker finally trudges his way onto the front lawn of his suburban home. He looks even worse than when we last saw him, but long frustrated walks tend to do that to him. He's still rubbing the knot on the back of his head.
INT. PARKER HOUSEHOLD - DAY
Peter enters the living room, completely frazzled.
PETER
Uncle Ben, Aunt May, I'm home...
BEN PARKER, an old man, in his fifties, looks up from his crossword puzzle. His wife, MAY PARKER, walks out of the kitchen. The two are a kind couple, and the only parental figures Peter knows. A cartoon show plays in the background.
AUNT MAY
Peter...you're usually home by now. What hap--
(sees what condition Peter's in)
Oh my...you must have had a bad day...
PETER
The worst...this week, anyway.
UNCLE BEN
(getting up and taking a closer look)
Roughed up again, I see. Let me guess, that Thompson boy again?
PETER
As usual.
BEN
Tsk...a shame that is.
(patting Peter affectionately on the shoulder)
Kids can definitely cruel. They always were, even back when I was in school.
MAY
(motherly)
Don't worry, dear, just sit down, and I'll fix you a hot meal.
(walking into the kitchen)
Really...all those people picking on Peter...if we could afford home school, we would.
Would a grilled-cheese sandwich be fine?
BEN
(examining the back of Peter's head)
Hmm...nasty bump you got there. You okay?
PETER
(not in the mood for either)
I'm fine, really. I just want to go up to my room. I'm not hungry.
Peter heads up the stairs.
BEN
Peter....
MAY
*sigh...* I don't envy him one bit, you know. His life is much harder than ours was at that age. He's such a smart boy, but sensitive. It's almost criminal that he has to go through so much just to get an education.
BEN
Well, the last laugh will be his. Peter's on his way to becoming a scientist, while that Thompson brat'll be flipping burgers.
Ben picks up a picture of three happy people: a three-year-old Peter, and his parents, RICHARD AND MARY PARKER.
BEN
I wish his parents could see what he's become. Too bad Richard and Mary died in that plane crash before Peter ever got a chance to know him. They left us with the job of raising him. I can't think of a heavier responsibility. I hope we haven't failed them...or Peter.
May walks to him and hugs him, while we PAN OUT to see that Peter is eavesdropping from the stairs. He heads up to his room.
INT. PETER'S ROOM - DAY
Peter's room says a lot about him: all kinds of toys, books, and models...most of them having to do with science. A computer sits proudly on his messy desk, with a screen saver displaying an animated CGI image of a DNA molecule. The computer is a birthday gift from Harry. Also of note: his walls are covered with posters of Einstein and Edison...and bikini-clad supermodels. We also see lots of camera equipment, since photography is a hobby of his when his nose isn't buried in books.
Peter sets his backpack on a chair, then lays down on the bed, staring at the ceiling.
His phone rings, startling him. He grabs it off of his nightstand.
PETER
Hello?
MJ
(v.o.)
Peter?
PETER
Mary Jane...hi!
INT. MARY JANE'S ROOM - DAY
We see Mary Jane sitting at her desk, holding the phone in her hand as she talks to Peter.
MJ
You're finally home, I see. How's the noggin?
PETER
(v.o.)
Still there, but twice its normal size.
(beat)
Listen...I'm sorry for giving you the cold shoulder earlier--
MJ
No, that's okay, you were pissed off. You had every right to be. If MY head had gotten hit by a football, I wouldn't be very good company either.
INT. PETER'S ROOM
Peter holds his damaged glasses between his fingers, studying them, while talking to MJ.
PETER
Yeah, well, I'll make sure my bruised ego -physically and conceptually- doesn't ruin our fun at Harry's house. 'Course, I forgot to tell Uncle Ben and Aunt May about it...
MJ
(v.o.)
You mean Harry didn't call you yet?
PETER
Uhm...no...not to my knowledge. I would've heard about it...why?
MJ
(v.o.)
He called me and said that the weekend thing has been cancelled due to his dad throwing a fit.
PETER
Hunh. It figures.
INT. MJ'S ROOM
MJ studies her nails.
MJ
Yep, guess that means our weekend plans are shot. You could come over to my house tomorrow.
INT. PETER'S ROOM
Peter bolts upright.
PETER
Yeah! That would be cool!
MJ
(v.o., teasingly)
Yeah, I'll bet. I certainly didn't have to tell YOU
twice, did I?
PETER
I'm...uh...just enthusiastic about hanging out with a friend, that's all.
INT. MJ'S ROOM
MJ looks somewhat disappointed, as if she were expecting someone else.
MJ
Oh, okay. Got it.
(grins)
So anyway, I--uh, hold on, Peter, I've got a call on another line. Be right back.
(clicks over the phone)
INT. PETER'S ROOM
Peter rolls his eyes and waits for MJ to finish with the other caller. He hears a knock at his door.
BEN
(v.o.)
Peter? It's me.
PETER
Come in.
Ben enters, looking around at Peter's room, then at Peter. He's carrying a newspaper.
BEN
Feeling better?
PETER
Yeah, my head still hurts, but other than that...
BEN
(holding up the newspaper)
Just thought you might like to see this.
PETER
(taking the newspaper)
"Genetics Expo"? At the university?!
BEN
Yeah, it's tomorrow from noon to five.
PETER
Tomorrow...? But I was wanting to go over to MJ'S...but I guess I can go after the expo.
BEN
It's your call. I just figured it's something you might be interested in.
PETER
It is...I'm surprised I hadn't heard about it already.
INT. MJ'S ROOM
MJ
Okay, I back; it was a relative.
(pause)
Peter, you there?
INT. PETER'S ROOM
Ben and Peter are both sitting on his bed, when Peter hears MJ's muffled voice on the phone.
PETER
Oh, sorry. Got sidetracked. Guess what I found out?
CUT TO
EXT. OSCORP - NIGHT
The complex is mostly deserted at this time of night, except for...
INT. OSCORP LAB - NIGHT
Begin with a CLOSEUP of a clock that reveals the time : 10:30. PAN from the clock, across the mostly-dark room, past the heavy machinery, to OCTAVIUS, and CLOSE IN. He is still wearing the mechanical appendage harness we saw earlier, and he types information into a computer.
Two of his appendages hold containers filled with different-colored liquid. The liquids are poured into a larger container.
Octavius concentrates intensely, intent on ensuring the appendages do their job, and that there are no mistakes.
WIDE SHOT of the room, the only light source directly over Octavius' workstation. The rest of the room is in shadows.
The door silently opens, and a gloved hand tossed a metal cylinder into the room. A cloud of gas hisses from it.
Octavius, having finished pouring the chemicals, hears the slight clanging and turns around. He coughs.
Three gas-masked MERCENARIES burst into the room, rifles at the ready.
MERCENARY #1
FREEZE!
Octavius, doubled over coughing from the gas, has no choice but to comply.
The mercenaries quickly secure the area, and the leader speaks into a walkie-talkie.
MERCENARY #1
Area is secured. We have acquired the formula.
Octavius looks up as one of the mercenaries holds a gun near Octavius' head.
The leader reaches for the formula container. He doesn't notice the tentacle-like appendage until it grabs his gas mask off and rips it off of him, leaving the man to choke on the gas.
The other mercenaries react to this, giving Octavius the opportunity to push the one hold the gun into a shelf of chemicals, and sends another appendage into the remaining mercenary's face. He then puts on the gas mask he acquired from the leader.
The leader, still coughing from the gas, raises his gun to fire at Octavius, but the latter punches an appendage into his stomach, sending him into a wall. The gun goes off anyway.
The gunfire misses Octavius, but hits a tank of chemicals behind him. Octavius glances around him in time to see the tank explode.
EXT. OSCORP - NIGHT
The explosion rips through the side of the building and echoes across the rest of the complex. Sirens go off, further plunging the scene into chaos.
INT. OSCORP LAB - NIGHT
The room is ablaze, with burning debris everywhere. The sprinkler system cuts on, spraying the room flame-retardant foam.
We see a sprawled, unconscious form lying atop rubble that used to be a laboratory. We recognize the figure to be Octavius, his burning lab coat being put out by the foam.
CLOSE IN on his fingers, which begin to twitch. PAN RIGHT to a damaged appendage, wiring exposed.
Its fingers also twitch.
CUT TO
EXT. EMPIRE STATE UNIVERSITY - DAY
It's around noon as we survey the stately university. The parking lot is packed, as people make their way into the building to attend the Genetics Expo. Among them are Peter Parker and Uncle Ben.
INT. UNIVERSITY GENETICS LAB - DAY
The room is huge, with all kinds of state of the art equipment. CLOSE IN on DOCTOR CURT CONNORS (mid-forties, brown hair, right arm missing) giving a seminar on recombinant DNA and gene therapy.
CONNORS
Now if you look over here, you'll see that an experiment is underway...
Peter, Ben and the rest of the group see through a thick glass window an experiment being conducted using the lab animals we saw in the last scene. TV monitors are set up so that the crowd can get a closer look at what's going on.
CONNORS
(con't)
...using synthesized transfer-RNA to recode the genome of the spiders...
TIGHT CLOSEUP of the screen, which shows images of bio-isolation flasks containing spiders.
CONNORS
(o.s.)
...transferring genetic information from one species of spider to another.
Ben looks questioningly at Peter.
BEN
(whispering good-naturedly)
Ooookay...he lost me. What's all that in English?
PETER
He means he's taking some genes from one kind of spider, giving them to another kind, and seeing what happens.
BEN
And the spiders don't mind? I certainly wouldn't want somebody putting someone else's genes in me.
PETER
(struggling to keep a straight face)
Who knows? It might not me so bad. Somebody could put Brad Pitt's genes in you.
BEN
Nah, his waist is too small. His jeans wouldn't fit.
Peter and other bystanders chuckle at Ben's humor, while Connors clears his throat.
CONNORS
If I may continue....if you look at the monitors, you can see the ten mutagenically activated spiders on the left, and ten control flies on the right. Now then, we--
PETER
Uhm, Doctor Connors...I hate to interrupt, but I only count NINE spiders on the left.
Ben nudges Peter with his elbow; Peter shrugs.
CONNORS
Really? I'm quite sure there were ten. One...two...
PAN UP to a far corner of the room, by an air vent.
SLOWLY CLOSE IN on a spider web, where a housefly is hopelessly entangled. The missing spider, with a red body and black legs, moves into the frame. It prepares to dine on the fly...
BACK TO the group. Peter remembers that he's holding his camera.
PETER
Dr. Connors, would it be all right if I, y'know, took some pictures? This is interesting stuff.
CONNORS
Go ahead. But please...try not to blind us.
Peter snaps a few pictures of the experiment through the window, the scientists on the other side looking up quizzically, then smiling.
He then decides to move out of the group in order to get as much of the lab in the shot as possible, and leans against a far wall. He meticulously lines up his shot, taking his time.
DOWNSHOT of Peter, from a vantage point near the ceiling. The view is somewhat unsteady, as if the POV were moving.
TIGHT CLOSEUP of the spider web. The fly is still alive, though the spider had been dining on it anyway. The frantic fly manages to wrench itself free of the webbing, and drops through it to the floor. The spider follows it by creating a webline for itself and lowering itself to its rude prey.
Peter snaps a picture, then prepares another shot. It seems he's quite particular about the quality of the shot.
The spider drops onto his hand, its legs tickling the hairs.
Peter looks at his hand, and studies the spider curiously.
PETER
(to the spider)
Hey, cool! Hold that pose. I want to get a picture of you.
Peter then yelps in pain as the spider bites him. He jerks his hand in reflex, slinging the offending creature away. He rubs his hand.
PETER
Ow...that hurt! See if YOU ever make it onto the
cover of Arachnid Weekly!
He looks at the bite marks. Nothing wrong so far. He shrugs and walks back to Uncle Ben and the others.
CUT TO
INT. UNCLE BEN'S CAR -DAY
Ben drives Peter back toward home, chatting to him about the expo.
BEN
So all this genetic engineering...it's supposed to be a good thing, right?
PETER
Oh, sure. Used properly, it can be useful in curing diseases and other ailments, and help organ transplants go smoother.
BEN
And...if used improperly?
PETER
Hm....well, I suppose there's a lot of potential for that to be mishandled, even used malevolently.
BEN
If you're going to get into this career, Peter, make sure you know where to draw the line. Discovering the secrets of the body...what makes us what we are...is a very powerful thing. I've told you time and again, that with great power...
PETER
...comes great responsibility, I know.
Peter absent-mindedly starts scratching the top of his hand, where it was bitten. CLOSE IN on it, where we see two marks on it, now red and slightly swollen...
Screenplay
By David Ellis
Begun: 9-11-00
Completed: 6-30-01
Based on the Marvel Comics characters created by Stan Lee, Steve Ditko, and John Romita Sr.
FADE IN
EXT. NEW YORK CITY SKYLINE - SUNSET
We travel high over the street, the various Manhattan skyscrapers passing us on each side. The golden-red sky is reflected off of the glass windows, causing the buildings to shine like jewels.
However, something's strange about the way we're seeing this. Instead of moving smoothly across the city, as if in a helicopter, our P.O.V. seems to lurch diagonally, down, from one side of the street to the other, in a series or arcs. It's almost like...swinging?
BEGIN OPENING CREDITS
A red-gloved right hand moves outward into view, pointing at the building nearest us, and a thin cable shoots from the wrist. The cord strikes a flat side of the building, and oddly stays there, apparently adhering to it.
The cable pulls taut, and the hand holds on fiercely as the P.O.V. suddenly dips into another arc.
By now, it's clear we are seeing things through the eyes of the person swinging. We reach the bottom of the arc and travel upward toward a building across the street. This time the left hand shoots out and repeats the action of the right hand.
CUT TO
EXT. MANHATTAN BANK - SUNSET
ANGLE ON a stylish, expensive-looking bank that looks somewhat like a hotel. CLOSE IN on the front entrance, as random people move in and out of it, and still more pass by on the sidewalk.
One MAN, dressed in a trench coat, looks around warily, then up, before entering.
INT. MANHATTAN BANK -SUNSET
The bank looks even more impressive on the inside. This establishment must be quite good at what it does. The customers number in the dozens, most of them standing impatiently in line. We even see a few kids held by their parents' hands.
In one corner, a CUSTOMER finds himself having great difficulty figuring out how to work an A.T.M. machine.
CUSTOMER
What the f--? "Rejected"? How can that be? I just got this stupid card yesterday!
The man tries again, and this time, the card is accepted. Over his shoulder, we see on-screen the words, "PROCESSING REQUEST. PLEASE WAIT..."
CUSTOMER
(relieved)
Yess! About time! C'mon...c'mon already...
The man in the trench coat walks by behind him, and stops for a moment, a sly grin crossing his face. He then continues walking.
The ATM machine suddenly experiences a power surge that fries its systems. The screen turns off.
CUSTOMER
What the fuck? STUPID MACHINE!
POV: SECURITY CAMERA
We see the bank lobby as a grainy image, from the point of view of one of the security cameras. In the center of the frame, the man in the trench coat stops and looks directly at the CAMERA, smiling for posterity.
The camera cuts off, and all we see is static.
INT. MANHATTAN BANK - SUNSET
The man in the trench coat looks around with amused curiosity as CLERKS suddenly experience problems with their computers. Frustrated cursing and plenty of ad-libs are heard.
Suddenly, the light go out, and the only light source around is from outside.
The man suddenly raises a hand above him, and a thin stream of electricity travels from it to the ceiling, getting everyone's attention. He announces:
ELECTRO
May I have your attention please?!
He looks around at the customers, who have ducked-and-covered, and are peeking at him with horrified eyes.
ELECTRO
Hm...I guess I do. Anyway, allow me to introduce myself.
He opens his coat and reveals an electric blue outfit with a lightning design adorning it. He balls up the coat, holds it one hand, and zaps it with a handful of electricity, setting it on fire.
ELECTRO
(while doing this)
I AM ELECTRO!
Electro was MAXWELL DILLON, a small-time hood with grand aspirations, until an electrical accident turned him into a small-time hood with grand aspirations and the means to carry them out. However, it seems he often doesn't think things through as well as he should, which has prevented him from success thus far.
Three SECURITY GUARDS draw their guns.
SECURITY GUARD #1
Freeze!
ELECTRO
I can't. My powers don't work that way.
Electro holds up his other hand, and three streaks of electricity shoot from it and strike the guards, dropping them.
ELECTRO
Anyway...believe it or not, folks, this isn't a stick-up. It's just a...publicity stunt, if you will. I'm looking to attract the attention of a certain wall-crawler some of you may know as...Spider-Man.
CUT BACK TO
EXT. NEW YORK CITY SKYLINE - SUNSET
Now, instead of simply his arms, we see the swinging figure's full back view, as he continues commuting in his own unique fashion. We see a red-and- black form-fitting costume. From his shoulders up is red, and the rest is black, though a large red spider design is prominently displayed on his back.
Obviously, this is the guy Electro referred to: SPIDER-MAN.
He shoots a strand of webbing at a building at a different angle, and swings around the building, effectively hanging a left. He continues on his way.
INT. MANHATTAN BANK - SUNSET
Electro paces back and forth, impatiently.
ELECTRO
Somebody needs to get the word out to that web-head. I mean, one would think that holding a freakin' bank hostage would get him to show, but NOOO! He hasn't arrived.
(ponders)
Maybe I should have taken over a media outlet, like a TV station. Nah, I'd short out the equipment before I send the message.
Electro sees an injured guard reaching for his walkie-talkie.
The guard freezes. Electro grins.
ELECTRO
Oh, by all means...call as many cops as you can. It'll inevitably bring Spidey, and then the fun'll begin.
The guard nods slowly and speaks into his walkie-talkie.
One brave soul tries to sneak toward the revolving doors, but Electro catches the movement out of his periphery. Electro zaps him with a glare, toasting his jacket. The man writhes in pain.
ELECTRO
Hey! Who said you could go anywhere? I still need hostages.
CUT TO
INT. SQUAD CAR - SUNSET
Two cops hear an "All Units" alert on the CB.
DISPATCHER
(v.o.)
All units: Hostage situation reported at Sunset National Bank. Supervillain involved.
COP #1
Ten-four. On our way.
COP #2
A supervillain? This is just great. How the hell are we supposed to deal with that?
COP #1 glances at his rearview mirror, and does a double-take when he sees a tiny figure far above street level, moving fast. The figure is dressed in red and black...
COP #1
(turning to his partner)
Looks like we're about to get help. I just saw Spider-Man!
COP #2
Him? Oh god...his help we can do without. Ain't you read the Bugle? That guy's just as shady as the bad guys!
COP #1
Oh, shut up...
CUT BACK TO
INT. MANHATTAN BANK - SUNSET
Electro hears sirens in the distance.
ELECTRO
Ah! Perfect! It shouldn't be too long now, and then I get to zap a spider.
A faint tapping noise is heard, and Electro looks around. The tapping continues, and it finally occurs to him to look up.
UPSHOT of the bank's skylight, where we see a figure looking through the glass at us and waving. This is our first look at Spider-Man's face, covered by a full-faced red mask and large reflective eyepieces.
ELECTRO
(o.s.)
SPIDER-MAN!!
SPIDER-MAN
Well, obviously.
Electro fires a bolt of lightning up at the skylight, shattering it into thousands of melted pieces.
Spider-Man has long since moved to safety.
TIGHT CLOSEUP of Electro as he clenches his teeth and growls.
CLOSEUP of the skylight, where Spidey's gloved hand gestures, "c'mere."
BACK TO ELECTRO.
ELECTRO
Huh..? How does he expect me to follow him? I can't fly--
A thin strand of webbing is shot and attached to Electro's chest.
WIDE SHOT: ELECTRO IS FORCIBLY YANKED OFF HIS FEET AND UP TOWARD THE SKYLIGHT.
ELECTRO
AAAAAAAAAAAAAAAAAHHHHHHHHHH!!!!!!!!!
EXT. BANK ROOFTOP - SUNSET
Electro emerges through the skylight, still screaming his fool head off, and continues for another yard or two before landing chest-first onto the gravel rooftop. He catches his breath and looks up.
Spider-Man is perched on a high ledge, holding his chin in his hand. Even though his face is completely covered, we get the feeling he's wearing a shit-eating grin from ear to ear.
SPIDER-MAN
Hope you enjoyed the ride. That'll be twenty bucks.
Electro shouts his rage and hops to his feet, electricity arcing across his body. The electricity collects into his hands, which glow bluish-white.
Electro fires off the shot, but Spidey jumps with inhuman speed and lands back on the ledge. The building across the street is hit with the lightning, and a sound of thunder is heard in the background.
SPIDER-MAN
Hey! Does this mean you're an unsatisfied customer?
Electro fires another bolt, which just barely misses Spidey.
SPIDER-MAN
YOW! Okay, I'll take that as a yes! Fine then. Zap at me all you want. But just remember, YOU'RE paying the electricity bill!
EXT. MANHATTAN STREET - SUNSET
UPSHOT FROM STREET LEVEL of the bank's roof, where streaks of lighting appear and strike nearby buildings. PEDESTRIANS cover their ears and run.
PEDESTRIAN
Damn! This always happens when Spidey's around!
EXT. BANK ROOFTOP - SUNSET
Spider-Man performs a myriad of acrobatic stunts across the rooftop to avoid Electro's bolts. Almost by accident, one of them connects, and Spidey falls off the roof.
SPIDER-MAN
AARRH!
UPSHOT of the bank rooftop ledge, where Electro peers down toward the street, looking for Spidey.
DOWNSHOT of the street, from Electro's POV, panning quickly from side to side. The only sign of Spider-Man is a webline attached to a flagpole, flapping in the wind.
ELECTRO
(v.o.)
Where the hell?
Electro quickly looks back up and around, frantically. Where did that stupid wall-crawler disappear to?
He feels a tap on his shoulder and whips around, firing another lightning bolt at nothing.
WIDE DOWNSHOT of the roof, where Electro moves around in a 360-degree scan, extremely paranoid.
CLOSEUP of Electro, as a glob of webbing hits him in the back of the head.
SPIDER-MAN
(v.o.)
Hey Sparky, I'm right behind you!
Electro spins around, but this time is smart enough this time to look before zapping.
This time, however, he sees Spider-man swing toward him on a webline, feet extended in a kick.
Electro is slammed in the chest by Spidey's feet, and is pushed off the roof. The two fall toward the street.
Some weird strobing effect happens to Spider-Man's head, and he points a hand to an unseen target, about to fire another web to stop their fall, but Electro clamps onto Spidey's legs and emits a powerful electrostatic pulse. Spidey screams in pain.
EXT. MANHATTAN STREET - SUNSET
The two continue to fall toward the street, as bystanders try to get out of the way. Spidey recovers his wits and kicks at the bank building, pushing off of it while holding onto Electro. The two sail clear across the street. Electro screams the whole time.
Spider-Man lands on the sidewalk, and tosses Electro to the ground. They both catch their breaths.
SPIDER-MAN
Thanks a lot...hhhh.... Sparky...hhh.... you just about...killed us both...
They hear multiple clicking sounds and look up as the POLICE surround them, guns drawn.
POLICE CHIEF
FREEZE! BOTH OF YOU!
ELECTRO
(under breath)
Not this again...
(putting on a brave front)
All right, cops! One step closer and I'll fry ALL of you! I'll do it! You wanna feel a hundred thousand volts, just TRY me!
While Electro says this, Spidey stands up, looks up and around innocently, and kicks at a fire hydrant behind him. The fireplug is knocked clean off, and a stream of high-pressured water erupts into Electro's back, sending him into a parked car. Electro finds himself unable to move due to the water, and his powers are shorted out.
It finally occurs to one of the officers to look around for Spider-man, but the webslinger has already made his escape.
UPSHOT at the NYC skyline as the officer watches Spider-Man swing off in the distance.
CUT TO
EXT. WATER TOWER - SUNSET
Begin the SHOT with the tower in the distance, then CLOSE IN. We see an odd object attached to it, which upon closer look is a photo camera attached to the ladder railing by a glob of webbing. By this time, the camera is close enough to fill most of the frame, but we see a shadow fall across the tower behind it.
Spidey's glove reaches into view and yanks the camera out of the webbing. The hands then check the camera to see if it's been operating properly.
WIDER VIEW of Spider-Man, apparently satisfied, leaping off of the tower and shooting a webline off into the distance. He swings away, as we PULL OUT further to reveal that the camera had been pointed at the bank's rooftop, where Spidey had fought Electro in the previous sequence. The last rays of sunlight are fading into the horizon.
CUT TO
EXT. DAILY BUGLE - NIGHT
The sun has set. We see a prominent, 40s-style building that has been renovated frequently to keep with the times. Adorning the top are giant letters spelling out "DAILY BUGLE". CLOSE IN on one of the top windows. A gruff voice suddenly barks:
J. JONAH JAMESON
(v.o.)
WHERE'S PARKER?
INT. DAILY BUGLE CITY DESK - NIGHT
The City Desk is bustling with people, as one might expect. The noise level is fairly high, since it's crunch time, close to a deadline. People are shouting at each other to be heard, arguing into phones, and typing at incredible speeds. The atmosphere is hectic.
At the center of it stands the publisher, J. JONAH JAMESON, whose voice we just heard. He's an old, hard-boiled newsman from the forties, a very intimidating figure with a crew cut and a cigar that he keeps in a deathgrip between his teeth. Always ready to rant and curse at full blast, he exists in two settings: 'Hardass' and 'Hardass-er'.
JAMESON
(con't, to no one in particular)
Spider-Man was sighted dealing with some electricity-wielding freak, and the only photographer I have that can get decent photos of him isn't HERE! Doesn't that slacker KNOW we have deadline to meet?!
Jameson's secretary, an African American woman named GLORI GRANT, waits for an opening in Jameson's spiel.
GLORI
I'm sure Peter is on his way. He's always delivered the goods to us before.
JAMESON
Yeah, and always at the last possible second! He's been freelancing for us for almost a month...
GLORI
Two weeks, actually...
JAMESON
Right! Two weeks...and not ONCE has that kid brought anything in with time to spare! That was unacceptable in my time! Why, I remember back when--
PETER PARKER
(o.s.)
Mr. Jameson!
Jameson turns, and we see a teenager fighting his way through the crowd of reporters, holding up a package of pictures. This, of course, is PETER PARKER, a 16-year-old high school student. He's skinny, with brown hair, attire that one might wear in church, and a nerdy but excitable demeanor. A camera bag is slung over one shoulder. He looks like he's fought a long hard battle to acquire the pictures he's taken, which is actually a good description of what he just did.
PETER
(reaching Jameson)
Mr. Jameson...I got the pics. I filled up the whole roll, just as you asked.
JAMESON
Parker! It's about time! We've got a deadline to meet! My office!
INT. JAMESON'S OFFICE - NIGHT
Peter and Jameson walk into the latter's spartan office, and Jameson sits at his desk. He grabs the envelope.
JAMESON
These better be damn good photos, or I'm takin' it outta your pay! I've got enough to worry about, without you wasting my time!
PETER
(smiling)
Oh, they are, trust me.
JAMESON
Better than your last ones?
PETER
Absolutely, Mr. Jameson.
JAMESON
(rolling his eyes)
That ain't hard to do...
Jameson opens the envelope, pulls out the photos, and begins looking through them.
OVER HIS SHOULDER, we see various shots of the Spidey/Electro rooftop fight, all from the same angle.
JAMESON
(o.s.)
Mmmm....not bad...boring.... They're almost out of the frame. You should try actually following the action, Parker.... too blurry...
PETER
(o.s.)
Uh, that's because they're moving so fast.
JAMESON
(o.s.)
No excuse.
Jameson finishes and looks up at Peter, who's waiting expectantly for the final verdict.
JAMESON
Not too bad. They'll work. I especially like that one of the aftermath, with the broken fire hydrant on the street, Electro, and the cops.
PETER
(eyes brightening)
Really?
JAMESON
Yeah, I'll run it on Page One along with the clearest Spidey pic.
Peter smiles even wider, but then the other shoe drops.
JAMESON
(con't)
We'll run it with a big headline:
(frames the imagined headline with his hands)
"SPIDER-MAN FIGHTS ELECTRO, ENDANGERS CITIZENS!"
PETER
(frowning)
It figures.
JAMESON
He's a menace, Parker. All he's in it for is the fame! First the TV appearances, and when THAT wasn't enough, he tried to be a big-shot crimefighter!
PETER
Uhm...what's wrong with that?
JAMESON
He does all this behind A MASK! He doesn't want anybody to know who he is because he has a lot to hide! Do you really want someone that shady to protect you?
PETER
(skeptically)
I thought the mask was just for the mystery angle, to keep people guessing.
JAMESON
The only angle he's after is the "bad boy" angle. Everybody nowadays is obsessed with the "edgy" icons. Like you can't be popular anymore without being shady. I mean, just look at the costume! Red and black, with bug eyes, creepy-looking. Like he's trying to scare people!
Peter tries to hold his tongue, though we see that he's visibly wounded by Jameson's appraisal of Spider-Man.
Jameson stuffs the photos back into the envelope, and hands it back to Peter.
JAMESON
Run this over to the Photo department. Make yourself useful, for once.
PETER
(reluctantly)
Err..right away Mr. Jameson...
JAMESON
Get a move on! We have a paper to put out, here! And shut the door behind you!
Peter leaves.
INT. CITY DESK - NIGHT
Peter closes the door behind him, then leans on it, recovering from another encounter with Jameson.
ROBBIE
(o.s.)
He's making you deliver the photos yourself again, Peter?
Peter turns and smiles at Joe "Robbie" Robertson, a black man around Jameson's age, but much friendlier. He treats his employees like his close friends, and is responsible for much of the office morale. He's also the only Daily Bugle reporter (and probably the only man alive) who can win an argument with Jameson. Peter looks up to him.
ROBBIE
(shaking his head)
Here, let me handle that. You've done more than your share.
PETER
Thanks, Mr. Robertson.
Peter gives the envelope to Robbie, who gives him a paycheck in return.
ROBBIE
Call me Robbie, I keep telling you. Really, you do good work. Ol' Jameson will never admit it, but he thinks so too. He depends on your Spidey pictures.
PETER
(shocked)
He does?
ROBBIE
He does. You're one of our best freelancers. Keep up the good work.
Another reporter walks up to Robbie and asks him a question. Robbie smiles and waves Peter on his way.
His spirits renewed, Peter strolls through the chaotic room, greeting familiar faces.
PETER
Hi Ben...hi Phil...hi Fred...Ann...Ned...
(passes a pretty intern)
Hi Betty!
BETTY
Oh...hi Peter.
On his way to the elevator, Peter sees a previous edition of the Daily Bugle newspaper, with a close-up color picture (that Peter himself took) of Spider-Man adorning the front page. The headline reads, "SPIDER-MAN: VILLAIN IN DISGUISE?" Peter frowns and shakes his head.
INT. ELEVATOR
Peter enters the elevator, hands in his pockets. His cheery move has been shelved by the newspaper headline. He leans against the wall, and stares up at the ceiling, rubbing his eyes. We then hear a VOICEOVER by Peter, displaying his thoughts. SLOWLY CLOSE IN on Peter's face.
PETER
(v.o.)
Jameson thinks I'm, or rather Spider-Man is, a shallow showboater. Only in it for the glory. That used to be true, but not anymore. He thinks the mask is hiding some dark secret. He's right on that account. My mask hides a tragic mistake...
DISSOLVE TO
EXT. MIDTOWN HIGH SCHOOL - DAY
We see what's basically an average New York high school. CLOSE IN on it, while a TITLE CAPTION is displayed across the bottom of the screen:
TITLE CAPTION
ONE MONTH AGO...
INT. MIDTOWN HIGH HALLWAY -DAY
Classes have let out for the day. Students swarm the halls, and the scene is reminiscent of the Daily Bugle City Desk we just witnessed. CLOSE IN on Peter, who's at his locker, stuffing books into his backpack. He's wearing glasses, though. He's talking to a friend on his left, HARRY OSBORN. Harry's a troubled rich kid with a dysfunctional home life, which he tries to hide by being a smartass and sci-fi fanboy. He's well dressed, except for an expensive "Star Trek" jacket.
HARRY
Are you as glad as I am that it's Friday?
PETER
At this point, do you even have to ask?
HARRY
Good point. My old man's going to be stuck in the office the whole weekend, which means I'll have the house to myself. You and MJ should keep me company.
PETER
Your father doesn't spend much time with you, does he?
HARRY
Nope. I like it that way, actually. Every time I see him, he makes me wish I didn't.
PETER
(nodding)
I don't blame you, Harry. I've seen what he's like. Sure, it sounds like fun. I'll come if MJ will.
A red-haired girl walks up to them, smiling. She is a serious fox. Why she hangs around geeks like Peter and Harry aren't readily obvious, but the other girls pass by her and sneer with the same contempt they show the two guys. Apparently, Peter, Harry, and she are members of a three-person social clique. By the way, she's MARY JANE WATSON, or "MJ" for short.
MJ
Hey guys! If I will what?
PETER
(smiling)
Hi MJ! We were just talking about spending the weekend at Harry's place.
MJ
Cool! Count me in. I'm always up for a dip in the pool.
Peter studies MJ briefly, as if picturing her in a swimsuit. It's obvious he's attracted to her (any guy with a brain in his head is, actually). He looks away when she glances at him.
FLASH
(o.s.)
Well, if that's what you want, honey, you can take a dip in mine!
Peter, Harry, and MJ turn and glare at the school's resident jock/bully, EUGENE "FLASH" THOMPSON. He's accompanied by his fellow football players, who, like Flash, are dressed in varsity jackets. Peter and his friends have nothing but disgust for him.
MJ
You wish, Eugene. I wouldn't be caught dead in your pool. Well, actually I would. If I ever got near it, I'd be tempted to drown myself from the embarrassment. So I'll have to pass, thanks.
FLASH
(as his buddies chuckle)
Didn't I TELL you not to call me that? It's Flash, not Eugene.
MJ
Whatever...
FLASH
(patting his chest arrogantly)
Oh come on, you know you still want this.
MJ
If I did, I wouldn't have dumped you, would I? I don't WANT some controlling, brainless jock.
It's clear Flash is less than amused by this conversation, even though everyone else is enjoying it immensely.
FLASH
(about to turn away)
Yeah, just keep telling yourself that, bitch.
MJ and her friends glare at Flash, dangerously.
PETER
You might want to take that back, Thompson.
FLASH
(to Peter)
Oh yeah, look who it is, Pussy Parker!
The hallway erupts in snickers and laughter. Well, Peter, MJ, and Harry don't laugh.
FLASH
(con't)
I've been meaning to ask you about what you said in Chem.
PETER
I said a lot in Chem, Flash. Be specific.
FLASH
I meant that crack about me having "HCL on the brain". What the fuck does that mean?
PETER
It might take me a while to explain it to you, but I'll just say that you're proving me right.
Flash knows an insult when he hears one, and he shoves Peter into the locker, grabbing Peter's shirt.
FLASH
(pissed)
Say that again! C'mon, say it!
MJ
(clutching his shoulder, trying to pry him off Peter)
Leave him alone!
Flash shrugs off MJ's grip, then lets go of Peter and steps back.
FLASH
All right, all right, I'm cool...
(smoothes out Peter's shirt)
See? No problem.
Flash moves in close to Peter's face.
FLASH
But you should watch what you say around me. You know what happens when you piss me off.
FLASH walks to his locker, and Peter stares after him, furious.
MJ
Are you all right, Peter?
PETER
(gathering his stuff)
Oh yeah, I'm just peachy. Spiffy, even.
HARRY
C'mon, let's get outta here.
The three of them head toward the main doors, collectively having a bad day.
Flash, crouching at his gym bag, watches them walk, then removes his lucky football from his bag. CLOSE IN on the football.
HARRY
So what movies should we rent? How about that Wesley Snipes movie?
PETER
Hmm...nah. I've had enough violence for one--
Peter is hit in the back of the head with Flash's football. He falls to his knees, and his glasses fall off.
MJ and Harry react in horror.
Everyone else bursts out laughing, especially Flash Thompson, who high- fives a friend.
FLASH
YES! TOUCHDOWN!
Peter rubs the back of his head, tears stinging his eyes. He accidentally breaks his glasses under his knee. He picks them up and inspects them. One of the lenses is cracked, and the frames are bent.
FLASH
(o.s.)
What'samatter, Parker? Windshield damaged? Y'know, you should take care of your glasses better than that!
Peter turns and glares daggers at Flash. The look on his face is one of pure rage. He looks like he's about to kick Flash's ass, never mind that the latter has a hundred pounds on him.
The hallway falls dead silent. They've never seen Peter like this. Any thoughts of leaving the campus and getting the weekend started are forgotten. Even Flash is unnerved.
Finally, Peter, puts his glasses on, grabs his backpack, slings it over his shoulder, and walks out the door without a sound.
Harry and MJ follow, and activities resume in the hallway.
EXT. MIDTOWN HIGH LAWN - DAY
Peter heads for the parking lot, trying to get his anger back under control. MJ and Harry catch up with him.
MJ
Peter? Peter, wait up!
HARRY
Man, what got INTO you?
PETER
I don't want to talk about it.
MJ
Forget Flash! He's just an asshole. He's not worth your time.
PETER
Got it.
MJ
C'mon, Peter, my aunt's here. I'll give you a ride home.
PETER
(icily)
No thanks. I'll walk.
Peter hangs an abrupt left and heads down the sidewalk, still pissed. MJ gazes after him, worried.
MJ
(whispering)
Dammit, Peter...
CUT TO
EXT. OSCORP - DAY
CLOSE IN on a very industrial building, a Research & Development firm where all kinds of products are manufactured, and concepts are created. Oscorp's main innovations are of a chemical and mechanical nature.
INT. OSCORP OFFICE -DAY
PAN ACROSS a large industrial facility, that looks like a cross between an R&D laboratory and a factory. It's filled with computers, research equipment, test tubes full of various chemicals, and three men.
One is NORMAN OSBORN, an angry-looking forty-something businessman, with brown slicked-back hair.
Next to him is MENDEL STROMM, Osborn's business partner, with grey hair and glasses.
The third one is OTTO OCTAVIUS, an intense-looking scientist around Osborn's age or older, who's balding rapidly, and looks like he spends entirely too much time in the lab. Osborn watches with folded arms as Octavius gives a detailed progress report.
OSBORN
I'm running out of patience, Octavius. You promised me the formula would be ready by now, yet now you tell me that it's only 85% complete?
OCTAVIUS
Creating a formula for a biogenic weapon is not easy, Mr. Osborn. It's quite unstable at this point, which means that unless I strike the perfect balance, we won't have a chemical weapon. We'll have a bomb.
OSBORN
I suggest you find that balance soon. My potential buyers are getting restless, and they won't hold out for much longer. If I lose this contract, I will be QUITE unhappy.
Octavius fastens an odd HARNESS CONTRAPTION to his body. The harness looks like a large steel girdle with four long metal snakelike appendages emerging from it. At the end of each appendage are three grasping fingerlike digits.
OCTAVIUS
One cannot rush science, Osborn, especially not something as meticulous as this. The formula is currently so volatile that it must be handled by these appendages of my own devising, instead of imprecise human hands. If I am rushed, if I make even the SLIGHTEST mistake...all the process will be lost.
OSBORN
You have two days to finish the project, Octavius, or your employment will be terminated. Is that clear?
OCTAVIUS
(through gritted teeth)
Perfectly, sir.
Osborn and Stromm walk toward the exit, leaving Octavius to mutter under his breath.
OCTAVIUS
"Yes, Mr. Osborn...right away, Mr. Osborn..."
He thinks I'm expendable and replaceable.
PAN ACROSS the length of one of the appendages, until we reach the fingers, which clench into a makeshift fist with an audible CLANK.
OCTAVIUS
(o.s., casually)
We'll see about that.
INT. OSCORP HALLWAY - DAY
Osborn and Stromm walk down the hallway, discussing Octavius.
STROMM
I don't trust him.
OSBORN
Neither do I, Stromm, which is why I'm keeping a close eye on him.
STROMM
It's my original formula in the first place; he's completely altering it.
OSBORN
That's what I'm paying him to do. We need that biogen weapon working.
STROMM
What about the other formula?
OSBORN
The Goblin Formula? We--
HARRY
(o.s.)
Dad! Wait up!
Osborn turns as his son Harry runs to him. Norman doesn't look happy to see Harry. Stromm walks off.
OSBORN
What is it, Harry? I'm quite busy!
HARRY
(nervously)
Err...I was just wondering...if it'd be okay that..well, since you're going to spend basically the whole weekend here--
OSBORN
(impatiently)
Yes?
HARRY
Well, I was wondering if Peter and Mary Jane could stay over at the house for the weekend.
OSBORN
No.
HARRY
But--
OSBORN
We've been through this, Harry. I don't want you associating with those two. That Parker boy is a loser, and Mary Jane...well...I can't stand either of them!
HARRY
You've...you've never even given them a chance!
OSBORN
Don't TALK back to me, son! You'll be much stronger if you learn to stand on your OWN, instead of relying to loser friends.
HARRY
That's just IT! I'm ALWAYS alone! You never spend ANY time with me, and when you do, it's to berate me for not living up to your expectations!
OSBORN
What do you want me to do? Take you fishing or something?
(beat)
I'll eventually hand this company over to you one day, but as it stands you're not strong enough to handle it. I won't have Oscorp run by some...some...
(appraises Harry with undisguised contempt)
...some weakling. Now if that's all, I have work to do.
Osborn turns down another hallway, leaving his son standing there, completely alone.
HARRY
Well...thanks for understanding, Dad.
CUT TO
EXT. PARKER HOUSEHOLD - DAY
Peter Parker finally trudges his way onto the front lawn of his suburban home. He looks even worse than when we last saw him, but long frustrated walks tend to do that to him. He's still rubbing the knot on the back of his head.
INT. PARKER HOUSEHOLD - DAY
Peter enters the living room, completely frazzled.
PETER
Uncle Ben, Aunt May, I'm home...
BEN PARKER, an old man, in his fifties, looks up from his crossword puzzle. His wife, MAY PARKER, walks out of the kitchen. The two are a kind couple, and the only parental figures Peter knows. A cartoon show plays in the background.
AUNT MAY
Peter...you're usually home by now. What hap--
(sees what condition Peter's in)
Oh my...you must have had a bad day...
PETER
The worst...this week, anyway.
UNCLE BEN
(getting up and taking a closer look)
Roughed up again, I see. Let me guess, that Thompson boy again?
PETER
As usual.
BEN
Tsk...a shame that is.
(patting Peter affectionately on the shoulder)
Kids can definitely cruel. They always were, even back when I was in school.
MAY
(motherly)
Don't worry, dear, just sit down, and I'll fix you a hot meal.
(walking into the kitchen)
Really...all those people picking on Peter...if we could afford home school, we would.
Would a grilled-cheese sandwich be fine?
BEN
(examining the back of Peter's head)
Hmm...nasty bump you got there. You okay?
PETER
(not in the mood for either)
I'm fine, really. I just want to go up to my room. I'm not hungry.
Peter heads up the stairs.
BEN
Peter....
MAY
*sigh...* I don't envy him one bit, you know. His life is much harder than ours was at that age. He's such a smart boy, but sensitive. It's almost criminal that he has to go through so much just to get an education.
BEN
Well, the last laugh will be his. Peter's on his way to becoming a scientist, while that Thompson brat'll be flipping burgers.
Ben picks up a picture of three happy people: a three-year-old Peter, and his parents, RICHARD AND MARY PARKER.
BEN
I wish his parents could see what he's become. Too bad Richard and Mary died in that plane crash before Peter ever got a chance to know him. They left us with the job of raising him. I can't think of a heavier responsibility. I hope we haven't failed them...or Peter.
May walks to him and hugs him, while we PAN OUT to see that Peter is eavesdropping from the stairs. He heads up to his room.
INT. PETER'S ROOM - DAY
Peter's room says a lot about him: all kinds of toys, books, and models...most of them having to do with science. A computer sits proudly on his messy desk, with a screen saver displaying an animated CGI image of a DNA molecule. The computer is a birthday gift from Harry. Also of note: his walls are covered with posters of Einstein and Edison...and bikini-clad supermodels. We also see lots of camera equipment, since photography is a hobby of his when his nose isn't buried in books.
Peter sets his backpack on a chair, then lays down on the bed, staring at the ceiling.
His phone rings, startling him. He grabs it off of his nightstand.
PETER
Hello?
MJ
(v.o.)
Peter?
PETER
Mary Jane...hi!
INT. MARY JANE'S ROOM - DAY
We see Mary Jane sitting at her desk, holding the phone in her hand as she talks to Peter.
MJ
You're finally home, I see. How's the noggin?
PETER
(v.o.)
Still there, but twice its normal size.
(beat)
Listen...I'm sorry for giving you the cold shoulder earlier--
MJ
No, that's okay, you were pissed off. You had every right to be. If MY head had gotten hit by a football, I wouldn't be very good company either.
INT. PETER'S ROOM
Peter holds his damaged glasses between his fingers, studying them, while talking to MJ.
PETER
Yeah, well, I'll make sure my bruised ego -physically and conceptually- doesn't ruin our fun at Harry's house. 'Course, I forgot to tell Uncle Ben and Aunt May about it...
MJ
(v.o.)
You mean Harry didn't call you yet?
PETER
Uhm...no...not to my knowledge. I would've heard about it...why?
MJ
(v.o.)
He called me and said that the weekend thing has been cancelled due to his dad throwing a fit.
PETER
Hunh. It figures.
INT. MJ'S ROOM
MJ studies her nails.
MJ
Yep, guess that means our weekend plans are shot. You could come over to my house tomorrow.
INT. PETER'S ROOM
Peter bolts upright.
PETER
Yeah! That would be cool!
MJ
(v.o., teasingly)
Yeah, I'll bet. I certainly didn't have to tell YOU
twice, did I?
PETER
I'm...uh...just enthusiastic about hanging out with a friend, that's all.
INT. MJ'S ROOM
MJ looks somewhat disappointed, as if she were expecting someone else.
MJ
Oh, okay. Got it.
(grins)
So anyway, I--uh, hold on, Peter, I've got a call on another line. Be right back.
(clicks over the phone)
INT. PETER'S ROOM
Peter rolls his eyes and waits for MJ to finish with the other caller. He hears a knock at his door.
BEN
(v.o.)
Peter? It's me.
PETER
Come in.
Ben enters, looking around at Peter's room, then at Peter. He's carrying a newspaper.
BEN
Feeling better?
PETER
Yeah, my head still hurts, but other than that...
BEN
(holding up the newspaper)
Just thought you might like to see this.
PETER
(taking the newspaper)
"Genetics Expo"? At the university?!
BEN
Yeah, it's tomorrow from noon to five.
PETER
Tomorrow...? But I was wanting to go over to MJ'S...but I guess I can go after the expo.
BEN
It's your call. I just figured it's something you might be interested in.
PETER
It is...I'm surprised I hadn't heard about it already.
INT. MJ'S ROOM
MJ
Okay, I back; it was a relative.
(pause)
Peter, you there?
INT. PETER'S ROOM
Ben and Peter are both sitting on his bed, when Peter hears MJ's muffled voice on the phone.
PETER
Oh, sorry. Got sidetracked. Guess what I found out?
CUT TO
EXT. OSCORP - NIGHT
The complex is mostly deserted at this time of night, except for...
INT. OSCORP LAB - NIGHT
Begin with a CLOSEUP of a clock that reveals the time : 10:30. PAN from the clock, across the mostly-dark room, past the heavy machinery, to OCTAVIUS, and CLOSE IN. He is still wearing the mechanical appendage harness we saw earlier, and he types information into a computer.
Two of his appendages hold containers filled with different-colored liquid. The liquids are poured into a larger container.
Octavius concentrates intensely, intent on ensuring the appendages do their job, and that there are no mistakes.
WIDE SHOT of the room, the only light source directly over Octavius' workstation. The rest of the room is in shadows.
The door silently opens, and a gloved hand tossed a metal cylinder into the room. A cloud of gas hisses from it.
Octavius, having finished pouring the chemicals, hears the slight clanging and turns around. He coughs.
Three gas-masked MERCENARIES burst into the room, rifles at the ready.
MERCENARY #1
FREEZE!
Octavius, doubled over coughing from the gas, has no choice but to comply.
The mercenaries quickly secure the area, and the leader speaks into a walkie-talkie.
MERCENARY #1
Area is secured. We have acquired the formula.
Octavius looks up as one of the mercenaries holds a gun near Octavius' head.
The leader reaches for the formula container. He doesn't notice the tentacle-like appendage until it grabs his gas mask off and rips it off of him, leaving the man to choke on the gas.
The other mercenaries react to this, giving Octavius the opportunity to push the one hold the gun into a shelf of chemicals, and sends another appendage into the remaining mercenary's face. He then puts on the gas mask he acquired from the leader.
The leader, still coughing from the gas, raises his gun to fire at Octavius, but the latter punches an appendage into his stomach, sending him into a wall. The gun goes off anyway.
The gunfire misses Octavius, but hits a tank of chemicals behind him. Octavius glances around him in time to see the tank explode.
EXT. OSCORP - NIGHT
The explosion rips through the side of the building and echoes across the rest of the complex. Sirens go off, further plunging the scene into chaos.
INT. OSCORP LAB - NIGHT
The room is ablaze, with burning debris everywhere. The sprinkler system cuts on, spraying the room flame-retardant foam.
We see a sprawled, unconscious form lying atop rubble that used to be a laboratory. We recognize the figure to be Octavius, his burning lab coat being put out by the foam.
CLOSE IN on his fingers, which begin to twitch. PAN RIGHT to a damaged appendage, wiring exposed.
Its fingers also twitch.
CUT TO
EXT. EMPIRE STATE UNIVERSITY - DAY
It's around noon as we survey the stately university. The parking lot is packed, as people make their way into the building to attend the Genetics Expo. Among them are Peter Parker and Uncle Ben.
INT. UNIVERSITY GENETICS LAB - DAY
The room is huge, with all kinds of state of the art equipment. CLOSE IN on DOCTOR CURT CONNORS (mid-forties, brown hair, right arm missing) giving a seminar on recombinant DNA and gene therapy.
CONNORS
Now if you look over here, you'll see that an experiment is underway...
Peter, Ben and the rest of the group see through a thick glass window an experiment being conducted using the lab animals we saw in the last scene. TV monitors are set up so that the crowd can get a closer look at what's going on.
CONNORS
(con't)
...using synthesized transfer-RNA to recode the genome of the spiders...
TIGHT CLOSEUP of the screen, which shows images of bio-isolation flasks containing spiders.
CONNORS
(o.s.)
...transferring genetic information from one species of spider to another.
Ben looks questioningly at Peter.
BEN
(whispering good-naturedly)
Ooookay...he lost me. What's all that in English?
PETER
He means he's taking some genes from one kind of spider, giving them to another kind, and seeing what happens.
BEN
And the spiders don't mind? I certainly wouldn't want somebody putting someone else's genes in me.
PETER
(struggling to keep a straight face)
Who knows? It might not me so bad. Somebody could put Brad Pitt's genes in you.
BEN
Nah, his waist is too small. His jeans wouldn't fit.
Peter and other bystanders chuckle at Ben's humor, while Connors clears his throat.
CONNORS
If I may continue....if you look at the monitors, you can see the ten mutagenically activated spiders on the left, and ten control flies on the right. Now then, we--
PETER
Uhm, Doctor Connors...I hate to interrupt, but I only count NINE spiders on the left.
Ben nudges Peter with his elbow; Peter shrugs.
CONNORS
Really? I'm quite sure there were ten. One...two...
PAN UP to a far corner of the room, by an air vent.
SLOWLY CLOSE IN on a spider web, where a housefly is hopelessly entangled. The missing spider, with a red body and black legs, moves into the frame. It prepares to dine on the fly...
BACK TO the group. Peter remembers that he's holding his camera.
PETER
Dr. Connors, would it be all right if I, y'know, took some pictures? This is interesting stuff.
CONNORS
Go ahead. But please...try not to blind us.
Peter snaps a few pictures of the experiment through the window, the scientists on the other side looking up quizzically, then smiling.
He then decides to move out of the group in order to get as much of the lab in the shot as possible, and leans against a far wall. He meticulously lines up his shot, taking his time.
DOWNSHOT of Peter, from a vantage point near the ceiling. The view is somewhat unsteady, as if the POV were moving.
TIGHT CLOSEUP of the spider web. The fly is still alive, though the spider had been dining on it anyway. The frantic fly manages to wrench itself free of the webbing, and drops through it to the floor. The spider follows it by creating a webline for itself and lowering itself to its rude prey.
Peter snaps a picture, then prepares another shot. It seems he's quite particular about the quality of the shot.
The spider drops onto his hand, its legs tickling the hairs.
Peter looks at his hand, and studies the spider curiously.
PETER
(to the spider)
Hey, cool! Hold that pose. I want to get a picture of you.
Peter then yelps in pain as the spider bites him. He jerks his hand in reflex, slinging the offending creature away. He rubs his hand.
PETER
Ow...that hurt! See if YOU ever make it onto the
cover of Arachnid Weekly!
He looks at the bite marks. Nothing wrong so far. He shrugs and walks back to Uncle Ben and the others.
CUT TO
INT. UNCLE BEN'S CAR -DAY
Ben drives Peter back toward home, chatting to him about the expo.
BEN
So all this genetic engineering...it's supposed to be a good thing, right?
PETER
Oh, sure. Used properly, it can be useful in curing diseases and other ailments, and help organ transplants go smoother.
BEN
And...if used improperly?
PETER
Hm....well, I suppose there's a lot of potential for that to be mishandled, even used malevolently.
BEN
If you're going to get into this career, Peter, make sure you know where to draw the line. Discovering the secrets of the body...what makes us what we are...is a very powerful thing. I've told you time and again, that with great power...
PETER
...comes great responsibility, I know.
Peter absent-mindedly starts scratching the top of his hand, where it was bitten. CLOSE IN on it, where we see two marks on it, now red and slightly swollen...