INT. EMPIRE STATE UNIVERSITY POST OFFICE - DAY
Peter walks in, unshoulders his backpack and pulls out an addressed envelope.
PETER'S P.O.V.
We see it reads "Gwen Stacy ... London England."
He drops it in the outgoing mail slot, and checks his own box. Empty. He walks off sad and disappointed. There is still no word from Gwen.
INT. ESU SCIENCE BUILDING - LATE AFTERNOON
Peter makes his way down the hall to Dr Connors' office.
Just approaching the door...
SFX: SPIDER-SENSE (subtle)
Pete knocks on the door several times.
PETER:
Dr Connors
(knocks again)
Doc, its me.
Looking around, Peter breaks the lock by twisting the knob as easily as you or I would turn one to enter a room.
INT. ESU - CONNORS' OFFICE
Inside, Peter finds a messy, disheveled room, but no Connors. He walks cautiously through the door to the scientist's private lab facility.
Connors is sitting in an almost catatonic state... motionless, eyes wide open, blindly staring. He is a complete mess... pale, hair out of place, with dark circles under his eyes.
PETER:
Dr Connors. Are you alright?
Doc...its me, Pete.
CONNORS:
(barely above a
whisper)
P-Peter.
PETER:
Hey Doc. You don't look so good. I better help you get you home.
DR CONNORS:
(slow, lethargic)
Nooo. Have... work to do.
PETER
I'm gonna call you a cab Doc. Here sit back down while I...
DR CONNORS:
(snaps)
No!
(Pause)
Leave me be. I'm fine. Just
dozed off.
(rubs head as he is sitting down)
Thanks Peter... Now you uh, just run along. I don't need you tonight.
PETER:
I don't know. Maybe we should-
DR CONNORS:
(growls)
I SAID GO!
PETER:
(very concerned)
But..
DR CONNORS:
(calmer)
Go home Parker. I've got work to do.
(pause)
I'm fine... really. Just haven't slept. So... busy.
PETER:
(reluctant)
Alright...
(pause)
O-kay... if you're sure...
DR CONNORS:
You're young. Try and enjoy it.
PETER:
Right. Well, I guess I'll be off.
DR CONNORS:
(as Peter is Leaving)
Close the door.
Peter nods, and leaves puzzled, concerned that there is more than just a lack of sleep causing his friend's strange behavior.
EXT. MANHATTAN SIDEWALK - NIGHT
Dr Connors takes a shortcut down an alley on his way home from nearby ESU. He stops a second, and looks around, almost with a feeling he is being watched. Continuing, three PUNKS suddenly approach.
PUNK 1:
Hey, you.
DR CONNORS:
Me?
PUNK 2:
No, he was talking to the lamp post smart ass.
PUNK 1:
Looks like we got ourselves a limp-wing. Hand over your wallet mister, and no one's gotta get hurt.
(pulls out a knife)
bad.
Connors, surprised, remains still.
PUNK 3:
He aint listening too good boys. I think he needs some "encouragement".
DR CONNORS:
Leave me alone. I-- don't want any
trouble.
PUNK 2:
Aw, isn't that cute. Did you hear that fellas? Da professor here don't want no trouble.
Punk 2 slaps Connors across the chin with a blunt object.
Connors is knocked back and falls to his knees. Head down, he wipes a trickle of blood from his chin. Then... he lets out a low, strange SOUND and raises to his feet.
PUNK 2:
What... Not convining enough for ya? Ya want some more eh?
PUNK3
He's dis'n us man. Lets teach 'em a lesson.
Another low strange SOUND.
PUNK 1:
Dude ... eat some bad pizza or something?
(nervous chuckle)
another SOUND like a BELCH deep from inside Dr Connors.
PUNK 2
(backing away.)
No... something aint right...
(shines flashlight)
The light shines in Connors' face. His eyes almost seem to glow, and he has a twisted, angry expression.
PUNK 3:
He's got some kind of disease or somethin'. Come on. It aint worth it.
PUNK 1:
Screw that, lets take him.
(raises knife)
Another strange sound that now sounds like a low hissing growl, and then... like a cat, Connors springs and is on top of the first mugger, flailing away, and clawing at his face. The second punk moves in and Connors pulls back and grabs him with his one hands, tossing him away like a pillow.
PUNK 3:
(wide eyed)
Holy !
The third mugger turns to run as Connors moves into him, wild eyed and savage. Suddenly! ... A red and blue figure swoops in and and grabs the mugger taking up on to the side of a wall.
SPIDER-MAN:
Now... I'll ask you to kindly cease harassing the citizens and get back in your cage.
(to Connors)
Its ok professor, I've got your back.
PUNK 3:
Y-you gotta be kidding. You just saved me from him. He's a madman.
SPIDER-MAN:
Right.. and I'm the Easter Bunny.
Spider-Man hops down and does a bit of a double take when
he sees the two unconsious men lying around. He then webs them all up together and leaves them hanging in a large web-sack.
SPIDER-MAN:
(puzzled)
Looks like you... uh... did a pretty good job there Connors.
DR CONNORS:
Self defense training... Navy.
(pause)
Y-you know me?
SPIDER-MAN:
I'm... uh... familiar with your work. Just call me a bit of a science buff. What are you doing out here at this hour?
DR CONNORS:
Working late... was headed home from my office, when these punks jumped me.
SPIDER-MAN:
(looking around)
Lucky them.
(pause)
Might be a good idea to avoid these alleys. Just be careful Dr Connors. Lots of
weirdos around the city this
time of night. I should know.
(points)
I'm one of 'em.
DR CONNORS:
Thanks Spider-Man. I will.
He watches the hero bound off before continuing on home. Meanwhile Spider-Man watches from the shadows.
INT. DARK OFFICE - NIGHT
The Russian assassin known as "Chameleon" is on the phone.
CHAMELEON:
Yes, it worked well. It was a
theoretical success. But we must
have more than that.
(pause to listen)
No, there was no damage to the
suit.
(pause)
Alexei is resting.
(pause)
The one weakness I see is
endurance. You must find away to
increase the energy levels, for
physical power than can be sustained.
(pause)
I don't care.Just do what we are
paying you to do.
(slamming phone
down)
He looks up with a tired expression, and rubs his forehead.
DISSOLVE TO:
INT. THE CONNORS' RESIDENCE - DAY
Connors stands in the bathroom, shirtless. We can see tiny "sores" on his back, as he looks into the mirror. Massaging the end of his right arm that is slowly growing, he then brushes his hand through his hair to discover clumps are begining to fall out. Connors winces and leans into the mirror. He reaches in to his mouth and feels around.
C/U: We see him pull back his lower lip to reveal a loose bloody tooth, that he wrestles free and it plops in to the sink with a sickening "plunk". END C/U
Connors picks up a can of shaving cream, preparing to shave, then simply puts it down. He rubs his face and brushes away some loose skin and stares in the mirror with a blank expression.
Suddenly Martha walks up from behind him and we see her concerned, almost fearful look in the mirror.
MARTHA: (O/S)
Curtis...
CURT:
(surprised)
Martha?
MARTHA:
(tearing up)
W-whats happening to you Curt. Whats
wrong with you?
DR CONNORS:
(turning around)
What do you mean dear?
He smiles ... revealing a missing tooth.
MARTHA:
I can't do this anymore Curt. I can't.
You...you're changing... I
DR CONNORS:
(putting on shirt)
Life is all about change "Maddie".
We learn, we adapt. Its part of
growing...perfectly natural...
(walks toward her)
MARTHA:
(shaking head)
No. no. You're not right... Curt... you're ...
(backs away.)
DR CONNORS:
Martha, its me. I love you. Remember?
MARTHA
(begins to cry)
S-s-stay away from me. I
don't know you ... Something's...
Suddenly Billy, who has just woken, comes running in.
BILLY:
Mama?...You're crying.
MARTHA:
Its OK, sweetheart.
(wipes nose)
But, we're gonna have to leave for a
while. Daddy's not well. He's sick.
DR CONNORS:
Martha... no...
BILLY:
(confused)
Daddy's sick? But I don't want to
leave him. Why are we going?
MARTHA:
Its just for a short time sweetie... 'til
we can get Daddy some help.
BILLY:
(upset)
Nooo! I don't wanna leave Daddy.
MARTHA:
(fighting tears)
Just for a while.
(sniffles)
We're going to get him help.
We're going to find him a good
doctor.
DR CONNORS:
(crushed)
Martha...
She begins to cry again.
Connors stands there, frozen, emotionless. Or maybe the
emotions are locked away. Then, the warm side the true
persona of Curt Connors breaks through, and he hugs his wife.
She sobs on his shoulder.
He raises his head and pulls back.
DR CONNORS:
You and Billy aren't going
anywhere...
MARTHA
(slightly afraid)
W-what?
Connors smiles a true smile that registers with her and she
knows, that at least for the moment it is "him". She realizes what he is suggesting.
MARTHA
But where..?
DR CONNORS:
I've got the office for now. And
then, I'll get a room. I don't
know... just until I can "sort
things out" ... find out whats wrong with me.
Martha, still crying, shakes her head no as Billy watches.
BILLY:
No dad, I don't want you to go!
DR CONNORS:
(rubbing his son's
head)
Its only temporary son. Until my
work is finished. I won't be far
away.
(looks at Martha
lovingly)
Connors walks off to gather a few things, before leaving his
family behind him in a sad state of despair...
EXT. MANHATTAN UPPER WEST SIDE - DAY
Looking down one of the great concrete canyons of New York City, we see in the distance the tiny figure of Spider-man as he swings toward us, then elegantly glides downward, cutting sharply in to an alley .
INT. MURRAY HILL APARTMENT BUILDING - DAY
Peter walks in to the ground floor lobby of the apartment building where he and Harry share residence. His head down in thought, he waits at the elevator. The door opens and suddenly he sees a familiar face.
It is Norman Osborn, the man who has managed to escape and forget the terrible persona that is is "secret" alter-ego ...THE GREEN GOBLIN ... Spider-Man's most dangerous enemy!
OSBORN:
Parker!
PETER:
(startled)
Mr ... Osborn.
(pause)
What are y-you...?
OSBORN
(smiles)
Just dropped by to see that son of
mine. Must have missed him.
PETER
(nervous)
R-right, of course.
(pause)
He, uh, probably went out
with Mary Jane.
OSBORN
Oh yes, I am very much looking forward to
meeting her.
(pause)
Listen, Parker, I was so sorry to
hear about Captain Stacy... I ..
PETER
Thank you sir. We all were.
Norman stares at Peter, perhaps noticing grief in his face.
OSBORN
(changing subject)
Did Harry mention my proposal to
you?
PETER
Hunh? Oh, yeah. Very generous of
you. Once i get a few things
cleared up, I just may take you up
on it.
OSBORN
Good. Come by and see me when
you're ready. You'll tell Harry I came
by?
PETER
I will. And...
(awkward)
thanks.
Norman smiles, then turns to walk away, before stopping.
OSBORN
Oh and Parker. Maybe you ought to
try and get some sleep.
(pause)
You don't look like you feel well.
Peter offers a half-hearted nod and turns around as Norman leaves, and we see on his face an expression that is mixed with a strange combination of apprehension and relief.
INT. ATLANTA AIRPORT - DAY
Eddie Brock waits at a terminal.
BROCK
(talking on cell
phone)
Yeah, yeah, tell JJ I'll check in
when I get to Miami.
(pause)
Uh hunh.
(pause)
Thanks Betty.You're an angel.
(hangs up)
Brock turns to face a beautiful young woman. He puts his hand across her back, and happily leads her away, perhaps to a bar.
INT. CONNORS' LAB - NIGHT
Connors is sitting upright, eyes wide open. He is sleeping. His appearence has worsened. The color of his skin has drastically changed to a pale, almost greyish tint. His ears have gotten much smaller. The eyebrows have thinned almost to the point of nothingness, helping to magnify his seemingly enlarged brow.
Suddenly "life" returns to his eyes and he is awake. Connors, stretches and yawns, running his hand through his hair to scratch his head. Clumps of hair fall out but he doesn't seem to notice... or mind. He immediately goes back to writing notes.We see he has been sketching something, a diagram with notes all around it. On the desk are various pieces of metal and electrical equipment. After a short period, he stops and slams his pencil down in frustration.
DR CONNORS
(to himself.)
My mind, Can't... think straight.
How am I going...
(slams fist on
table violently)
What are you complaining about
Connors? You got what you wanted.
(looks at his now 3/4 grown arm)
Just minor side effects, thats
all. They can be ... must be ... corrected.
He gets a certain look in his eyes and then begins to scribble looks up with a small smile that slowly fades to a cold expressionless stare.
Getting up, he goes over to the cases behind him and takes out a live lizard, (an iguana) placing it on the table in front of him.
DR CONNORS
Look at you. Such a beautiful
creature. One that has survived
for millions of years... thrived even,
while others have simply
faded away.
(pauses)
But so unappreciated. So...
misunderstood.
Connors freezes, almost in a trance, as he admires the animal. His mind blurs and the room swirls. The reptile stares back at Connors, flicking its tounge.
Connors grabs his head, as if in mild discomfort, and opens his eyes wide.
DR CONNORS
What? ... Cold... Feel Cold?
(pauses)
h-hungry... hungry?
(pause)
Y-you're hungry?
The creature looks up at the scientist in a cold stare, continuing to flick its tounge.
DR CONNORS
You're... telling me ... you're
hungry?
(nervous laughter)
No... cant't be.
(pulls back)
I'm imagining...
losing my mind. The serum...
He looks over at the syringe and vial on the counter.
The iguana c/ocks its head slightly.
DR CONNORS
(staring back)
f-free?
(pause)
No, this is madness.
(stands up.)
You're not talking to me. You
can't be. I've had no sleep, no
appetite. My mind is playing
tricks.
(pauses
trance-like)
free ... you... all?
Connors looks around and notices that the reptiles; lizards, snakes, etc.. are all at the edges of their cases seemingly staring at him... waiting on him...waiting on ... the reply.
The scientist grabs his head again, covering his ears as if to drown out a thousands voices, voices he believes, surely, to be in his head.
DR CONNORS
No! Quiet! Quiiii-et!
NOOOOOOOOOO!
FADE TO BLACK
INT. PETER'S ROOM - NIGHT
Peter is sitting on his bed. He looks over at the phone beside his bed and sighs. He sits still for a moment, then with a burst of courage he picks the phone up.
PETER
(to himself)
Just tell her. Tell her the truth.
(pauses and puts
phone back down)
Right... the truth.
(pause)
Spider-Man didnt kill your father.
And how do I know? Its really
simple Gwen...
(pause)
I'm ... Spider-Man...
Still staring at the phone, he then picks it back up, checks a piece of paper on his nightstand, and dials frantically. He waits anxiously for an answer...
CUT TO:
INT. LONDON, ENGLAND
C/U: A ringing phone.
CUT TO:
INT. PETER'S ROOM
Peter waits nervously with painful anticipation. Finally, when there's no answer, he reaches down...
CUT TO:
INT. LONDON
RINGING phone and the sound of a door OPENING...
A hand reaches to answer the phone. Tilt up to reveal the rugged, but still youthful (for his age), face of ARTHUR STACY(50), as he brings the receiver
to his ear.
ARTHUR STACY
Hello?
(pause)
Hello?
In the doorway stands Arthur's wife NANCY STACY.
NANCY STACY
(british accent)
Arthur. Who is it?
ARTHUR STACY
They hung up. Oh well, if its
important they'll call back.
From behind Nancy, enters GWEN STACY, their lovely niece. She is beautiful, but there is a slight look of sadness in her eyes.
CUT TO:
INT. PETER'S ROOM
Peter falls back on his bed with a frustrated sigh.
EXT. NEW YORK CITY - DAY
FROM ABOVE:
Pan across the city just after sunrise.
EXT. ESU SCIENCE BUILDING - DAY
Martha gets out of a taxi in front of Empire State
University near midtown New York. Even under stress she is
elegant, and beautiful.
INT. SCIENCE BUILDING
Martha makes her way down the hall of the ESU Science building to her husband's office.
She enters the office and knocks on the door to his private lab, which is locked.
MARTHA
Curt? Curt, its me. Let me in.
After what seems like an eternity. The door slowly opens ... seemingly
on its own.
Martha walks in. It is dark. All the shades are drawn, and she notices right away it is warm, very warm... like the air conditioning has been shut off for a while. (We know this because she fans herself slightly). We also conclude from her facial expression, that it does not smell plesant.
MARTHA
Curtis?
The room is silent. Shafts of sunlight sneak through cracks in the blinds. She notices a dark figure sitting quietly across the room.
A low raspy voice answers...
DR CONNORS
M-Marrrtha.
MARTHA
How are you my love?
DR CONNORS
Dif-f-f-erent.
MARTHA
(tearing up)
I can't see you darling.
DR CONNORS
Its for the bessst.
MARTHA
Let me look at you. Let me see.
Martha adjusts the blinds in the window to shed a ray of light on her husband, which creeps up ever so slowly to reveal his face.
She is horrified at what she sees. Connors has CHANGED. His complexion has gone from pale to a morbid greenish-gray, and smattered with "scales". Except for but a few wispy strands, most of his hair is gone. His eyes, underneath a swollen brow, are sunken and blank. His mouth; dull and cruel.
DR CONNORS
(sitting back into the darkness)
Not a pretty site am I?
He speaks with a slight lisp as if he is tripping over his tounge.
Martha is immediately repulsed, but makes a magnificent effort to maintain her composure.
MARTHA
(now crying)
You look..
(lying)
handsome.
DR CONNORS
(chuckles and coughs)
You were always a terrible liar my
dear. I look like s.
MARTHA
(sobbing)
No...
(nervous laughter)
I mean ... you HAVE looked better.
DR CONNORS
Yes, well... look, at least I finally have
all of me now.
Still in the shadows, he holds up his fully grown right arm.
MARTHA
(nervous laughter
amidst crying)
Yes... yes I see.
DR CONNORS
How is the boy?
MARTHA
He's fine... fine.
(wipes nose)
He misses his
daddy.
DR CONNORS
(chilling)
I long to see him.
Martha is both saddened and frightened by the statement.
MARTHA
(lying)
Yes, well, we'll have to arrange
that soon.
(turns away)
DR CONNORS
You are... repulsed by me.
MARTHA
No...no...
(pausing)
I've got to go.
DR CONNORS
Don't leave... Your
presence soothes me.
MARTHA
I- I've got to go.
(pause)
Please don't make
this harder than it already is ... Curt.
(cries)
DR CONNORS
I am... sorry my dear. I don't mean to cause you sorrow.
(pause)
Give my love to little Billy won't
you?
MARTHA
I will. I will. I promise.
(crying)
Bye Curt.
She says this with a finality, and an insinuation that she and Billy will, leave. It is what she has come to tell him. But she can't bear to say the words.
DR CONNORS
(understanding)
Goodbye ... my love.
After she leaves...
DR CONNORS:
(to himself)
...be seeing you...
Connors grabs his right arm in pain. He appears to be shaking will chills. We now see there is something not right with his "hand". It is greyish brown, with heavy scaling, and the thick "fingers" are topped with black, sharp looking claws!
He pulls out a syringe from the pocket of his lab coat, and thrusts it in to his right shoulder, winces, and then ... relaxes...
INT. A SECLUDED OFFICE - NIGHT
The man known as "Chameleon" waits in a secluded room, sitting at a table, surrounded by the smoke of his own cigarette. The door opens and a wide, dark figure enters. Dimitri's face grows stern with an almost frightened look. The light hits the figure to reveal OSWALD SILKWORTH a.k.a. THE ARRANGER; top advisor and assistant to The Kingpin. Dimitri exhales, perhaps relieved it is not "the man" himself.
Silkworth, wearing old fashioned think-lensed glasses, is pudgy, balding and lacking of any physical prowess or imtimidation. But with a sadistic smile and a knowing scowl, he is intimidating, none the less.
THE ARRANGER
Greetings Dimitri.
CHAMELEON
Oswald.
THE ARRANGER
You are no doubt relieved to see
me?
CHAMELEON
(bluffing)
No, not at all.
THE ARRANGER
Yes. Well...
(grins)
...as you might imagine The
Big man is not pleased by the
results of our little test. And
... need I remind you of your failure
with the so called "Hunter"?
CHAMELEON
You seem to take pleasure in it.
THE ARRANGER
Of course not, my dear Dmitri.
(grins again)
Now, what can we do to remedy the
situation?
CHAMELEON
The battle suit IS a success, but
there seems to be some minor weaknesses
in the genetic strength
treatments. Alexsei is all
powerful, but his stamina is
short. He tires too easily. It
is the scientist's fault.
SILKWORTH
Hmm ... interesting.
Silkworth pauses and speaks in to a cell phone/comlink
THE ARRANGER
You may come in now.
Chameleon's eyes grow wide with nervous anticipation.
The door opens and a tall man enters. It is Dr Farley Stillwell!
THE ARRANGER
Dimitri here, believes you have
misrepresented your research professor.
Is this true?
DR STILLWELL
(smooth)
Not at all. The suit was a
success, was it not? As for the
endurance... It
can and will be improved.
THE ARRANGER
How?
DR STILLWELL
I need my notes ...studies with my
former partner that show the radical
improvement in strength and
endurance using animal DNA.
These journals also contain vital
information in the study of a
top secret synthetic compound we
were researching on behalf of the
government ... and Osborn
Industries, known as VNM-X.
THE ARRANGER
Yes, I have heard of this. What
exactly is it?
DR STILLWELL
In short, it is synthetic, living
matter. With the notes I may be
able to duplicate it and then
there would be no limit to what we
can create.
CHAMELEON
Where are these notes?
DR STILLWELL
Empire State University... in
the office of Dr Curt Connors.
THE ARRANGER
We must have this information.
CHAMELEON
Most definately. You must produce
these papers.
THE ARRANGER
No, Dimitri. You will bring us
the notes.
CHAMELEON
(surprised)
Wha...?
THE ARRANGER
You will take your men and recover
these journals at any cost. And
make sure Alexei stays on the
web-slinger's trail.
(pause)
Don't look so sad Dimitri. I'm
sure this will go a long way
toward "improving" your favor with
The Boss. Wouldn't you agree?
Chameleon scowls.
DR STILLWELL
(interrupting)
You know that I do not approve of some
of your methods Oswald. No one is
to be harmed. That is our
agreement.
THE ARRANGER
(smiling)
Of course.
INT. ESU SCIENCE BUILDING - NIGHT
A janitor pushes a broom down the quiet hallway. He passes an oncoming SECURITY GUARD, who nods and the janitor turns, disappearing down another hall. The guard goes to end of the hall and opens a door that leads to outside. We then see his face and realize it is no ordinary guard... It is The Chameleon!
THE CHAMELEON
(on a comlink)
Its clear.
INT. CONNER'S OFFICE
After quick work of the lock, Dimitri and two of his GANGSTERS, dressed in black, enter.
GANGSTER 1
(shining
flashlight)
Don't look like there's been nobody
here for a while.
GANGSTER 2
(chuckles)
Saves us the trouble
of cappin' da professor.
(pause)
Its hot in here...stuffy.
CHAMELEON
Ssshh. Just find what we came here
for and lets get out.
The men proceed to go through the desk, and file cabinets.
NOISE like a muffled "bump".
GANGSTER 2
What was that ?
GANGSTER 1
It was nuthin'. You're hearing
things.
More searching...
GANGSTER 1
I think I found it boss.
CHAMELEON
Excellent, bring it here. Let me--
Distinct SOUND of something being knocked over.
GANGSTER 2
(concerned)
Are youse tellin' me you don't
hear dat?
GANGSTER 1
Came from in there.
He motions toward the door to the lab.
CHAMELEON
Check it out.
The two men slowly and carefully open the door to the lab ... nothing.
INT. LAB
GANGSTER 2
(shining
flashlight)
I don't see nothin'.
GANGSTER 1
Coulda been a rat or somethin'.
(pause)
Whats that smell?
GANGSTER 2
I don't know, chemicals,
or something. We're in a lab.
CHAMELEON
(flipping through
notebook)
Alright, ...lets get out of here.
The men move back to the office and close the door to the lab... which suddenly, strangely, creaks slowly back open.
GANGSTER 1
What the...?
SUDDENLY! From the darkness it appears ... THE LIZARD! Its face is illuminated by the flashlights. We see two blazing eyes, set in a monsterous face. Its mouth agape, with a reptilian tounge flickering, the creature lets out a horrible hissing groan. ( a blood-curdling cross between a Romero Zombie's "cry" and a hissing King Cobra) The men are frozen with fear.
CHAMELEON
(softly)
ìàòü áîãà...
"Mother of God"
In an instant, blood spatters on the wall. Next we see a bloody flashlight rocking back and forth on the floor.
Before Dimitri can react, he is belted and and sent flying across the room, slamming into a wall, unconsious.
Gangster 2 is left staring into the eyes of the beast who, just stands there, emitting a low-throated purring "growl". (We still cannot make out much detail because of the darkness) Consumed with fright, the man shines his light in the face of the creature, which stares back, unblinking. It pauses, flicking its tounge in and out like a viper.
GANGSTER 2
S-stay away from me.
The creature steps forward. Gangster 2 pulls out a gun and manages to get one shot off before he is violently struck down by a clawed arm. The bullet, apparently, has little or no effect.
The Lizard moves in closer. Gangster 2 is just able to reach a fire extinguisher. As the monster bears down on him, he pulls the pin and sprays it directly in the face. Momentarily stunned, the creature staggers backward, letting out another ghastly groan.
Half stumbling, half crawling away,the man slips and the creature picks him up over its head and hurls him crashing into Connor's desk, shattering it.
Still, reeling slightly from the blast from the extinguisher, the creature turns its attention toward Dimitri who has regained consciousness and is slowly backing way.
CHAMELEON
(softly)
No...
Dimitri is quickly grabbed and dragged back into the darkness of the lab, screaming in horror. And then ... silence...
INT. ESU LIBRARY - NIGHT
In a quiet study-wing, Peter is engrossed in his studies as Mary Jane sits across the table sipping a coffee.
MARY JANE
(sigh)
Harry where are you? This is not
my idea of an ideal Saturday
night.
(pause)
If only the handsome Peter Parker
didn't have his nose glued to
those books.
Peter goes about reading.
MARY JANE
(ahem)
Earth to Peter.
PETER
Hunh? Oh sorry. Doc Connors has
been out the past couple of days,
but he's still managed to leave me
enough work to stay busy for three
lifetimes.
(continues reading)
MARY JANE
Bla, bla, bla. Whats a girl gotta
do to get some attention, I know..
(looks around)
What if I flashed ya.
(Makes a mock
gesture towards
her chest)
PETER
(Now at full
attention)
Do what?
Mary Jane laughs devilishly.
MARY JANE
Ah, so thats what it takes to get
your attention.
(giggles)
PETER
Well... uh...
Mary Jane suddenly gets up and walks toward Peter.
MARY JANE
So mysterious... so "still",
(walking around
behind Peter)
There's more to you Peter Parker.
I've known it since the first time
I met you. Underneath the shy,
studious exterior is a wild-man.
(caresses his chin
from behind)
Tell me I'm wrong.
PETER
(uncomfortable)
Er... MJ...
MARY JANE
(playfully)
I like to dance. Do you?
(grabs his hand)
Peter looks around nervously at the empty library.
PETER
But... er... there's no music...
Mary Jane pulls him up out of his chair, and begins to move around him sensuously ... in perfect rythmn, despite the lack of music. She seems to be having fun, just enjoying herself; not really doing anything but "playing". To her its all innocent fun.
Unfortunately, not everyone shares her free-spirited outlook on the world.
HARRY (O/S)
Mary Jane?
Mary Jane stops and Peter freezes as we see Harry with a puzzled look on his face.
MARY JANE
(innocent)
Hey baby. 'Bout time you showed up.
Lil ole me was gettin' bored.
HARRY
(serious)
Yeah... I see that.
PETER
MJ was just showin' me a few dance
moves Harr...
(pause)
You know me... how clumsy I am.
HARRY
(lightening up a
bit)
Yeah, you are.
(subtle smile)
Come on MJ, we better get
goin'. Dad's waiting.
MARY JANE
Ooh, so I finally get to meet the
mysterious
(mock english
accent)
"Mr Osborn".
Harry half rolls his eyes and chuckles.
MARY JANE (cont.)
And don't forget. Peter. Tomorrow.
The zoo. We're going to get your
mind off your troubles.
PETER
(looking like "how
do I get out of
this"?)
Oh yeah... that.
MARY JANE
Hel-lo? The opening of the new
Tiger Mountain display? It'll be a
blast. You can even snap some
exclusives for The Bugle. Oh, I
mentioned it to Lisa, and she
really wants to come.
Harry looks relieved and Peter seems a little put-off.
PETER
(thinking to
himself "great")
I guess its alright.
MARY JANE
You're gonna enjoy yourself if it
kills ya.
PETER
(sarcastic)
Thats what worries me.
HARRY
(pats Peter on the
shoulder)
If I have to endure this, so do you dude.
(turns to leave)
Ya comin'?
PETER
Well.. I was going to go by the
office and pick up my assignment
from Connors, but... maybe I'll
just study a little longer and
just head home and crash.
HARRY
Alright. Later man.
Peter watches as the couple walks off. Mary Jane turns to look back with a smile.
EXT. EMPIRE STATE UNIVERSITY - NIGHT
A young coed leaves a group of fellow students and walks toward her scooter that is parked next to the science building. From behind, we see her securing her purse and what looks like a small bookbag on the scooter. She looks around and prepares to leave, when suddenly she turns around.
From out of the shadows, comes The Lizard!
SFX: HISS/MOAN
(A BRIEF, but straight-on first good look at The The Lizard. He wears a long white lab coat, possibly posessing enough intelligence to attemt to hide his "appearence". Underneath is the torn and ripped burgandy shirt Connors has been wearing for days. The head is completely reptilian; flat and scaley with no sign of hair or any human features, although his stance and posture is still remotely human. The amber-colored eyes are bulbous and bloodshot. Its mouth is agape; tounge flickering in and out, but there is no noticable sign of teeth. Because he does not have much of a "snout", the creature looks more fish or frog-like than "lizard-like", mirroring early depictions by creator Steve Ditko.)
The Coed screams.
EXT. THE BRONX ZOO - DAY
Peter, Harry, Mary Jane and her friend LISA GARGAN (20, brunette) are inside the entrance to the zoo, near the park cafe.
HARRY
(looking around at
the families and
kids)
Uh, and just why did we come here
again?
MARY JANE
Because lover boy...its FUN. And
since the producers of my play are
animal lovers, we got free
tickets. Lighten up. Haven't you
ever been to the zoo before?
HARRY
Now that you mention it ... no.
LISA
You're kidding right? NEVER? Next
thing you're going to tell us is
you've never been to the circus.
HARRY
(embarrassed)
Well...
LISA
(shocked)
No way.
PETER
(joking)
Harry had his own personal circus
growing up, right Harr?
MARY JANE
Poor "Prince Harry". He never lived 'til he
met yours truely.
LISA
So what do you guys wanna see first.
Where are the monkeys?
We see a couple of signs pointing to attractions. One says "House of Reptiles".
MARY JANE
(looking at a map)
Well, there's this "Congo Gorilla
Forest". It looks really cool, and
not too far.
(walks off)
Peter and Lisa follow her out of frame but Harry remains.
HARRY
Aren't we gonna eat?
INT. THE DAILY BUGLE - DAY
Jameson is on the phone.
JAMESON
Whaddya mean nothing? Its been two
weeks Brock!
CUT TO:
EXT. FORT LAUDERDALE, FLA (SWANKY HOTEL) - DAY
Eddie Brock is lounging poolside talking to JJ., while looking around at the "scenery".
BROCK
Take it easy. JJ. I'm working on
it. Besides, I told ya all along I
thought this thing was a hoax.
He pauses to accept a drink off a tray from a WAITER who has walked up.
Now we see a WOMAN lying next to him. She is not the same one from before.
Undeterminable MUTTERING by Jonah.
BROCK
I know I know.
(pauses to sit up)
I've talked people who claim
to have seen some pretty crazy
things and I don't mean your average
nutjobs. Talked to a lawyer who was
fishing one morning and swore he saw something
through the fog; said it slid up out of the
water like a 'gator; then walked off into the swamp
on two legs. How bout that hunh?
But lately its... nothing.
There hasn't been
a sighting in weeks. Look ...
JJ... just give me little bit of
time...
(pauses to look at
the bikini-clad
woman beside him.)
There's ... uh ... a couple of
things I still wanna check out.
(hangs up and turns his
attention toward the
woman)
CUT TO:
INT. THE DAILY BUGLE - DAY
JAMESON
Alright, you got three days Eddie.
But thats it...
(long pause)
Brock? Brock!
(hangs up in mild
disgust and
mumbles)
Joe Robertson walks in.
ROBBIE
Jonah. You're gonna want to look
at this.
(hands him some
papers)
We see what appears to be a police report with a scribbled note to "Robbie" and signed "Ned". That is all we can make out.
Jameson skims the papers and looks up at Robertson.
Cut to:
INT. THE CONNORS RESIDENCE - DAY
Martha goes to answer the door. She opens it to find two POLICE DETECTIVES.
DETECTIVE 1
Mrs Connors?
MARTHA
(putting her hand
over her chest)
Yes?
The look on her face shows she expects the worst...
EXT. THE BRONX ZOO - DAY
Peter, Harry, MJ and Lisa are walking down a path exiting one of the exhibits. (A sign reads "Monkey House". There is also an arrow pointing toward "Sea Lions") It is a particluarly wooded section of the park, with thick brush and foliage on both sides; in some cases nearly overgrown to form a canopy. A stream winds along and underneath the path.
HARRY
Ya know that was actually pretty
cool.
LISA
Recognize some of your relatives
in there?
HARRY
Very funny.
Suddenly, Peter gets "that look".
SFX: SPIDER-SENSE
MARY JANE
Peter?
PETER
(distant)
Something's not right.
SCREAMING and YELLING.
A few TOURISTS run by in a panic.
HARRY
What's... going on?
More people run through, as Peter slips off unnoticed, unshouldering his camera. And then we see the source of the panic. A large CROCODILE creeps down the path from where the people are fleeing. Then, from out of the stream, another appears. The second croc flops up on to the path and raises itself on its legs in an aggressive posture. It swings its head around madly, jaws snapping with a horrible hissing. More crocs, as well as ALLIGATORS, emerge from the thick growth along the path.
HARRY
(frozen)
Right ... We gotta get out of her.
He looks down at his shoe to see a snake crawling across it, jumping back in extreme fright. Lisa steps back nervously as a large frog hops by.
And suddenly the grounds are "alive", literally crawling with reptiles ... snakes, lizards, as well as amphibians. And they all seem unusally aggressive.
In the panic a small girl trips and is seperated from her mother. A big croc eyes an easy meal. It moves in on her as she screams helplessly...
But just before the monsterous jaws reach her, there is a THWIP, and suddenly they are webbed shut, much to the surprise of the hungry crocodile.
In a flash, Spider-Man swings through and picks up the girl in one arm.
SPIDER-MAN
Gotcha.
MARY JANE
(under her breath)
Spider-Man...
The hero continues his upward swing to the top of a nearby souvenier shop, where he gently sets the girl down.
SPIDER-MAN
You'll be
safe here.
Leaping down, he uses his webbing to corrall the other gators, and crocs.
SPIDER-MAN
Everyone just stay back!
(webbing up more
creatures)
Some of have gathered now to watch the show as Spider-Man gallantly tries to subdue the rampaging creatures. From behind him though, we see more and more appearing. And from behind them we see ... The Lizard! It appears to be "riding" a wave of creeping reptiles.
Now nearly seven feet tall, The Lizard's appearence has already changed. In the daylight, we get the first real good look at it. The head is less human shaped and has a more pronounced "snout". It still wears the remains of Connor's clothes, but the tattered coat is no longer so white, rather now displaying the evidence of hiding in boiler rooms, creeping through sewers, and swimming the river in its journey to The Bronx. Most of the shirt is gone, exposing a scaly greenish brown skin. The pants are ripped at the waist and frayed just below the knees. There are even still traces of a shoe on one of its clawed feet. Additionally ... we now see that the creature has a tail!
MARY JANE
Spider-Man. Behind you!
He turns around to see the frightening creature. It stands there for a moment, tounge flicking in and out, deciding that this warm-blooded thing in red and blue garb is interfering, therefore it must be an enemy. Before the hero can react the creature is on him. In the blink of an eye it springs 20
feet to land on Spider-Man. They roll two to three times with The Lizard landing on top, jaws wide open, eyes blazing.
Spider-Man reaches up with one hand braced against the underside of its chin, keeping its menacing jaws at bay, but The Lizard bears down on him with incredible strength.
Spider-Man continues to exert pressure on the creature's throat and reaches around with his other hand, landing a blow to the back of its head. He yells out in pain at the apparent toughness of the Lizard's exterior. After a near-direct hit to the nose, It releases its grip, long enough for him to kick it back up and off of him.
Before the hero has a chance to gather his senses, A GIANT SNAKE emerges from the brush and begins to wrap itself around his legs. The snake is really, really large; its body seems to go on forever as more of it slides out of the brush. It is a 30+ foot reticulated python.
Meanwhile, The Lizard has rebounded and is in a postion to threaten ...
HARRY
Mary Jane!
SPIDER-MAN
(under his breath
as he wrestles in
the coils of the
giant snake)
MJ.
The Lizard creeps closer to Mary Jane; its mouth slightly open, its tounge "feeling" her out. She screams, but backed up against the rail of a small bridge, she is unable to move.
Harry steps in front of her in an attempt to help.
HARRY
Get away from her!
The Lizard c/ocks its head and stares at Harry, who looks back with a fool's courage.
BAM! The tail strikes with the speed of a bullwhip and knocks Harry back into and nearly over the railing. He yells out in pain.
MJ screams as The Lizard moves closer.
Spider-Man, with one hand around the serpents throat, manages to free his other arm and spray its sprawling jaws shut with webbing. With a burst of strength he is able to create enough slack to wiggle out of its clutches and spring between The Lizard and Mary Jane.
SPIDER-MAN
(out of breath)
Easy big fellow.
(holding his hand up
in a stop motion)
I realize you're, just
having fun; freeing your
buddies and all but...
UUMMMPHH!
The Lizard's tail swirls around and slaps Spider-Man in the head, sending him crashing to the ground.
It lets out an angry hissing groan.
SPIDER-MAN
(back
on his laurels)
Eeewww. What did you eat for
lunch? Wait, don't answer that... don't
think I wanna know.
Another loud groan from the creature.
Spider-Man constructs a big web barrier, but the creature easily slashes its way through. It attacks and Spider-Man narrowly manages to dodge its slashing claws. Doing a hand-flip he darts in for a quick kick to the creatures abdomen which sends it reeling backwards, momentarily stunned.
SPIDER-MAN
(To MJ)
You alright?
She nods.
The Lizard regains its senses and suddenly leaps away.
SPIDER-MAN
Check on Osborn.
MARY JANE
But where...?
SPIDER-MAN
I'm going after
that thing.
He fires a web-line and swings off in in hot pursuit.
Mary Jane runs over to Harry, joined by Lisa, who has been hiding behind the gift shop.
MARY JANE
Harry... Harry. Are you OK?
HARRY
My... back. I think I sprained
it.
(tries to sit up)
Ow! Can barely move.
A crew of security and workers have now arrived with the task of gathering up the loose animals.
MARY JANE
Just be still.
LISA
Hey
(pause)
Where's Peter?
MARY JANE
(looking around)
I-I don't know...
EXT. THE BRONX ZOO ("AFRICA") - DAY
Spider-Man swings past a natural waterfall setting towards the outer rim of the park chasing the surprisingly fast Lizard.
CUT TO:
P.O.V: The Lizard
We're with The Lizard, running at an extremely high speed through the "wilds" of the large zoo and burst through some fencing, scaring two giraffe half to death. With a leap we are airborne and now outside of the park in the garden areas nearing the city.
CUT TO:
Spider-Man swings past a few gazelle heading his direction in haste, victims of the Lizard's path. He briefly looks back and turns around before nearly crashing into a charging bull elephant that is loose. The Lizard is apparently wreaking havoc in his escape.
He finally catches up to the Lizard just inside the city and topples him with a flying tackle.
Rolling up on all fours, The Lizard hisses.
SPIDER-MAN
Alright "Barney". What's your
deal? Wait... let me guess.
Someone just woke you up from your
hundred million year nap, and
you're cranky. Yeah I really hate
that, when you don't get a chance
to get all your sleep out. How
about a nice cup of ---- whoah!
He narrowly dodges the attack of the creature's massive tail and leaps over, attempting to throw a punch. The creature blocks the move, grabbing his wrist and squeezing. Spider-Man comes round with the other arm for a would-be crushing blow to the side of the head... with minimal results.
SPIDER-MAN
Oww! Son of a ...
(shaking hand in
pain.)
The creature rocks back on its tail, and agiley brings both feet forward for a double kick to Spidey's midsection, sending him flying back. It then swoops in and lifts the hero up over its head, and easily tosses him into some trash cans. (This is where one could imagine the swirling birdies around the head, like a cartoon).
With a giant leap, the creature bounds over traffic, sending
cars swerving in to each other, and lands on the other side of the street where it darts into a subway entrance.
INT. EAST TREMONT AVE. SUBWAY STATION - DAY
Citizens scatter in the subway terminal at the sight of this ragged clad reptilian monster. (In the background on the wall is a promotional poster for "The Bronx Zoo Press". The Headline Reads: SNAKES ALIVE! above a photo of the giant python.) The Lizard looks around at the people with anger and confusion,voicing his displeasure. Spider-Man arrives, angering it further. The Creature tries to jump the tracks to the other side.
Spider-Man leaps and tackles it in mid-air and they both land on top of an oncoming train from the opposite track. The Lizard attacks him with a slashing claw, and follows up with a wicked tail-lash nearly knocking him from the train. It then tackles him from behind bending him over the side of the train, his face slamming into a window as a passenger stares back. (funny moment) Spider-Man regroups and pushes back up kicking the Lizard back.
For several minutes they fight on top of the moving train. The Lizard eventually manages to knock Spidey off, but he shoots a web that propels him directly back into the creature. At this point it seems to be fighting defensively, while looking for a path of escape.
Seizing an opportunity, the lizard leaps off into an adjoining tunnel, before veering off into an abandoned passageway. Spider-Man quickly adjusts and web-slings after him.
INT. ABANDONED TUNNEL -DAY
The tunnel is dark and decrepid, lined with old grafitti, and covered with decades of dirt and debris. We see a sign that reads: "NO ENTRY... UNDER PROSCECUTION BY LAW". Spider-man comes across a homeless person who simply points. Giant lizards from the sewer; nothing new to him. After the hero charges by, the man calmly takes a drink from his bagged beverage, (As if "business as usual" in this forgotten part of New York). An ancient sign above him, perhaps even from the time of "Typhoid Mary", Reads "NO SMOKING OR SPITTING".
We see a shadow and glimpses of a tail as The Lizard descends further level by level. It is widening the gap between them.
INT. OLD ABANDONED TRAIN STATION - DAY
SFX: WATER DRIPPING
Spider-man continues the chase that leads him to an old, old train station from the early part of the 20th Century. It is vast and, in its own way, still grand with its decorative ceiling tile and magnificent arches. At one time, this was a site to behold. But it seems no one has been here in ages; and its now left empty, with an eerie feeling of sadness from days gone by.
The hero looks around, expecting an attack, but, getting nothing from his "Spider- Sense", he realizes he has lost the creature.
SPIDER-MAN:
(echoing)
Great.
High above (maybe 40-50 feet) is a loft with a waterfall that tumbles below into a small stream, and across from that is a sheer wall with a faint ray of light coming in. He fires a web and raises straight up, finding a tunnel that leads to an old boarded-up entrance to the surface, near Central Park.
INT. THE DAILY BUGLE - DAY
JAMESON
Creepy crawlers escape from two major
zoos ... reported sightings of a giant
walking lizard coming up from the
sewers.
(pounds fist)
And no pictures!
ROBBIE
Still mostly rumor Jonah.
JAMESON
Spider-Man was a rumor Robbie. So
was The Vulture. There's
obviously something going on here.
I know it and I want proof!
Peter Parker walks in.
JAMESON
Parker!
PETER
I think you're going to like what
I've got Mr Jameson.
(gently tosses an
envelope on the
desk)
JAMESON
It had better be good Parker. The
city's abuzz about this subway-
creature. I want photos before
that blasted Globe beats us to it.
Jameson pulls the photos out and flips through them.
JAMESON (cont.)
Bah... more pics of Spider-
(pause)
Good God...
He flips through them again, going back to take a second look at one.
Peter has a content look on his face. Robbie moves around behind Jameson to take a look.
JAMESON
This can't be real ... It looks
like...
ROBBIE
(looking at photo)
... something out of horror movie.
JAMESON
Is... is that a...?
PETER
Yeah. I believe so sir... a
tail.
JAMESON
H-how did you...? Nevermind.
(picking up phone)
Radner. Stop the presses. I've got
photos of this... subway creature.
Get somebody up here now!
(hangs up,
thinking headline
out loud)
Lizard-Man Lurks under New York
City"
Why, I'll even challenge that wall
crawling weasel to track down and
capture this thing.
ROBBIE
Guess this means Brock's
in the wrong
place.
JAMESON
(still looking
at pics)
Yeah...
(pause)
Miss Brant!
BETTY:
(leaning in)
Yes Mr Jameson?
JAMESON
Get Brock on the phone and tell
him to get his butt back up here.
I'm not wasting another penny on
his Florida vacation. Tell him
Parker's already got pics of this
'Lizard-Creature'.
(to Peter)
These had better be the real deal
kid.
PETER
Oh, they're real alright. Believe
me, I had to check my own eyes...
twice.
ROBBIE
(puzzled)
I must admit. I was a doubter from
the start. Good work son.
Still...those strange sightings in
Florida... could here be a
connection, or ...
The look in Peter's eyes indicates he is wondering the same thing.
JAMESON
BY the way Parker. Whats the deal
with your missing professor. The
Reptile-ologist or whatever.
PETER
(surprised)
Dr Connors?
(pause)
Missing?
ROBBIE
Its all over the news Pete. Some
sort of break-in at his office.
When police showed up to question
his wife. She claimed she hadn't
seen him in days... that they were
separated.
PETER
(shocked)
What?
JAMESON
Cops found three 'john does'
stashed in a closed-off swimming
area next to an old boiler room in
the basement. Just
what was this Connors mixed up in?
Peter looks extremely concerned.
EXT. NEW YORK CITY STREETS
Pedestrians move along the street as focus shifts to street-level. We see a woman's legs walk by and a C/U of a manhole cover.
BELOW:
Shot moves through manhole cover and dives down in to a sewer tunnel below.
P.OV. THE LIZARD
We're moving along the sewer tunnel at superhuman speed. Shot speeds up and blurs as we twist and turn through other tunnels.
CUT TO:
INT. THE CONNORS RESIDENCE - DAY
A phone rings and rings.
MARTHA (V/O)
(on answering
machine)
Hello, You have reached the Connors
Residence. Please leave a message
and we will return your call
as soon as possible.
BEEP
CUT TO:
INT. THE DAILY BUGLE - DAY
PETER
(on the phone)
Mrs ... Ma ..er... whats going on. If
you're there pick up...
(pause)
No response and a worried Peter hangs up...
CUT TO:
EXT. FT LAUDERDALE, FLA - DAY
Eddie Brock slams his flip phone shut.
BROCK
(with disdain)
Parker...
INT. CONNORS' LAB - NIGHT
A flash of lightning slips through as a window is opened from the outside. Spider-Man quietly crawls through and up to the ceiling, before desending slowly down in the center from a web.
The room is wrecked. It is a mess. Remnants of yellow Police tape is littered about the floor. Tables and chairs are turned over. Cases and aquariums that formerly held reptiles are empty and broken. Equipment, such as computers, microscopes, etc... appears to be missing!
He looks around and moves to the adjoining room.
INT. CONNORS' OFFICE
Spider-Man sees more of the same, including more missing equipment and books and files scattered all over the floor. He picks up the closest one, which reads "Field Study Spring 2004." Switching on a small lamp, he begins to read.
Thunder RUMBLES.
Spider-Man's reading dissolves into narration by Connors, representing his interpretation of what he (and we) are reading.
DR CONNORS (V/O)
I'm closer than ever to my answer.
Having theoretically convinced myself
I could mix human and
reptile DNA; I know the answer to
human tissue regeneration is
within my grasp. My trip home...
back to Florida, will prove to be
the key
CUT TO:
FLASHBACK:
EXT. THE FLORIDA EVERGLADES - DAY
An older 4-door Jeep Cherokee drives on a two lane highway, cutting through the tropical wilderness. It turns onto a dirt road surrounded by thick, heavy foliage.
EXT. THE CABIN -DAY
Dr Connors climbs out and walks to the back of the Jeep, flipping up the hatch to reveal his equipment.
DISSOLVE TO:
MONTAGE:
INT. THE CABIN- DAY
We see Connors has set up a makeshift lab; a primitive resarch center in this desolate cabin tucked away in the swamps. Apparently, this is not his first visit. A tiny loft overhead is used for what little sleep he gets. A small kitchen and wood stove provides sustenance.
DR CONNORS (V/O)
I was researching the invasion of an aggressive
predatory African lizard, and its impact on
the Florida eco-system, in
the latest of a series of field studies for the University.
During these studies I've been able to put the final pieces
together in my own
personal research.
EXT. THE SWAMP - NIGHT
Connors on his belly with a handheld camera and a lighted hat (like a spelunker would wear) quietly watching a small lizard.
INT. RURAL POST OFFICE - DAY
Connors receiving packages, presumably chemicals and equipment.
INT. THE CABIN -- NIGHT
We see Connors pull out a sack and take from it a two and a half foot NILE MONITOR LIZARD.
DR CONNORS (V/O)
I was convinced I could alter the
DNA in the animal by adding my own
blood sample mixed with the
solution Stillwell and I had
worked on.
Connors injects the restrained reptile, just behind the neck. He waits... Nothing.
He returns the lizard to its case.
DR CONNORS (V/O)
I wanted to see a change
in behavior, anything. Nothing at first...
But as I've seen time and again,
nature is full of surprises...
C/U : The Monitor Lizard, its still yellowish eye with black pupil expressionless, yet "knowing".
INT. THE CABIN - DAY
Connors wakes to discover his specimen is... missing. The lid on the glass case has been lifted and moved. The lizard is gone...
DR CONNORS (V/O)
I discovered "it" three days
later...
EXT. THE SWAMP - NIGHT
Connors, on his nightly walk, shines a light at something lying still on the ground. It is his specimen, only now much bigger...
DR CONNORS (V/O)
The lizard had doubled
in size... to over five feet in length,
its hind legs elongated,
its snout shortened. I was unsure how
long it lasted before
expiring... but I damn
sure was going to find out. My
instincts were telling me it had
to have used some measure of
intelligence to escape from its
holding.
INT. THE CABIN - NIGHT
Connors; more studying, more chemistry.
He produces another, larger monitor, and once again injects it. He then extracts fluid from the lizard and mixes it in with his serum.
DR CONNORS (V/O)
With the help of Stillwell's genetics theories,
I had successfully combined human and
animal DNA to create, in effect, a
new species. I was fascinated, and
consumed with the desire to see
what the reverse effects would
be... if I were to try it on ... myself.
Connors, shirtless and sweating in the sultry swamp night, takes a syringe and plunges it into his right shoulder like a knife. He winces with pain.
DR CONNORS (V/O)
Perhaps I should have waited...
Connors, in a state of shock and clearly chilling, wraps himself up in a blanket and falls into bed.
We see a visual display of the inner human nervous system and DNA; a colorful demonstration of cells and fluid merging witth a foreign substance.
INT. THE CABIN - DAY
Connors wakes with a stange sensation in his right shoulder. He rises to find the creature gone again... This time its cage is shattered.
A look of uncertain amazement, as Connors massages his right shoulder.
DR CONNORS (V/O)
I had done it. But... could I
contain it. Could I harness this
power in order to reach my ultimate goal?
(pause)
I had no idea of what was about to
occur.
(pause)
I fear that I have now
infected my own blood with this
... condition, the same terminal
disease I had given my speciman.
I don't know if the serum has
somehow reacted to chemicals I absorbed during my
time in The Gulf or what... but for now, I must return
home to my family, and
find a way to reverse
it... May God forgive me...
CUT TO:
EXT. THE SWAMP - NIGHT
P.O.V. CONNORS' LIZARD SPECIMAN
The genetically altered lizard is running through the swamp. A deer darts suddenly from its path. It approaches a small house on the outskirts of the
swamp...
END OF FLASHBACK
CUT TO
INT. CONNORS' OFFICE - NIGHT
Lightning FLASHING
SFX: RAIN outside
SPIDER-MAN (C/U)
(realizing the
truth)
Doc... what have you done...?
(pause)
Martha! I've gotta warn ...
Loud BANG and SLITHERING noise from LAB.
Spider-Man quickly moves to the lab to see a shadowy figure withdraw in to the darkness of a ceiling corner. Dust and debris from the ceiling tumble to the floor.
More noise; POUNDING AND SHUFFLING from above the ceiling, like a giant rat in the walls. And then "it" is outside the building.
EXT. ESU SCIENCE BUILDING - NIGHT
LIGHT DRIZZLE
Spider-Man leaps from the window of the lab and sees The Lizard fleeing the campus and heading for the city. (It actually appears to prefer "flight" over "fight"). He web-slings off in pursuit. Spotting the creature's tail slip around a corner, he follows it into an alley. But when He gets there he finds ... nothing.
EXT. MIDTOWN ALLEY
Suddenly ...
SFX: SPIDER-SENSE
CRASH! Scaffolding collapses on the wall-crawler from above. He is not able to avoid the debris, but his strength saves him.
Spider-Man recovers to see the creature above him clinging to the side of the wall! No longer running, the creature is upside down, facing him, its right arm raised defiantly.
(The Lizard's head is even more animal-like, with a distinct snout; its eyes, smaller, more beady. The neck is elongated and serpentine, with scaly folds of skin. It actually looks the like monitor lizard he experimented with. It is a giant bipedal Komodo Dragon in tattered clothes!)
With a leap, he is on the wall, crawling in pursuit, but the Lizard scurries upward. He fires a web-line up and at it in an attempt to pull it back down. With one swipe of its right arm, the monster shreds the webbing away, and continues on up the wall. Another web-line and this time the spider is on him.
This terrible man-monster and colorfully-clad vigilante are battling, high above the city on the side of a sheer wall! The Lizard quickly gains the advantage and engulfs the web-slinger in a bone-crunching "hug", squeezing relentlessly.Then grabbing both wrists, it slams him upside down, below and hard into the wall. Spider-Man drops as the creature scurries toward the top, but he shoots a web to recover and climbs after him.
EXT. ROOFTOP - NIGHT
RAINING HARDER
Spider-Man reaches the top, and looking around, sees no sign of the creature. He braces for an attack, as the buzzing in his head is still intense. In a surprising display of crafty intelligence, The Lizard has doubled back, around and behind him, leaping from the wall up for another surprise attack. Before his spider-sense can warm him, it is on him again, pummeling and slashing him unmercifully; jaws snapping. With one slash, it rips a bloody tear across Spider-Man's chest.
Spidey manages to backhand him, careful not to injure his wrist on its tough hide, and pushes it back. He quickly fires a web at its legs and pulls tight, knocking it off its feet. But the creature easily kicks its way out of the snare, only increasingly angered.
SPIDER-MAN
(backing away)
Dr Connors. I don't want to hurt you.
Whatever you've done, to cause
this, I know you don't mean any
harm. You've got to let me
help you.
The Lizard pauses, as if to listening to him, almost as if it "hears" and is trying to comprehend his words. Puffs of "smoke" emit from its nostrils, and a low purring growl rumbles in its throat.
The sky opens up as rain begins to pour, joined by the sight and sounds of an electrical storm.
SPIDER-MAN
Whatever it is, we can
fix this. Doc, think about
your family... Martha.
Angered by the mention of her name, or merely tired of "man-talk", the creature attacks and they engage again. The tail lashes to and fro as the hero agiley dodges it, all the while trying to evade the powerful claws and snapping jaws. Spider-Man resists mightily but the hissing monstrous mouth bears down. For the first time (in a C/U) we see evidence of tiny razor sharp teeth inside the creatures mouth. A kick to the underside of its chin momentarily forces the creature back, but quickly responding, it knocks him to the ground with its tail. The Lizard grabs him by the feet and slings him around in the air like a lasso, before slamming him violently into the harsh concrete of the rooftop.
Spider-Man screams in pain, grabbing his left arm. His shoulder is seperated.
The hero is helpless as the monster digs in with its claws and rips into his costume, as if trying to find flesh. And suddenly his head is nearly in its jaws, as it literally appears to be trying to devour him. With his hand at the sternum of the creature, Spider-Man pulls back hard, with all his might and frees himself, groaning. His mask is torn in the process, reavealing part of his face. Now sensing flesh, and warm blood, the creature moves in again.
SPIDER-MAN
(losing
consciousness)
Dr Connors... please...
for...Billy...
A flash of lightning illuminates Spider-Man's face, reflecting his exposed eye. Suddenly, The Lizard pauses, its mouth closed, with only a flickering of its tounge.
Another flash and a clap of thunder and it releases its grip, slowly standing up straight. Spider-man weakly tries to get up, favoring his arm; very close to passing out from pain. The creature is frozen, staring at him and there is another flash of lightning and clap of thunder as the rain continues to pour. The creature c/ocks its head almost as if it recognizes him.
Nearly unconscious, Spider-man looks back at the glowing eyes of the creature. It backs away slowly and then, inexplicably, it springs off the building and into the air. Dazed and confused, the hero drags himself to the edge of the building and looks off the side. But there is no sign of the monster; it has vanished...
EXT. ALLEY - NIGHT
The rain has let up.
Spider-Man gingerly lowers himself down into an alley by a thin strand of web.
SPIDER-MAN
Got to get to
Mrs Connors...
(winces with
pain)
warn ...
Holding his injured arm, he tries to move it. He starts to remove his mask to assess the damage when he hears a deep, heavy, chuckling close by...
THE RHINO (O/S)
Now I've got you... you little
pipsqueak.
SPIDER-MAN
Not now.
(looks upward)
What did I do?
The Rhino charges, head lowered, horn bared, and Spider-Man leaps out of the way.
SPIDER-MAN
You reeeally need a new move.
THE RHINO
(angered)
I'm gonna smear you all over dis
place. They'll be picking up the
pieces for years.
SPIDER-MAN
Right, like I never heard that
before.
The Rhino moves with deceptive quickness for his size and another sudden charge sends Spider-Man reeling, back against a wall.
Quickly turning around he charges again, but this time the hero jumps up out of the way and on to the side of a building, leaving Rhino to barge head first into the wall.
SPIDER-MAN
(laughs)
That's using your head.
The Rhino backs up, and makes a surprising move, crashing into the wall with his shoulder and all his might ... so hard that it seemingly rocks the very foundation and knocks Spider-Man (clinging by only one arm and two legs) to the ground. Closing in, the armored giant begins to pound on the webslinger unmercifully, including the injured shoulder.
THE RHINO
Why don't I hear your
smart mouth now
little man?
Suddenly, from out of the shadows, The Lizard appears! Wild with rage, the creature dives and attacks the massive assailant knocking him away from the groggy hero.
THE RHINO
What the...?
With unbelievable quickness, the creature begins to thrash him. Spider-Man watches as it just tears into the lumbersome thug, slashing the previously impregnable suit of armor.
THE RHINO
Get off.. Get off me! Help!
The Lizard continues its attack, ripping pieces of the armored suit away with its claws, drawing blood. Then ... a primitive, predatorial instinct takes over, and the creature goes for the kill, its jaws reaching for the side of the behemoth's neck, ready to fatally rip off a chunk of precious flesh, much like an Allosaurus would have attacked its sauropod prey millions of years ago...
SPIDER-MAN
No! Stop Doc... you'll kill him!
The Lizard pauses at the words, looks up and hisses menacingly, angered at being scolded. But as if something inside the creature knows better, it suddenly withdraws, wipes some drool from its mouth, and bounds off into the night.
P.O.V. THE RHINO
SPIDER-MAN (C/U)
(looking down
on Rhino)
Took quite a
beatin; there didn't ya?
(End POV)
The Rhino GROANS.
SPIDER-MAN
What do you want from me.
Who sent you?
THE RHINO
Nobody. I mean... why should I
tell you?
(grimaces)
SPIDER-MAN
Don't have time for games pal, so
tell ya what... for now, let's just
get you into
something more comfortable...
'til the boys in blue arrive.
(webs him up.)
THE RHINO
Hey! Whatta ya doin?
Let me go!
SPIDER-MAN
Was kinda hopin' you'd outgrown
the pacifier. Here ya go
big fella.
(webs his mouth
shut)
Oh yeah... almost forgot.
CUT TO:
EXT. ALLEY - NIGHT- (2 minutes later)
Spider-Man is gone and Rhino hangs in a giant "web-sack" that gently sways back and forth from futile resistance.
We see a small index card that reads "Courtesy... your Friendly Neighborhood Spider-Man".
INT. THE CONNORS' RESIDENCE - NIGHT
Lightning flashes and thunder rolls across the city.Young Billy Connors runs in to his mother's room.
BILLY
(whispering)
Mama.
MARTHA
Billy, sweetheart. What are you
doing up so late? Go back to
sleep.
BILLY
I can't sleep. There's a
monster outside my window.
MARTHA
(nervous chuckle)
Oh, a monster hunh? He must be
pretty tall too, since we're on
the seventh floor.
BILLY
No, he's real mama. I swear. He
comes every night. I think he
wants me to go with him to his
secret cave.
MARTHA
Really. OK, no more comic books
for you young
man. C'mon... back to bed. I'll
show you there's nothing to be
afraid of.
BILLY
But mom!
MARTHA
No buts. Lets go
mister.
She leads her son back to his room and lifts him into bed. Lightning continues to flash outside, as she snugly tucks him in.
BILLY
Will you stay 'til
I go to sleep?
MARTHA
Just until you
go to sleep.
BILLY
If you stay you'll see him
mama. Maybe he'll want you to come
too.
MARTHA
Billy, for the last time... there
is no monster. There's no such
thing.
She pauses, as if doubting her own words, but for a second.
MARTHA
Now be my good man and go to
sleep. Before you know it you'll
hear the birds and the sun will be
out.
BILLY
OK. But will you check my window?
pause
I don't hear the birds l like I did
back home.
She offers a knowing look and walks over, checks the window, then walks back over to the bed.
MARTHA
See? No monsters.
Lightning flashes and SUDDENLY!...in the window, for just a second, we see the face of The Lizard!
He stares in at Martha and Billy ... eyes glowing. Another flash and he is gone.
MARTHA
Now, do you
still want me
to stay or are
you a brave boy?
BILLY
(reluctantly)
I'm brave.
She smiles and neatly tucks him in, kissing his forehead. After she leaves the room Billy gets up out of bed and walks over, standing in front of the window.
INT. MARTHA'S ROOM - NIGHT
Martha is lying awake in bed. Restless, she gets up and opens the double glass doors to the adjoining terrace, as the wind invites itself in.
EXT. THE TERRACE - NIGHT
Wrapping herself at the chest, she walks outside. The wind blows through her hair as thunder continues to rumble in the distance. Martha looks out across the city and wonders how her beloved husband, or what is left of him, is doing.
MARTHA
(whispering under
breath)
Curtis...
She leans closer to the railing. (Is something going to suddenly jump up from below?)
A few drops of rain begin to fall, stirring her from her deep thoughts and Martha turns to go back inside.
INT. MARTHA'S ROOM - NIGHT
She closes the windowed doors, and turns around to find she is not alone...
There, in the darkness, stands The Lizard. Still draped in the tattered remains of Connors' lab coat, the creature is hunched slightly over as its head nearly reaches the ceiling. The Lizard doesn't move, but tilts its head slightly, as in question, before uttering one word in a creepy bestial voice...
THE LIZARD
Maarrrtha...
Martha screams and promptly faints...
NEXT: The Conclusion...