Act 3, Scene 13

The darkened interior of the Osborn mansion, looking like exactly the sort of house you wouldn't want to wander about in alone. We travel down the wood-panelled corridor and see the beautiful antique windows, each one imported from Europe and lovingly-

-smash-

-broken by a large rock being thrown through it. We cut to Mary-Jane outside, hiding behind a statue in the grounds. She closes her eyes and grimaces, clearly expecting something to happen. Nothing does.

MARY-JANE: (incredulously)No alarms?

With commendable agility Mary-Jane scrambles up a small wall and, taking care where to place her hands to avoid the broken glass, is soon landing softly on the plush carpet inside. She sets off down the corridor. We cut to her wandering through the house's various rooms, until finally she comes to the study…

MARY-JANE: (in horror) Bernard…

She leans down by the manservant's body, tears welling up in her eyes, unable to believe that someone she called friend could have done this. If it hadn't already, the knowledge that Harry really has changed finally sinks in.

There's a muffled noise from somewhere.

MARY-JANE: Aunt May?

We cut to the mirror that serves as the entrance to the Goblin's lair. Mary-Jane's reflection approaches us. The mansion is in almost total darkness, so she's not exactly sprinting to the noise. It sounds again - faint, but unmistakable; a human voice.

MJ puts her ear to the glass.

MARY-JANE: Aunt May? Aunt May, it's Mary-Jane.

The faint noise again. Mary-Jane puts her fingers between the frame and the wall and tugs experimentally. Nothing gives. Letting her hand linger for a second in the gap, we see the fine hair on the back of her arm be blown by a draught. There's definitely something behind the mirror.

Mary-Jane looks around the room in desperation. Her eyes alight on one of the many exhibit cases filled with Norman Osborn's passion - weapons and masks. There's a large double-bladed axe in one case nearby. She breaks the glass holding it (again, no alarms) and hefts it in her hands, before turning around to face us. It's an incredible image - the once-meek perennial victim Mary-Jane Watson walking toward camera, hefting a double-bladed axe and with a face like thunder. As she steps to one side of the mirror, lifting the axe, ready to swing it into the glass, she calls out-

MARY-JANE:Aunt May...stand back. I'm coming through.