Luthor5339
06-14-2006, 10:39 PM
Due to the positive reaction, I thought I would post the second episode- HOSTAGE- which, similarly to Smallville's second episode is alot more like "Pilot Part 2"
The villain tackled in the episode is Big Man. A classic rogue's gallery villain. In the series I will be using lots of these types of rogue gallery villains from the comic books that may not have enough substance for film- but for an episode would really have a great and unique story to tell.
SPIDER-MAN: THE SERIES.... HOSTAGE
EXT. NEW YORK CITY STREETS – DAY
It's a sunny day in the Big Apple. One of the many cars clogging the streets is a green Beetle Volkswagen. Driving is FREDERICK FOSWELL, short and timid.
INT. BEETLE VOLKSWAGEN - DAY
Foswell frantically turns through the radio stations.
DJ 1
And traffic is backed up all the way to...
DJ 2
The largest traffic jam this week, and what is the mayor doing about the metro system? Noth...
DJ 3
...to everyone stuck in the morning rush, just gotta say... sucks to be you! We'll be playing more hits of seventies after these words from our sponsor...
Foswell slumps his head against the steering wheel.
FOSWELL
No, no, no...
EXT. NEW YORK CITY STREETS – DAY
A BIKER on a motorcycle weaves through the stop-and-go traffic, a MONEYBAG hanging from his backseat. Behind him, SPIDER-MAN is in hot pursuit.
SPIDER-MAN
Don't suppose you'd consider just giving that back?
The Biker fires a SHOTGUN over his shoulder. Spider-Man DODGES out of the way.
SPIDER-MAN
I'll take that as a no.
The motorcycles swerves into an oncoming car. The collision causes the biker and the motorcycle to fly off! Spider-Man quickly sends a WEB between two lampposts. The biker lands in it.
INT. BEETLE VOLKSWAGEN – DAY
Foswell looks up to see the motorcycle plummeting towards him! No time to get out of the car.
FOSWELL
Figures.
Seconds before the motorcycle lands, two RED-GLOVED HANDS catch it. Foswell looks out his window to see SPIDER-MAN standing there, gently setting the motorcycle down.
SPIDER-MAN
(to Foswell, re: motorcycle)
Strange weather we've been having, eh?
CUT TO:
INT. DAILY BUGLE- OFFICE
CLOSE ON A COMPUTER SCREEN. “SPIDER-MAN” is typed out. Backspace, backspace, backspace. “THE SPECTACULAR SPIDER-MAN.” That's no good either. Backspace, backspace, backspace. “THE AMAZING SPIDER-MAN.” PULL OUT. Foswell is at the computer, rubbing his chin. Seems to work. He presses print. In his cubical was nothing, except for one Polaroid picture of himself with his wife at the park, being held up by a single piece of scotch tape.
INT. DAILY BUGLE- OFFICE
Within the office were many tiny cubicles where the reporters were busy at work typing out their latest headline news hoping to make the front page. The floors were made of wood, while the ceiling had the regular Styrofoam looking exterior. Foswell walks towards Jameson's office. Suddenly he stops. His SHOE has fallen off, he bends down to put it back on and retie the knot. We see that the shoes are old and TWO SIZES TOO LARGE for him. He stands up, sees BETTY BRANT, a teenager around 15 years old, Jameson's secretary. He continues towards Jameson's office.
CUT TO:
INT. DAILY BUGLE- JAMESON’S OFFICE
Despite what you'd think, his office is the least furnished room in the building. Two LAWN CHAIRS sit in front of a beaten up desk, one leg replaced by a stack of books. Behind the desk is Jameson's one concession to his wealth and status, an Aeron office chair. Currently Jameson looks out a large window at the city and talking on the phone.
JAMESON
I don't care what a “blog” is! Stop feeding me this gibberish and get a scoop!
Foswell barges his way into the office, holding a portfolio in one hand.
JAMESON
You'll call me back. No, YOU will.
He hangs up.
JAMESON
What's the big idea?
FOSWELL
I've got a new story ready to go.
JAMESON
So? Clear it with Robbie, I'm BUSY.
FOSWELL
You'll want to see this.
He sets it down on Jameson's desk. Jameson flips through it.
JAMESON
Spider-Man? What is this, a news story or an action figure?
FOSWELL
I saw him! With my own two eyes!
JAMESON
That's too bad! If they were someone else's eyes, you could give them back!
Fred flusters under Jameson's insults.
FOSWELL
I've worked here for thirty years, can't you trust me?
JAMESON
Well, that depends. You tell me that the mayor was found in bed with three hookers and a hill of cocaine, yeah, I'll trust you. You tell me the cops are trying to frame you for racketeering, yeah, I'll believe you. You tell me a man who shoots webs out of his hands caught a thief and then swung away like a Tarzan, I SAY YOU'RE A LOON!
FOSWELL
But we can have the first scoop on him!
JAMESON
That's what the guy who claimed Ronald Reagan was a slave trader said. You find me proof, I'll see what I can do. Until then, stick to Bigfoot. At least we have pictures of him!
FOSWELL
But Mr. Jameson...
JAMESON
Go, find me some proof! Until then, you're page 11 and that's because I like you!
Foswell shuffles out of the office, embarrassed. Through the window, we see SPIDER-MAN webbing by, unnoticed by Jameson.
JAMESON
Spider-Man! Bah!
FADE TO:
INT. MID TOWN HIGH SCHOOL- PSYCHOLOGY CLASS ROOM
Peter sits at the front of the class, listening to DR. CALVIN ALBRIGHT, the psychology teacher with 45 years on him and balding hair. He takes copious notes. Dr. Albright looks back and forth between his students and then he clears his throat.
ALBRIGHT
All right… welcome to Psychology 101, I, Dr. Calvin Albright, will be your professor for this course. What makes a man a man? Why do we act the way we act? Why do we do the things we do? It's a hard question, one that I doubt will be figured out in the course of this class. But don't think that means I won't expect you to present and defend your viewpoints. On one side, some say that it's a person's nature that makes them the way they are. They are born smart or stupid, noble or ignoble, rude or polite. They hold that it's all in the genetics. Others say that it's nurture, how a person is brought up, raised, treated by his parents and environment. Like most things, the truth lies somewhere in the middle. I personally hold with the philosophy of tabula risa, that all men are born with a “clean slate”...
Peter raises his hand.
ALBRIGHT
Yes, son, what is it?
PETER
It's tabula rasa.
ALBRIGHT
What?
PETER
Tabula risa means “laughing state”.
EXT. MIDTOWN HIGH SCHOOL- AFTERNOON
Students one after the other begin to pile out of the school, among them is Jason and Peter. Peter’s head in the Guinness book of World records.
JASON
So, did you ask her out yet?
PETER
Why? Gwen's seeing Flash.
JASON
That's not what I heard.
PETER
And what did you hear?
JASON
Well, if you can tear yourself away from your dictionary.
PETER
Guinness book of world records.
JASON
Whatever, do you want to hear this or not?
Peter closes the book and shakes his head yes
PETER
I'm listening.
JASON
Buzz around campus is that Gwen takes to you like Will Smith takes to rap singles based on bad movies.
PETER
And where did you dig out this little nugget of information?
JASON
I test highly with the stoner demographic.
PETER
The stoners? Ahh, Jason...
JASON
Why would they lie?
Peter looks over towards a group of stoners, inhaling…
STONER1
I saw Elvis the other day.
STONER2
No **** man, did you know George Lincoln was on silver?
STONER1
Wo…
Peter raises his eyebrow and looks back towards Jason.
PETER
Well… Gwen and I are just good friends.
JASON
I'll try to remember that. So, you're taking Doctor Albright’s class this year?
PETER
Yeah, you?
JASON
Definitely, easy grades man- he hardly gives tests and all we need to do is sit through his pain staking lectures everyday to get an A minus. No work and all play… does not make Jack a dull boy… The shining.
PETER
The Kubrick or the Garrick?
JASON
What’s the difference?
PETER
One got the author angry, the other got a pat on the back.
Jason laughs.
JASON
You know… I’m surprised your name isn’t Webster.
PETER
What?
JASON
Forget it… so do you have a job yet?
PETER
I was thinking…
A newspaper truck throws a paper towards the ground and Peter steps out of the way just in time… he looks down towards it… CASH PRIZE FOR A PICTURE OF SPIDER-MAN
PETER (CONT’D)
About something in photography.
EXT. LOS ANGELES
INT. OSCORP INDUSTRIES- MEETING ROOM- NIGHT- RAINING
Norman looks out of his window on the 100th floor and towards the city below, the light green of the Hollywood hill and the vivid sky blue above. The door creaks open behind him and Norman grins. A middle aged man walks in, this is BRYAN.
BRYAN
Mr. Osborn- you wanted to see me?
NORMAN
Yes, take a seat Bryan.
Bryan sits down and looks up towards Norman, who was still looking out towards the raining sky.
NORMAN (CONT’D)
Recently files have gone missing, concerning our super soldier serum. Files that I have been told were top secret.
BRYAN
What are you suggesting sir?
NORMAN
We have a mole, someone working on the inside of Oscorp Industries- I’d like to find out who he is and who he’s working for. Problem is I already know the answer to the second question, there’s only one man that’s trying to take my job. Now who is his insider Bryan?
Norman turns around and looks towards the sweating Bryan.
BYRAN
I don’t know sir…
NORMAN
Don’t play me like a fool! I’ve known it was you since the beginning, I’ve been playing you- handing over false reports to turn over to Mr. Hammer. I’m afraid you’ll never get to tell him that, if he’s ever going to get to me- he needs to try harder.
Norman takes out a gun and points it towards Bryan…
JUMP CUT:
EXT. CLINTON- APARTMENT COMPLEX- NIGHT
This is one of those places where people down on their luck live. In some places they would be called hovels, ghettos, slums. Here, they're called apartments.
INT. FRED’S APARTMENT ROOM
The apartment room was even in worse condition, the room had only one small bed, an old black and white television sporting the classic antennas and a kitchen whose width was just barely that of a truck. It didn’t even have a bathroom, only a public one full with termites. Currently Fred was laying on his bed arms resting behind his back. A woman, around 35 years old, was in the room also her name’s ELISA, she lights another cigarette and begins to smoke.
ELISA
Don’t just lay there Fred- there must be some way you can get more money.
FRED
I’m never going to make the front page.
ELISA
Don’t talk like that- we need the money.
FRED
It’s no use Elisa! Ben Urich will always be the Bugle’s star reporter, they’re so fascinated by the guy that they’re not even willing to look at other reporters’ work.
ELISA
Well you have to try!
Elisa begins to hit Fred, tears falling down her eyes… Fred pushes himself away.
FRED
I did everything I could think of… JJ’s never going to open up to new ideas-
ELISA
Jesus Christ- Fred, I’m pregnant!
FRED
What! Since when?
ELISA
A week ago, I didn’t want to upset you- we need that money. Without it…
Elisa begins to break down into tears and Fred catches her just in time…
FRED
Don’t worry I’ll find a way- I promise.
EXT. HAMMER INDUSTRIES
The Hammer Industries has a blue exterior, complemented by the blue bullet proof glass. Hammer Industries towered over the city, its location was close to the docks and to the west of Times Square… just a block or two away from Battery Park.
INT. HAMMER INDUSTRIES- CORPORATE MEETING ROOM
The corporate meeting room was outlined with a wooden desk, marble walls, an expensive carpeted floor and ceiling panels… obviously just throwing the most expensive items that he had and could afford together for a showcase rather than decoration. JUSTIN HAMMER was looking out of the blue glass window and towards the city below. Behind him his personal secretary, MELISSA REYNOLDS enters the room… she was 24 years old, just out of college and amazingly beautiful… anyone would fall for her in an instant, which might have been the reason she was hired.
HAMMER
So, is Bryan back from his previous…
No answer.
HAMMER
What happened?
MELISSA
He’s dead sir… his body was discovered today just off the California coat line.
HAMMER
Gather all of the files that he had recovered from Oscorp… I have a feeling we may be playing into his hands.
Melissa doesn’t move.
HAMMER
Now!
Melissa nods and she hurriedly leaves the room.
INT. PARKER FAMILY HOME- KITCHEN
Aunt May was cooking dinner. Peter brings in the salad bowl.
PETER
I don't understand why you can't just keep this in the pantry.
MAY
I have a system. Dr. Albright’s class began today right?
PETER
Yeah.
MAY
How was it?
PETER
Okay.
MAY
Can you speak in sentences of more than one word?
PETER
Possibly.
MAY
Gwen called…
Peter tries to hide his excitement.
PETER
What did she say?
MAY
I believe that she wanted to meet you at Summit Rock sometime tonight- 8, I believe…
Peter looks up at the clock. 7:50! Peter is halfway out the door when he hears Aunt May.
MAY
Peter, you haven't eaten yet.
PETER
I’m not hungry.
Peter grabs his backpack and exits.
EXT. CENTRAL PARK- NIGHT (Crimson & Clover by Jimmy Eats World)
A massive bedrock outcrop, Summit Rock soars 141.8 feet into the air. Gwen sits on one of several stone benches, waiting. She hears the trees rustling behind her.
GWEN
Peter?
PETER sits down beside her, coming from the opposite direction. Gwen nearly jumps out of her skin.
GWEN
Jesus, Pete, you scared me.
PETER
Sorry.
GWEN
So, you been hearing the rumors going around school?
PETER
Not to my face, no.
GWEN
That's good.
PETER
You and me... it's ridiculous, right?
GWEN
Yeah.
PETER
Can I ask you a personal question?
GWEN
Shoot.
PETER
Why are you with Flash?
GWEN
Doesn't get much more personal than that.
PETER
I mean, aren't you a little... “smart” for him?
GWEN
Look, I know you don't see it, but... he can be really sweet sometimes.
PETER
Coulda fooled me...
GWEN
Hey, how're you holding up?
PETER
Oh, I'm great. Me and Aunt May are seeing a, ummm, 'grief counselor'. So, that's nice. It really... isn't as bad as you'd think. I just can’t believe he’s dead… I know you might tell me I’m crazy but, he talks to me… I go to the cemetery and I just, I tell him about everything that’s going on in my life- how much Aunt May and I miss him.
GWEN
What does he say?
PETER
He tells me that I have to face my destiny, do what I was always meant to do with my life.
GWEN
And what’s that?
PETER
I… I really don’t know.
(hoping to beat around the bush)
How about you? How's your dad?
GWEN
He's fine. They say he could make commissioner some day…
Gwen stops mid sentence… and Peter looks towards her.
PETER
What’s the matter?
GWEN
It’s just… you get this one image of your parents, both perfect together and you never want to lose that, and…
PETER
I understand.
GWEN
Here I am with two parents and yet I'm whining about them fighting. I suppose I must seem quite selfish.
PETER
Not really. Hey, if your life's a movie, there are worse things it could be than Who’s Afraid of Virginia Wolf.
She laughs.
GWEN
What about you? If your life were a movie, what would you like it to be?
PETER
(no hesitation)
Star Wars.
GWEN
Anything in specific?
PETER
Just as long as it's not any of the prequels, I'm happy. And you?
GWEN
Buffy the Vampire Slayer.
PETER
Didn't that movie have Pee-Wee Herman in a starring role?
GWEN
The series, Peter.
PETER
You can't chose a TV series. That's against the rules.
GWEN
Says who?
PETER
Says me.
GWEN
Fine. Maybe a... a Ray Harryhausen movie.
PETER
Which one?
GWEN
Any one of 'em. Just so long as the hero always gets the girl and the monster is always defeated and only the bad guys get hurt.
PETER
That sounds nice... Hey, can I change my answer?
SIRENS ROAR from nearby. Peter looks in their direction.
PETER
You hear that?
GWEN
Yeah. You wanna go check it out?
PETER
No. I... I've got some homework, so... hey, I'll see you later, okay?
GWEN
Sounds like fun.
PETER
Great.
He runs off.
EXT. BANK – NIGHT
SPIDER-MAN sneaks towards the door to the bank.
SPIDER-MAN
Okay, Pete, you can do this. You can do this. Great power, great responsibility. And no vomiting this time.
He turns the corner and sees a DISPOSABLE CAMERA VENDOR.
SPIDER-MAN
Hmmm...
INT. BANK – NIGHT
FOUR ROBBERS have taken the bank hostage. Two handle the customers and staff, one watches the doors, the last one goes through the tellers' drawers. Suddenly, a WEBLINE shoots out of the darkness, splattering against the watchman's chest.
ROBBER 1
What the hell?
He's YANKED off his feet and into the darkness. We hear a PUNCH landing, then silence… ANGLE DOWN as ROBBER 2 turns away from the group of hostages.
ROBBER 2
Hey, where’s our quarterback?
The camera PLUMMETS, FAST, BRUTAL. PULL OUT as we realize we were in ROBBER 1’S POV. SPIDER-MAN lands on the two robbers, taking them out. They go down firing into empty air, the hostages start SCREAMING! The last robber pulls away from the tellers' drawers, sees Spider-Man. Draws his gun, and spills countless bills into the air. SPIDER-MAN'S throws himself behind a banker's desk as the last robber opens fire full auto. He's pinned down. Bullets slowly but surely reduce the desk to timbers.
SPIDER-MAN
I don't wanna die, I don't wanna die, I don't wanna die...
He coils his legs beneath him like springs, waits for a lull in the firing... The last robber goes empty. He pulls a sidearm. Spider-Man leaps out from under the desk at ridiculous speed, hitting the roof so hard it CRACKS, then jumps off towards the last robber. The last robber raises his gun... Spider-Man overshoots him, passing overhead. He immediately tumbles, shoots two weblines behind him to grab the robber. The robber is yanked off his feet and both men land in a heap. They come to at the same time, see each other. The robber goes for his sidearm. Spider-Man pushes him off so hard that the robber CRASHES through a teller's window. Spider-Man stands up.
SPIDER-MAN
Well, at least I didn't vomit.
He looks up at a DISPOSABLE CAMERA, held in place by a cobweb on the ceiling.
SPIDER-MAN
Cheese!
TRANSITION TO:
INT. DAILY BUGLE- JAMESON’S OFFICE
Pictures of Spider-Man taking out the bank robbers are being shuffled by an observant hand. ZOOM OUT. We see Jameson looking down towards the pictures of Spider-Man taken by an eagerly awaiting Peter Parker.
JAMESON
What were these taken with, a disposable camera?
PETER
It's... all I had.
JAMESON
Ahhh... Miss Brant, give nerd-boy...
PETER
Peter Parker.
JAMESON
Parker enough money to buy a decent camera and not a cent more. Come back to me with something that doesn't look like it was taken by a monkey with arthritis and we'll see about more.
INT. BUGLE- OFFICES
Peter stops outside of the door and breaths out.
BETTY
JJ give you a rough time?
Peter looks to his side to see Betty Brant.
PETER
You could say that…
BETTY
Don’t worry, he’s like that to everybody. Betty Brant-
Betty extends her hand and Peter takes it. His arm begins to shake, and Betty looks towards him.
BETTY
You ok?
PETER
Me? Yeah…
Peter finally realizes and stops squeezing her arm, he glances around looking for the sign that sent off the jolt… he couldn’t find it.
BETTY
Paranoid huh?
PETER
What gives you that impression?
BETTY
Right… well, see you around.
PETER
Yeah…
INT. OSBORN MANSION- MEETING ROOM
Harry works at his desk… KNOCK… KNOCK… KNOCK…
HARRY
Come in.
Peter enters.
HARRY
Hey Pete.
PETER
Hiya Harry…
HARRY
I’m sorry that I wasn’t able to get in contact with you sooner.
PETER
No problem…
HARRY
I really should have got in touch… I heard what happened to your uncle and if there’s anyway that I can help, just let me know.
PETER
It’s fine, money won’t accomplish anything anyway… Aunt May and I, we just need to adjust that’s all. Frankly, I'm just glad to be somewhere I don't have to listen to that stupid rumor.
HARRY
What rumor?
PETER
What's this? The information capital of our quiet Forest Hills isn't keeping current with gossip?
HARRY
I've been a little busy lately. So, what's this rumor?
PETER
People have been saying that Gwen and I...
HARRY
Ah. The oldest gossip in the world, who's schtupping who. You make me feel like I'm in L.A. again, only with less pretty people. No offense.
PETER
None taken.
HARRY
So, are you?
PETER
No!
HARRY
But you want to? All rumors have a nugget of truth, Peter.
PETER
Even the one about the munchkin hanging himself on the set of The Wizard Of Oz?
HARRY
Okay, not that one. You're right, it's probably just some girl envious over her guy looking at “your” girl. Or it could be something more.
PETER
What?
HARRY
Well, it's always possible that our gal Gwen is testing the waters herself. A little girl-talk to the right people, soon the rumors spread all over school and then the ball's in your court. She gets to see if you'd take the bait without risking the humiliation of asking you upfront.
PETER
People do that?
HARRY
You'd be surprised.
PETER
So either it's just a rumor and we're only friends or she wants us to be more than friends and it's a... when did high school get so Machiavellian?
HARRY
I see someone got Mr. Parker a word-of-the-day calendar for his birthday.
PETER
Cute. So, what’s it like having the mansion all to your self?
Harry looks around grinning…
HARRY
To be honest, it’s kinda scary… I haven’t even been into all of the rooms here… heck, some rooms I don’t even have access to.
PETER
You're losing “master of my domain” points, Harry.
HARRY
What else is new? Mostly just trophy rooms, wine cellars. That sort of thing. Probably afraid I'll ride in on my Big Wheel and demolish a Ming vase.
INT. MID TOWN HIGH SCHOOL- HALLWAYS
Peter walks through the hallways.
BETTY (O.S.)
Hey, Peter… Peter wait up.
Peter stops. Looks behind his shoulder. To see Betty catching up to him.
PETER
Oh hey Betty, I didn’t know you went to school here.
BETTY
Yeah, my family just moved to New York about a week ago… I’m actually already on the school newspaper… I just work as a secretary at the Bugle to work my way to the top, my father is a reporter for the TIMES… so you know- follow in “the footprints”… so to say.
PETER
So, why are you so interested in becoming a reporter?
BETTY
Why are you so interested in becoming a photographer?
PETER
It’s just a job…
BETTY
I’m sure. So, what's with you and Spider-Man?
PETER
Just right place, right time.
BETTY
Don't kid yourself, you have a bit of talent.
PETER
A bit?
BETTY
Well, a kernel?
PETER
Is that more or less?
BETTY
More than a dash, less than a bit.
PETER
That's comforting.
BETTY
So, how do you do it?
PETER
If I told you, you'd just tell your boss and he'd send his own photographer.
BETTY
Pete, you've got to be more trusting.
Gwen approaches them from the hallway.
GWEN
This a private party or can anyone join.
PETER
Hey Gwen, this is Betty, Betty this is Gwen.
Betty extends her hand and Gwen takes it.
GWEN
Nice to meet you.
BETTY
The pleasure's all mine. You two make a cute couple.
PETER
We're not a couple.
BETTY
Oh. Sorry.
GWEN
So, how do you know Peter?
BETTY
We work together.
GWEN
Really? Never figured you for the newspaper staff, Pete. Yearbook seems more your speed.
PETER
(offended)
Thanks.
BETTY
We met at the Daily Bugle. Peter sold us a few pictures.
GWEN
Pictures?
BETTY
Yeah, of Spider-Man
GWEN
The celebrity? Why would anyone care about some glorified stuntman like that?
PETER
Glorified stuntman?
BETTY
No, he does more than that. We have a story of him robbing a bank.
PETER
Robbing a bank?
FLASH (O.S.)
I don't believe it!
Everyone turns. Flash is holding up a copy of the Daily Bugle. The cover story is “NO HONOR AMONG THIEVES! Spider-Man Turns On Criminal Compatriots.”
FLASH
You can't just print lies! That's... that's...
Peter snatches the paper away.
PETER
Libel!
He scans through it.
BETTY
Actually, you can. Spider-Man is a public figure, the press can interpret the facts any way they see fit...
PETER
What facts? All this is, is... is... vicious speculation! It doesn't even say if there's any money missing! How can they say he's a thief?
Flash snatches the paper back.
FLASH
Exactly! They're just trying to drag him down! It's probably because Spider-Man knocked Jameson's son off the headline.
PETER
He did?
Betty grabs the paper.
BETTY
Page 2, Colonel John Jameson leaves for lunar exploratory mission. Mr. Jameson wouldn't be that petty... would he?
She hands the paper to Gwen.
GWEN
Petty or not, he's got a cute son.
Flash, looks towards Gwen and…
FLASH
Hey where were you last night? I missed you.
Gwen looks towards Peter and then back towards Flash and shrugs… she wraps herself under her arms and he smiles. They walk off and Peter looks towards Betty.
BETTY
Ouch- That must have stung.
Peter looks towards her.
PETER
Huh?
BETTY
I can read emotions from a mile away Pete, and you read jealousy in bold print.
PETER
Of what?
BETTY
You like her…
Peter blushes
PETER
No I don’t…
BETTY
Sure…
PETER
I don’t.
INT. DAILY BUGLE- OFFICES
Peter is standing in front of Betty, showing off a new camera.
PETER
Something like this?
BETTY
Yeah, that should be fine.
FOSWELL(O.S.)
Peter Parker...
Peter turns around to stand face to face with Fred.
PETER
Do I know you?
FOSWELL
Frederick Foswell.
PETER
The first eyewitness account of Spider-Man?
FRED
That's the one. I owe you big-time.
Betty looks towards Peter and begins to pack her things.
BETTY
So, see you tomorrow Pete.
Pete looks towards her and shakes his head ok, turning his attention back towards Foswell.
PETER
(accusingly)
Why did you call him a menace?
FRED
Who? Oh- the article, I write em’, JJ supplies the headlines.
(beat)
Did the guy bad judgment if you ask me.
JUMP CUT:
INT. DINER
The diner was modeled after a diner from the 1960’s. Currently Peter and Foswell were sitting at a table waiting for their meal.
PETER
So you believe Spider-Man is one of the good guys?
FRED
You kidding? Spidey’s the best as they come. Tell me who else you know who risks their life saving civilians, stopping bank robbers- standing up for the little guy. There ain’t many.
PETER
What about the police?
FRED
You can trust a few, but from experience I learned that most have been corrupted- rooted for man kind’s sins to grow. Days used to be when the cops only PLAYED bad cop. Now it's all too real. There are things that don't make the front page. Because HE doesn't want them to.
PETER
The kingpin?
FRED
Yes. He's real. I haven't seen him, but I've felt his influence. Witnesses that disappear in the middle of the night, leads that dry up for no reason, cases that fold into shadow. He's like a shark, swimming in the shadows. All you can see is the ripples in the water. As days go by he’s gaining more and more influence; there’s few people anymore that stand up for truth, justice and the American way. But, Spider-Man he represents something this world needs, we are in dark times Peter- 9/11, the war on terror. Now is the time for a hero, now is a time for a hero to take rise, to be born. Spider-Man represents the future, he represents the good in this world that we keep on forgetting. The world needs him Peter, and what JJ’s presenting him as is a crime. All this city needs is more good men to say that we're not going to be pushed around by people like the Kingpin anymore. That we'll fight tooth and nail to drive them back.
PETER
You know, in the old days a bugle was used to... rally troops to battle. Lead the charge against tyranny and injustice.
FOSWELL
And you're saying it could be again.
PETER
Like you said. All it takes is some good men. Personally, I'd much rather read about that than some celebrity tabloid.
FOSWELL
I forgot what it's like to be in high school. So idealistic. What can I do to fight him? Kingpin owns the law. He owns the city.
PETER
But does he own you?
FOSWELL
Look, can the self-righteous act. All that matters in this world is how much you can take. If the Kingpin goes down, it will just be so someone can take from him.
EXT. NEW YORK CITY STREETS
Peter and Foswell walk through a crowded street. Fred stops walking, frozen in place.
PETER
What is it?
FRED
Ben Urich- Mr. Star Reporter.
Peter looks forward and can see BEN URICH friendly shaking the hands of pedestrians who were fans of his. Fred grits his teeth in anger.
PETER
Doesn’t seem like that bad of a guy, better than Jameson.
FRED
Don’t buy into his friendly persona Parker, inside of that man is pure evil.
Peter looks at Foswell, who is working himself into a paranoid rant.
PETER
Nobody can be all bad.
FOSWELL
He comes the closest! He’s a job stealing, front page, news article, whore. He steals from those beneath him Parker, his stories cover up first page. He writes for crap, even when he has a good story! He gets it all, the money, the paper- the avid readers… they all fall into his grasp. If there’s one thing I teach you about the Bugle Peter know this, never trust Urich- he’ll just win another article out of it, after all that’s his job.
Urich begins to walk up towards them.
URICH
There’s the big guy! Read your article. Nice work.
He pats Foswell on the shoulder.
FRED
Sure you’d say that, what are you trying to do? Steal it? It’s not copyrighted you know, you could just claim it as your own.
URICH
Huh? I’m not going to steal your article Fred, it’s great. It’s yours, I’m surprised it didn’t make front page- story of a lifetime.
FRED
Are you being sarcastic Urich?
Peter begins to back away from Fred.
PETER
Mr. Foswell he was just trying to-
FRED
What is it Urich? Front page not enough? You have to put others down also?
Fred begins to walk away. Urich looks on in suspicion and uncertainty.
URICH
Am I missing something here?
Peter looks towards Ben.
PETER
Me?
URICH
Yeah, you kid-
Peter shrugs
PETER
Beats me-
(extends his hand)
Peter, Peter Parker sir- I’m a fan of your work. The article about Herman Shultz was really amazing, it captured the psyche of an insane criminal mind. Very impressive.
URICH
Well, you’re a good photographer Peter, those pictures of Spider-Man, I thought those would be unattainable. You’re the only one to ever get that close to the masked vigilante- how’d you do it?
PETER
Contacts.
URICH
Do you know who he is? You know under the mask-
PETER
Me? No… why would I?
URICH
I see.
(beat)
Just in the right place at the right time, huh, kid?
PETER
(fast and suspicious)
You could say that, sure- why not.
URICH
Well hang in there kid, the paper is a tough business- Spiderman, in my mind’s eye, he’s here to stay- trust me.
INT. HAMMER INDUSTRIES- LABS
The laboratories were different from those at Oscorp, there were specific projects that went on here. Projects that are primarily funded for by Wilson Fisk himself. The cops, the lawyers- no one knows about this place, and if they do it won’t matter **** anyways. Because the Kingpin owns everything and everyone, ultimate control over the city. The labs were basic, made out of bricks and stone with chandeliers hanging at the ceiling. There was a small control booth with only 10 computers, but at the highest speed that mankind hasn’t even dreamed of! Top equipment, top scientists- everything being run tooth and nail. In the hallway were gated rooms that held prisoners, most of these prisoners were being tested upon. Justin makes his way towards the control booth and looks towards his two honored SCIENTISTS.
HAMMER
So, what do we got?
SCIENTIST1
From the information passed on from Oscorp sir, we’ve got something- is it important? I highly doubt it sir, he messed with the computer’s data….
Scientist1 and Scientist2 begin walking towards the cell that held WILLIAM BAKER. He was the 25 year old “Sand Man,” as he became company labeled. His body was made out of grain and looked more like wet sand than it did flesh.
SCIENTIST2
His name is William Baker, 25 years old. We’ve had him here for quite a while… to you or anyone else he looks completely normal…
Scientist1 taps on the glass and we can see Will walking towards the glass frame, he peers out towards both of the scientists and sneers taking another toothpick.
WILLIAM
You know what I’m going to do when I get out of here?
JUSTIN
Fill me in, I’d love to hear- what would you do.
WILLIAM
You’d be dead in a matter of seconds… strangulation? Maybe, not that much fun though. Starvation? Perhaps, but then you’ll have a long time to live… what about a slow death, something painful- something that is insurmountable torture, tell me do you have a family? … No, figured as much… but, yet if you did- that was never the plan anyways so why bother? Instead I was thinking of something along the same lines as what you…
Will POUNDS his fist against the glass.
WILLIAM (CONT’D)
Did to me!
(beat)
Tell me have you ever saw yourself drowning? What about slowly, and very painfully eroding into quick sand. You know it’s possible don’t you… well, before it wasn’t… now? Thanks to you I can do about anything I damn well please, so I have to thank you.
HAMMER
Thank me and kill me, sounds like a dual threat.
WILLIAM
If that’s what you’d like to call it, personally- I’d like to say it’s a gift from me to you.
HAMMER
Gift?
WILLIAM
A free passage to the afterlife… but you know, some may view differently.
HAMMER
Well, that’s very sad to hear then- because you’re never going to get out… we’ve got the tests?
SCIENTIST1
Yes…
HAMMER
Well, we don’t need him alive anymore do we?
Scientist1 shakes his head “no”
HAMMER
Then kill him.
WILLIAM
You can’t kill me.
HAMMER
We can’t we? How you know?
WILLIAM
Don’t you think I tried?
Hammer grins as gun turrets appear from the ceiling and shoot out rounds towards William. The bullets were ineffective and just rip straight through his easily penetrable flesh.
WILLIAM
As I said- I tried.
Hammer narrows his eyes.
HAMMER
Put him in permanent lock down- now!
Steel doors slam shut around a small area suitable so that it just gave him enough room to move. Hammer looks up towards the security screen seeing Will smiling and laughing.
WILLIAM (O.C.)
You’ll never kill me! I’m invincible!
Hammer looks towards Scientist1
HAMMER
Norman is going to pay for this.
Hammer begins to walk through the hallway and along the walls we can see scattered genetic projects.
INT. FRED’S APARTMENT ROOM
Fred is reclining on his chair. The door to the apartment room opens and a sober Elisa walks in.
FOSWELL
I had an encounter, Elisa. It's yielded a bit of clarity...
ELISA
Yielded a bit of clarity? Who was this “encounter” with, Deepak Chopra?
FOSWELL
It was right in front of us the whole time, all we needed to do was to see it.
ELISA
What are you talking about?
FRED
It is so clear Elisa, I wish you could see the world the way I do. Mankind in general is stupid, it always has been. A football player goes down the other team chants, a Christian is put to death by lions… when is this torture ever going to stop Elisa? Man has no common sense.
ELISA
And you do?
Fred shakes his head yes.
FRED
I know the world for what it is Elisa, I know mankind’s flaw. The one everyone else is too careless to remember, mankind is a cursed race that was created to suffer. People laugh at those below them, they laugh at me. The Bugle is responsible for all of our problems, I’m going to fix that.
ELISA
You’re not making any sense.
FRED
Soon they’ll see, they’ll see the error of their ways- you and I, we will finally be able to live life happily, together. Then you won’t be ashamed of me.
Fred leaves the room wearing a brown trench coat. Elisa looks around the empty apartment. She discovers a tag on the counter, the tag reads WHITE MASK. She picks it up nervously. Thought about it. Realized what it all meant.
FRED (V.O.)
The Bugle is responsible for all of our problems, I’m going to fix that.
Elisa drops the tag, she covers her mouth in shock.
INT. DAILY BUGLE- OFFICES
Peter was talking to Betty at her desk.
PETER
I really need to see Mr. Jameson. I know he'll love these pictures!
BETTY
You'll just have to wait a bit.
INT. DAILY BUGLE- HALLWAYS (Nobody loves me- Limp Bizkit)
BIG MAN, a man dressed in a brown trench coat, wearing a pure white tight latex mask walks through the hallways. With him are two henchmen, HUGO and FALCO. They enter the offices.
INT. DAILY BUGLE- OFFICES
The Big Man shoots the gun into the air.
BIG MAN
This place is under new management!
A scared reporter looks up at him.
REPORTER
Who are you?
BIG MAN
I’m the Big Man. This is Hugo and Falco. We'll be your captors today.
FADE TO:
INT. OSCORP INDUSTRIES- MEETING ROOM
Harry sits alone in the meeting room. His secretary, MEGAN POWELL enters the room. She was amazingly beautiful and around his age.
HARRY
Oh hey Megan, what’s up?
MEGAN
Mr. Osborn-
HARRY
Harry.
MEGAN
You might want to see this.
Megan takes the remote and aims it towards the conference TV switching it over to local news. Harry spins around his chair to see the Daily Bugle and a newscaster standing outside.
NEWSCASTER (on SCREEN)
It seems to be a strange twist of events today as the employees of the Daily Bugle are being held hostage by a man calling himself the Big Man?
(nods seeing that it’s written right)
The police are trying to…
HARRY
Megan do me a favor will you? Tell the pilot to prepare the helicopter. I’m going to need an emergency lift to the Bugle in 20 minutes… I’m going to be brining someone along with me.
INT. PARKER FAMILY HOME- ENTRANCE
Aunt May is preparing dinner in the kitchen. The doorbell rings. She walks towards the door and answers it. Harry, urgently, looks in towards her.
HARRY
Mrs. Parker, is Peter home?
MAY
No, he’s not home yet…
HARRY
Any chance where he said he was going?
MAY
He just had to drop some pictures off over at the Bugle, you know he works there now as a photographer.
HARRY
I know he told me, I don’t know how to break it to you- but there’s been a hostage situation over at the Bugle.
May covers her mouth in shock.
MAY
Is he hurt?
HARRY
As of yet no hostages were killed- I already arranged for a private helicopter to take me over there. If you want you can come along.
May shakes her head “yes”
INT. DAILY BUGLE- OFFICES
Hugo and Falco are out of the room as Big Man stands with a gun, guarding the hostages. ZOOM IN ON PETER. We follow his line of sight to his BACKPACK, across the room and near the row of windows that occupies the outside wall. We zoom into it, where we see that his costume is inside. Peter looks around for an alternate weapon, one less suspicious and attention grabbing- a CERAMIC ASHTRAY. In one smooth motion he picks it up and HURLS it at Big Man. Big Man turns at the last second, accidentally dodging it. The ashtray crashes against a wall. Big Man turns around.
BIG MAN
Who threw that?
He sees Peter. Walks up to him, gun pointed at Peter's face.
BIG MAN
You want to die, Peter?
PETER
Not particularly.
Not the reaction Big Man was hoping for. He PISTOL-WHIPS Peter. Peter falls to the ground. Betty is suddenly up and on the move. Big Man points the gun at her.
BIG MAN
Where are you going?
BETTY
To get some ice.
Hugo and Falco enter, ushering in the HOSTAGES. Among them is Jameson.
BIG MAN
Hugo, take Miss Brant into the break room. Help her get some ice.
Hugo looks at Betty lecherously.
HUGO
With pleasure.
BIG MAN
On second thought, Falco, you do it.
Hugo sighs in dismay. Falco escorts Betty outside. Peter looks at his broken glasses.
INT. DAILY BUGLE- OFFICES- DREAM
Peter suddenly leaps into action. He takes out Big Man. Hugo turns and opens fire. Peter dodges out of the way, but the bullets hit an innocent person behind him.
INT. DAILY BUGLE- OFFICES
Back in the real world.
PETER
Nice company you're keeping, “Big Man.”
JAMESON
Is that what this slime ball is calling himself?
Big Man turns to Jameson.
BIG MAN
Keep quiet, little man.
JAMESON
You've got some nerve coming in here. I'll see you tarred and feathered in the court of public opinion!
BIG MAN
I'll see you dead first. Where's the one we want?
PETER
He's probably down in the archives, doing research. I'll go get him...
BIG MAN
Nice try.
HUGO
I could go looking for him.
BIG MAN
I need you to help me watch the hostages. Wait till Falco gets back.
Betty and Falco re-enter the room. Betty walks to Peter and holds the ice bag to his temple. Big Man confers with Falco in whispers, then Falco leaves the room.
JAMESON
Where's he going? Hey, BM, where's he going?
Big Man motions to Hugo, who viciously CRACKS Jameson on the head, knocking him out.
BIG MAN
Always wanted to shut him up. And nobody calls me a BM.
Meanwhile, Peter and Betty are under a desk.
BETTY
Are you alright?
PETER
Vision's a little blurry.
BETTY
Do you have a concussion?
PETER
Listen, we have to stop them.
BETTY
Lets leave the thrilling heroics to the professionals, okay? You saw what happened last time.
PETER
Betty, they're looking for Urich. If they find him, they're gonna kill him.
BETTY
What? Why?
Peter notions towards Big Man.
PETER
You remember that reporter I was talking to the other day?
BETTY
Yeah, Mr. Foswell, he’s been working here as long as I can remember.
PETER
Well, yesterday I saw him almost go into a psychotic break over Urich… he’s jealous of him.
BETTY
And you think…?
PETER
Seems like an inside job, he’s go a motive. I don’t think it’s just Urich though, but a grudge over this whole place. He’s dangerous.
BETTY
That could be anybody though Peter, what tells you it’s him?
PETER
Is there anything of value here?
BETTY
No, not really. I guess you could sell the printers, but he'd have a hard time getting those out.
PETER
Anyone worth ransoming?
BETTY
Well, there is Mr. Jameson...
PETER
It had to be him. Listen, I'm going to try and get some help.
BETTY
What are you talking about?
PETER
Spider-Man. You were right, it's not just luck. I have a way of contacting him, but I need to get outside to do it.
BETTY
Swear to God, Peter, if you're saying this just to get out of here...
PETER
I'm not. Trust me. Besides, this is a school night. No way I'm staying up all night for these guys.
Betty smiles.
BETTY
Okay, so what's the plan?
PETER
Big Man's psychology is based on a need to dominate. So here's what we'll do...
FADE TO:
EXT. OSBORN MANSION- BACK YARD- EVENING
The lush garden in the back of the mansion allowed for enough room for a helicopter to take off. The helicopter hovers just above the grass and Harry helps Aunt May in. The helicopter begins to take off.
INT. HELICOPTER
Harry looks towards Aunt May.
HARRY
I promise you Mrs. Parker I will do what ever I can to make sure that Peter is safe. Peter's a smart kid. He'll stay out of trouble until this all blows over.
FADE TO:
INT. DAILY BUGLE- OFFICES
We catch Peter in mid-sentence, finishing his plan.
PETER
...and then we sit on a beach and sip pine coladas.
BETTY
Sounds like a winner.
She kisses him. He returns it. They break.
BETTY
For luck.
PETER
I don't believe in luck.
BETTY
Then to make up for doing this.
She HITS him with a paperweight. He winces.
PETER
Anything?
BETTY
Nope.
She hits him again. And again. Finally, blood trickles down the side of his head.
BETTY
Jesus, I'm so sorry...
PETER
I'll heal. Besides, chicks dig scars, right?
BETTY
Not this one.
Betty stands up.
BETTY
Hey, Big Man!
Big Man turns to her.
BIG MAN
What do you want?
BETTY
I can't stop the bleeding. He needs a doctor.
BIG MAN
Let me see him.
He walks up to Peter, who holds a hand to his head. Blood spills through his fingers.
BIG MAN
Doesn't seem that bad.
BETTY
Look, you've proven how powerful you are. Now's the time to show mercy.
BIG MAN
A doctor is out of the question.
BETTY
Then at least get the first aid kit in the conference room.
BIG MAN
First aid kit in the conference room? What kit?
BETTY
(overeager)
I know where it is! I'll show you!
BIG MAN
Not so fast. I think Mr. Walking Wounded should show us to it. Less chance of... surprises that way.
Betty makes an exaggerated “oh darn” face.
BIG MAN
Hugo, take Mr. Parker to the conference room. See that he doesn't delay.
INT. DAILY BUGLE – HALLWAYS
Hugo walks behind Peter, holding the gun on him. They reach the conference room door.
PETER
Go ahead.
HUGO
You open it.
PETER
No, no I think you should.
Hugo cocks his gun.
HUGO
This ain't a debate, kid. Open it.
PETER
If you insist.
He turns the doorknob, opens the door, and steps through.
PETER
See? Nothing to worry about.
Hugo steps towards him and Peter SWINGS the door outwards. It catches Hugo in the forehead, knocking him to the ground. Peter lunges at him. They struggle over the gun. In XCU, we see Peter get his finger in the trigger guard, preventing Hugo from pulling the trigger. Hugo opens his mouth to cry for help and Peter HEADBUTTS him brutally. Twice, three times, until finally Hugo stops moving. Peter stands up, wipes some of Hugo's blood off his forehead.
PETER
You should've taken into account that the door was just like you, Hugo. It swings both ways.
He drags Hugo into the conference room.
INT. DAILY BUGLE – OFFICES
Falco returns, holding Urich at gunpoint.
FALCO
Look who I found putting in some overtime.
URICH
What's the meaning of this?
BIG MAN
“What's the meaning of this? What's the meaning of this?” Geez, talk like a normal person. You sound just like your articles... overwritten!
He points the gun at Urich's head.
URICH
Look, I'm sure we can work this out...
EXT. DAILY BUGLE
Peter crawls along the side of the building. In the darkness, he's easily concealed. Still, it takes some doing to avoid the SPOTLIGHTS. Finally, he reaches the windows to the office. He looks inside. Sees both Big Man and Falco are inside. Jameson has been tied to a rolling office chair.
PETER
Damn it! Think Parker, think...
A spotlight nearly reveals him.
INT. DAILY BUGLE- OFFICES
Big Man is pacing the room back and forth, his gun at his side like a cobra ready to strike. Urich is sweating profusely. We can see a window slowly being opened in the background...
BIG MAN
For years I worked under you! And when I finally bring in the story of a lifetime, you throw it out like garbage. And when the lead pans out, who gets the byline? Who gets all the credit? Ben Urich, star reporter!
Peter looks around making sure no one was watching, he glances towards his backpack and he reaches in through the window, towards his backpack...
URICH
It's not like that.
Big Man raises his gun and SHOOTS URICH IN THE LEG.
BIG MAN
Now is not the time for talking, boy! Now is the time for LISTENING!
He turns towards Jameson, who's beside the backpack. Peter pulls his arm back.
BIG MAN
But you're the one I really hate! You assigned me rinky-dink stories when I needed the big bucks only a front page assignment could get me! If there's any justice in the world, your death won't even make the front page of your trash tabloid!
He turns and shoots a SKYLIGHT with the painted emblem of the Daily Bugle on it. The glass showers down, giving Peter enough time to reach in and snatch his backpack.
BIG MAN
Don't worry, Jameson. You're not going to die... Well, you are, actually. But you're going to suffer first. Just like I have.
INT. DAILY BUGLE – HALLWAY
SPIDER-MAN, stashes his backpack inside a closet.
SPIDER-MAN
Okay, Parker, think! No way you can save all the hostages unless you split those two up. Divide and conquer... but how?
Beside him, the AIR CONDITIONER comes on. Spider-Man looks at it curiously.
EXT. DAILY BUGLE- NIGHT
The police cars and tents were set along the outside of the Bugle encompassing the whole building. The helicopter lands and before it could come to a stop, Harry jumps out and starts pacing back and forth trying to get information from any nearest cop that would listen.
HARRY
Hey.
A 45 year old cop who was in charge of the situation looks towards Harry.
COP
May I help you?
HARRY
Harry, Harry Osborn-
COP
What can I do for you Osborn?
HARRY
What’s going on in there?
COP
Go back to the tents Osborn.
HARRY
I want to know what’s happening in there!
COP
You have as much information about this as we do.
HARRY
That’s not good enough, one of my best friends is inside- what’s your plan?
COP
We’re sending up snipers as we speak- by video feed it looks like there were no hostages killed yet.
HARRY
Jesus Christ! You don’t even know?
COP
If you go back to the tent Osborn, you can see what’s going on for yourself, now please- I have a hostage situation to handle, lots of people here are scared, but you have to remain calm.
HARRY
Calm?
Harry begins to walk back towards the tent when he stops and looks back.
HARRY
I will be calm when you do your god damn job!
EXT. DAILY BUGLE- TENTS
Harry enters back into the open tent which held the surveillance equipment and looks towards Aunt May. Harry shakes his head no.
HARRY
I promise you, your nephew will not die Mrs. Parker.
INT. DAILY BUGLE- OFFICES
Big Man still had his gun aimed towards Jameson.
JAMESON
I don’t believe you. You don't have the guts to kill me!
BETTY
Way to provoke the maniac, Jameson.
BIG MAN
I am not a maniac!
He fires his gun into the air for emphasis.
BIG MAN
You don’t believe me, eh Jameson? What will it take for you to believe me?
(aims the gun back towards Urich)
The death of your star reporter? Will that help?
He walks over to Urich, who's still bleeding out on the floor.
BIG MAN
Going numb, Urich? Pain starting to go away? WE CAN'T VERY WELL HAVE THAT, NOW CAN WE?
He shoots Urich in the arm. Urich SCREAMS in agony!
BIG MAN
Lets see you type up news stories with a slug in your arm!
We notice that CONDENSED VAPOR is coming out of his mouth as he talks. Falco notices too.
FALCO
Boss, it's getting kind of cold in here.
BIG MAN
Deal with it!
FALCO
But boss...
BIG MAN
Do I have to shoot you? ... Fine, go to the thermostat and turn the temperature up. You won't mind if I raise the bill a little, will you Jameson?
FALCO
Where is the thermostat?
BIG MAN
In Jameson's office, where else?
INT. DAILY BUGLE – JAMESON'S OFFICE
Falco walks in. The lights are out. He flicks the switch a few times. Nothing. He takes out a lighter and flicks it on, uses it as a torch to look for the thermostat.
FALCO
Worst goddamn heist of my career... Where's that stupid thermostat?
SPIDER-MAN(O.S.)
Turning up the heat won't stop me from sending you to the cooler.
The door slams shut behind him. Falco turns around, brandishing the gun in one hand and the lighter in the other.
FALCO
Who's there?
Spider-Man drops down, one of Jameson's LAWN CHAIRS in hand. He pulls it over Falco and SHUTS it, imprisoning him.
SPIDER-MAN
Yippee-ki-yay, Mr. Falco.
INT. DAILY BUGLE – OFFICES
Big Man crouches over Urich.
BIG MAN
Can't walk. Can't type. What else is there to take away from you?
URICH
Up yours!
BIG MAN
Ah yes. The gift of speech.
He pushes the gun barrel into Urich's mouth.
BIG MAN
This is gonna be messy.
Suddenly a body RAMS into him. Big Man goes flying, lands in the middle of the room with the body on top of him. He's face to face with the unconscious HUGO. SPIDER-MAN enters the room.
SPIDER-MAN
Henchman, blunt object... dumb thugs have all kinds of uses these days!
Big Man grabs Jameson, puts the gun to his head.
BIG MAN
Spider-Man! This little news story is getting more crammed by the minute! Someone's going to get a Pulitzer out of this. But not him.
He points his gun at Urich. Spider-Man DIVES at the reporter, shoving him out of the way as Big Man opens fire. The bullet grazes Spider-Man's shoulder. Big Man moves backwards, pulling Jameson with him.
BIG MAN
Don't follow me, Spider-Man!
JAMESON
Spider-Man, you menace! You let me die and I'll crucify you in tomorrow's headlines!
He reaches the elevator, moves in. Presses the button for the subbasement. The door closes.
SPIDER-MAN
How would THAT work?
He looks at Urich. The man's visibly pale from loss of blood.
SPIDER-MAN
Betty, get the first aid kit. Help him!
Betty opens a drawer at her desk, pulls out a first aid kit, and runs to Spider-Man's side.
BETTY
How do you know my name?
SPIDER-MAN
Peter Parker mentioned something about a very attractive and smart girl who had the misfortune of working for JJ.
BETTY
He did?
SPIDER-MAN
He also said she was a great kisser.
He stands up.
BETTY
Where are you going?
SPIDER-MAN
To end this.
INT. DAILY BUGLE - ELEVATOR SHAFT
The doors are pulled open. Spider-Man looks down the shaft to see the elevator descending. He jumps down after it.
SPIDER-MAN
Geronimo!
INT. DAILY BUGLE – ELEVATOR
Big Man is reloading when he hears the THUMP of something landing on the rooftop. He empties the clip into the ceiling.
INT. DAILY BUGLE – ELEVATOR SHAFT
Spider-Man throws himself through a passing set of doors, avoiding the deadly barrage.
INT. DAILY BUGLE – ELEVATOR
DING! The doors open. Big Man reloads and pushes Jameson forward...
INT. DAILY BUGLE – PRESS ROOM
The Presses are running full blast; the noise is deafening. At the "start" end of the presses - where the paper is fed in – Big Man sees a GIANT ROLL OF NEWSPRINT on a CRANE, about to be loaded. SPIDER-MAN rips the top off the elevator car and drops in. Big Man takes aim...
SPIDER-MAN
Hold it! I just want to talk!
Big Man racks the slide-action on his pistol.
BIG MAN
Talk fast...
Spider-Man begins walking towards him slowly... Big Man deliberately keeps the tied up Jameson in front of him, like a human shield.
SPIDER-MAN
You don’t want to do this. This isn't who you are...
BIG MAN
You don't know anything about me.
SPIDER-MAN
Is that so... Fred?
JAMESON
I knew it! You two know each other! You're probably working together!
BIG MAN
So, you figured out who I am.
SPIDER-MAN
It really wasn't all that hard. Look, I'm sure Jameson isn't exactly the last guy in the world who deserves this... in fact, he's a bit of a jerk...
JAMESON
Would you get to the point?
SPIDER-MAN
My point is he doesn't deserve to die.
BIG MAN
You try working with him for twenty years!
Spider-Man takes a final step towards him. Big Man shoots the HOOK on the CRANE CARRYING THE NEWSPRINT ROLL. It plummets towards Spider-Man, who CATCHES it! Leaving himself vulnerable to Big Man, who opens fire. Spider-Man holds the roll out in front of him, using it as a shield. The bullets hit the roll and stop.
SPIDER-MAN
You idiot! One stray shot and a ricochet could get someone killed!
BIG MAN
It's not a ricochet that's going to kill you, Spider-Man!
He retreats backwards, past an INK DRUM. He kicks it over and black ink runs over the catwalk.
JAMESON
Do you know how much that stuff costs!
BIG MAN
Keep quiet!
Spider-Man continues walking down the catwalk.
SPIDER-MAN
Fred, listen. The police have the building surrounded. Even if you do kill me, you won't get past them.
BIG MAN
Than it's a good thing my life insurance will help Elisa make a fresh start.
SPIDER-MAN & JAMESON
Who?
BIG MAN
Elisa! My wife! We're expecting our first child!
SPIDER-MAN
And you're going to get yourself killed instead of raising the little tyke?
BIG MAN
It's the only way!
Spider-Man walks onto the spilled ink, slips. Catches himself on the safety railing. Big Man FIRES at him. Spider-Man uses the safety railings on either side of the catwalk like parallel bars, dodging out of the way of every shot. Finally, he flips himself in front of Big Man just as he clicks empty. Spider-Man grabs Jameson and jumps away.
BIG MAN
No! I must have my revenge!
In another part of the print room, Spider-Man breaks Jameson's ropes apart.
SPIDER-MAN
Get out of here! Now!
Back to Big Man, who finishes reloading. He pulls off his mask.
FOSWELL
Come on, Spider-Man! It's just you and me now! Lets see how good you are when nobody's watching!
Spider-Man is on the rooftop above him.
SPIDER-MAN
I'm not going to kill you, Fred.
Foswell fires upwards compulsively. Spider-Man dodges behind a NEWSPAPER BALING MACHINE. (A large machine that wraps steel or plastic bands around bundles of papers for delivery.)
FOSWELL
It's kill or be killed! Do you know why? Because you ruined everything!
He holds the gun to his head.
FOSWELL
Don't you get it? If I kill myself, she gets nothing! Put me out of our misery!
Spider-Man WEBSWINGS into him, kicking him down the length of the catwalk. Foswell lands about two feet from his gun. He reaches for it, but a webline grabs it and pulls it away from him. Above him, a singular light bulb shines down 44 watts of dingy light.
SPIDER-MAN
Nobody's going to die today.
Foswell breaks down in tears.
FOSWELL
Spider-Man... I've been such a fool...
Spider-Man walks towards him.
SPIDER-MAN
It's okay. Everything's going to be fine.
FOSWELL
Help me, Spider-Man, please... you're the only one who can.
SPIDER-MAN
Just tell me how.
FOSWELL
It would really mean a lot if you could... DIE!
He pulls out a SECOND HANDGUN, fires at Spider-Man. In slow-motion we see Spider-Man barely move out of the way, so close that the gunpowder singes his mask. The bullet ricochets and hits Foswell, who falls off the catwalk. Impossibly fast, Spider-Man rolls half-off the catwalk and shoots a webline down, catching Foswell by the bottom of his foot. Foswell aims up, between his legs. He's just pulling the trigger when his FOOT SLIPS OUT OF HIS TWO SIZES TOO LARGE SHOE. The jar throws his aim off and the bullet hits the LIGHTBULB above Spider-Man. The room is plunged into darkness and we're spared the graphic result of Foswell falling into the press rollers, save for a suddenly choked-off SCREAM. Spider-Man walks down the catwalk. He sees that the pages running through the newsprint web have turned BRIGHT RED.
SPIDER-MAN
You finally made the front page, Foswell.
Jameson walks out in front of Spider-Man.
JAMESON
Where's Foswell?
SPIDER-MAN
He didn't make it.
He pushes past Jameson.
JAMESON
You... you murderer! I knew it all along! You're scum, you're a menace, a freak of nature!
SPIDER-MAN
(not looking back)
Jameson, I am really not in the mood!
JAMESON
You've made an enemy here and you don't realize how bad I can make things for you! Your trouble with the cops? Look forward to more! I won't rest until everyone in the city sees you for the crook you are! Until you're dragged out into the streets and...
Spider-Man turns around and WEBS HIS MOUTH SHUT.
SPIDER-MAN
You know, I've made enemies before. Bigger enemies. More powerful enemies. Enemies with weirder hairstyles. I think I can handle you.
INT. DAILY BUGLE – OFFICES
Peter walks in, having changed back into his civvies. Urich is being taken out on a stretcher. Hugo and Falco are in handcuffs. Peter walks past the abundant police and medical personal to Betty, who's hiding behind a desk.
BETTY
Peter! Are you alright?
PETER
Fine.
He sits down next to her, weary.
BETTY
You should've seen it! Spider-Man came in and just saved the day! By the way, where were you?
PETER
Me? Oh... I was just hiding in the closet. Guess I'm not the heroic type.
BETTY
Maybe that's why I like you. You don't pretend to be what you're not. Do you know what happened to Foswell?
Peter shakes his head no. Jameson runs by, fuming through his web-gag.
BETTY
Look! JJ can't talk. I wonder what's wrong with him...
PETER
Wrong? It's an improvement!
BETTY
You know, Spider-Man told me some of the things you said about me.
PETER
He did? That rat...
BETTY
He said you thought I was a good kisser.
PETER
Well, I may have rushed to judgment on that.
BETTY
Oh?
PETER
Yeah. You can't just conclude these things based on one kiss. An experiment has to be objective, measurable... and the results have to be repeatable.
He kisses her.
BETTY
But what will Mr. Jameson say?
PETER
Nothing... for at least an hour.
INT. MID TOWN HIGH SCHOOL- PSYCHOLOGY CLASS ROOM
Dr. Albright was folding up his work papers and placing them into his suitcase when he hears a knock on the door.
ALBRIGHT
Yes? Come in…
Peter walks into the class room
ALBRIGHT
Peter? I thought you would be enjoying the day off. You're supposed to be taking time to get over the traumatic events you experienced.
PETER
I wanted to talk about something with you.
Albright nods his head understandingly.
PETER
Fred seemed like a good guy, yet what he did...
ALBRIGHT
It seems you're stumped. I guess that’s why I’m the teacher and you’re the student. Some things we just can't understand, no matter how hard we try. Men like Frederick Foswell are all too common. They think that the world owes them something, and when they don't get it they try to take it by force. I just hope he's in a better place now.
PETER
He pumped two bullets into a friend of mine. He enjoyed it. What could make a man enjoy someone else's suffering like that? How could someone become like that?
ALBRIGHT
There aren't any easy answers, Peter.
He closes his suitcase.
ALBRIGHT
There just aren't.
INT. OSBORN MANSION- MEETING ROOM
CLOSE UP Harry Osborn was staring straight towards the screen; gradually we pull back and reveal that he was looking towards Jameson.
HARRY
J.J. why am I not surprised? What does it feel like being alive? You’re lucky Spider-Man came to save your life.
JAMESON
The spider is just a thorn in my side.
HARRY
I see, thankful for being alive- hatred towards the man who saved your life. No wonder my father found you to be one of his most trusted colleagues .
JAMESON
Where is he at the moment Harry? We had important business to discuss.
HARRY
He left for Los Angeles just a couple of days ago.
JAMESON
He left you in charge?
Harry shrugs
HARRY
I’m his only heir to the Osborn legacy, I don’t think he had much of a choice.
J.J. looks towards Harry and then growls the trademark growl and exits the room. Harry just shrugs, picking up a baseball throwing it up into the air and catching it, while looking out the window.
INT. PARKER FAMILY HOME- ENTRANCE
Peter enters, begins to walk up the stairs when he can hear crying coming from Aunt May’s room… he lowers his head and continues on his way.
INT. PARKER FAMILY HOME- AUNT MAY’S BEDROOM
Aunt May was laying on the bed, crying… next to her is a picture of Uncle Ben. Peter enters and sits on the edge of the bed.
PETER
Aunt May…
May looks up towards him…
MAY
I thought I would lose you too...
PETER
No, never.
Peter looks at the picture of Uncle Ben.
PETER
I'm in this for the long haul.
We hear applause...
INT. PULITZER AWARDS CEREMONY (What its like- Everlast)
BEN URICH, still healing from his injuries, walks up to the podium to accept the award.
URICH
There are a lot of ways to find out if you're a real journalist. One of them is to be in a hostage situation and still be thinking of how you're going to write the story after you get out of it.
Laughs from the audience.
URICH
I don't deserve this award. The man who does isn't with us anymore. He resented me as a... “young pup” who stole all his stories, who hadn't done the time to earn being part of the Daily Bugle. I wish we could've settled our differences before it came to tragedy. If we had... Foswell was more than a fellow writer to me. He was an inspiration. He taught me everything I know about the newspaper business. Without him, I'd still be writing traffic reports. So I'd like to dedicate this award to Frederick Foswell. The greatest reporter I've ever known.
INT. FRED’S APARTMENT ROOM
ZOOM OUT to reveal we're watching the scene on a TV SCREEN. A picture of FREDERICK FOSWELL appears on the screen, with a caption showing his date of birth and death. PAN AROUND to show ELISA watching, her BABY in her lap.
ELISA
(to baby)
That's your daddy, Freddy. That's Fred Senior.
[FADE TO BLACK]
And that's the end of the second episode. The Daily Bugle is a strong aspect of the Spider-Man world. Lucky for me, in the classic comics Peter was fifteen when he got a job working for the Bugle. Betty was a secretary, but for the purpose of the series I wanted to give her character more depth and hint towards a possible relationship between the two. The Daily Bugle was originally going to be in the PILOT episode, but I couldn't find a way to make it work- rushing to much into one episode. Then, I found Frederick Foswell... a down on his luck reporter over at the Daily Bugle- thus, from there I penned the first draft of the episode originally titled BIG MAN. Part of the inspiration for the episode came from the SMALLVILLE first season episode- Jitters.
In the days to come I will be posting my favorite episodes that I wrote up (have about 20, but will only post around 3) that have a strong chance making it to the small screen. Also, the Pilot and Hostage will more than likely (although some changes will be made) to be the first two actual episode.
Side note: Thank god Spider-Man is aiming for 6 films... I really have time to build up my profile and pitch the series. Things are looking really good- especially with a more than likely contact in Avi Arad.
The villain tackled in the episode is Big Man. A classic rogue's gallery villain. In the series I will be using lots of these types of rogue gallery villains from the comic books that may not have enough substance for film- but for an episode would really have a great and unique story to tell.
SPIDER-MAN: THE SERIES.... HOSTAGE
EXT. NEW YORK CITY STREETS – DAY
It's a sunny day in the Big Apple. One of the many cars clogging the streets is a green Beetle Volkswagen. Driving is FREDERICK FOSWELL, short and timid.
INT. BEETLE VOLKSWAGEN - DAY
Foswell frantically turns through the radio stations.
DJ 1
And traffic is backed up all the way to...
DJ 2
The largest traffic jam this week, and what is the mayor doing about the metro system? Noth...
DJ 3
...to everyone stuck in the morning rush, just gotta say... sucks to be you! We'll be playing more hits of seventies after these words from our sponsor...
Foswell slumps his head against the steering wheel.
FOSWELL
No, no, no...
EXT. NEW YORK CITY STREETS – DAY
A BIKER on a motorcycle weaves through the stop-and-go traffic, a MONEYBAG hanging from his backseat. Behind him, SPIDER-MAN is in hot pursuit.
SPIDER-MAN
Don't suppose you'd consider just giving that back?
The Biker fires a SHOTGUN over his shoulder. Spider-Man DODGES out of the way.
SPIDER-MAN
I'll take that as a no.
The motorcycles swerves into an oncoming car. The collision causes the biker and the motorcycle to fly off! Spider-Man quickly sends a WEB between two lampposts. The biker lands in it.
INT. BEETLE VOLKSWAGEN – DAY
Foswell looks up to see the motorcycle plummeting towards him! No time to get out of the car.
FOSWELL
Figures.
Seconds before the motorcycle lands, two RED-GLOVED HANDS catch it. Foswell looks out his window to see SPIDER-MAN standing there, gently setting the motorcycle down.
SPIDER-MAN
(to Foswell, re: motorcycle)
Strange weather we've been having, eh?
CUT TO:
INT. DAILY BUGLE- OFFICE
CLOSE ON A COMPUTER SCREEN. “SPIDER-MAN” is typed out. Backspace, backspace, backspace. “THE SPECTACULAR SPIDER-MAN.” That's no good either. Backspace, backspace, backspace. “THE AMAZING SPIDER-MAN.” PULL OUT. Foswell is at the computer, rubbing his chin. Seems to work. He presses print. In his cubical was nothing, except for one Polaroid picture of himself with his wife at the park, being held up by a single piece of scotch tape.
INT. DAILY BUGLE- OFFICE
Within the office were many tiny cubicles where the reporters were busy at work typing out their latest headline news hoping to make the front page. The floors were made of wood, while the ceiling had the regular Styrofoam looking exterior. Foswell walks towards Jameson's office. Suddenly he stops. His SHOE has fallen off, he bends down to put it back on and retie the knot. We see that the shoes are old and TWO SIZES TOO LARGE for him. He stands up, sees BETTY BRANT, a teenager around 15 years old, Jameson's secretary. He continues towards Jameson's office.
CUT TO:
INT. DAILY BUGLE- JAMESON’S OFFICE
Despite what you'd think, his office is the least furnished room in the building. Two LAWN CHAIRS sit in front of a beaten up desk, one leg replaced by a stack of books. Behind the desk is Jameson's one concession to his wealth and status, an Aeron office chair. Currently Jameson looks out a large window at the city and talking on the phone.
JAMESON
I don't care what a “blog” is! Stop feeding me this gibberish and get a scoop!
Foswell barges his way into the office, holding a portfolio in one hand.
JAMESON
You'll call me back. No, YOU will.
He hangs up.
JAMESON
What's the big idea?
FOSWELL
I've got a new story ready to go.
JAMESON
So? Clear it with Robbie, I'm BUSY.
FOSWELL
You'll want to see this.
He sets it down on Jameson's desk. Jameson flips through it.
JAMESON
Spider-Man? What is this, a news story or an action figure?
FOSWELL
I saw him! With my own two eyes!
JAMESON
That's too bad! If they were someone else's eyes, you could give them back!
Fred flusters under Jameson's insults.
FOSWELL
I've worked here for thirty years, can't you trust me?
JAMESON
Well, that depends. You tell me that the mayor was found in bed with three hookers and a hill of cocaine, yeah, I'll trust you. You tell me the cops are trying to frame you for racketeering, yeah, I'll believe you. You tell me a man who shoots webs out of his hands caught a thief and then swung away like a Tarzan, I SAY YOU'RE A LOON!
FOSWELL
But we can have the first scoop on him!
JAMESON
That's what the guy who claimed Ronald Reagan was a slave trader said. You find me proof, I'll see what I can do. Until then, stick to Bigfoot. At least we have pictures of him!
FOSWELL
But Mr. Jameson...
JAMESON
Go, find me some proof! Until then, you're page 11 and that's because I like you!
Foswell shuffles out of the office, embarrassed. Through the window, we see SPIDER-MAN webbing by, unnoticed by Jameson.
JAMESON
Spider-Man! Bah!
FADE TO:
INT. MID TOWN HIGH SCHOOL- PSYCHOLOGY CLASS ROOM
Peter sits at the front of the class, listening to DR. CALVIN ALBRIGHT, the psychology teacher with 45 years on him and balding hair. He takes copious notes. Dr. Albright looks back and forth between his students and then he clears his throat.
ALBRIGHT
All right… welcome to Psychology 101, I, Dr. Calvin Albright, will be your professor for this course. What makes a man a man? Why do we act the way we act? Why do we do the things we do? It's a hard question, one that I doubt will be figured out in the course of this class. But don't think that means I won't expect you to present and defend your viewpoints. On one side, some say that it's a person's nature that makes them the way they are. They are born smart or stupid, noble or ignoble, rude or polite. They hold that it's all in the genetics. Others say that it's nurture, how a person is brought up, raised, treated by his parents and environment. Like most things, the truth lies somewhere in the middle. I personally hold with the philosophy of tabula risa, that all men are born with a “clean slate”...
Peter raises his hand.
ALBRIGHT
Yes, son, what is it?
PETER
It's tabula rasa.
ALBRIGHT
What?
PETER
Tabula risa means “laughing state”.
EXT. MIDTOWN HIGH SCHOOL- AFTERNOON
Students one after the other begin to pile out of the school, among them is Jason and Peter. Peter’s head in the Guinness book of World records.
JASON
So, did you ask her out yet?
PETER
Why? Gwen's seeing Flash.
JASON
That's not what I heard.
PETER
And what did you hear?
JASON
Well, if you can tear yourself away from your dictionary.
PETER
Guinness book of world records.
JASON
Whatever, do you want to hear this or not?
Peter closes the book and shakes his head yes
PETER
I'm listening.
JASON
Buzz around campus is that Gwen takes to you like Will Smith takes to rap singles based on bad movies.
PETER
And where did you dig out this little nugget of information?
JASON
I test highly with the stoner demographic.
PETER
The stoners? Ahh, Jason...
JASON
Why would they lie?
Peter looks over towards a group of stoners, inhaling…
STONER1
I saw Elvis the other day.
STONER2
No **** man, did you know George Lincoln was on silver?
STONER1
Wo…
Peter raises his eyebrow and looks back towards Jason.
PETER
Well… Gwen and I are just good friends.
JASON
I'll try to remember that. So, you're taking Doctor Albright’s class this year?
PETER
Yeah, you?
JASON
Definitely, easy grades man- he hardly gives tests and all we need to do is sit through his pain staking lectures everyday to get an A minus. No work and all play… does not make Jack a dull boy… The shining.
PETER
The Kubrick or the Garrick?
JASON
What’s the difference?
PETER
One got the author angry, the other got a pat on the back.
Jason laughs.
JASON
You know… I’m surprised your name isn’t Webster.
PETER
What?
JASON
Forget it… so do you have a job yet?
PETER
I was thinking…
A newspaper truck throws a paper towards the ground and Peter steps out of the way just in time… he looks down towards it… CASH PRIZE FOR A PICTURE OF SPIDER-MAN
PETER (CONT’D)
About something in photography.
EXT. LOS ANGELES
INT. OSCORP INDUSTRIES- MEETING ROOM- NIGHT- RAINING
Norman looks out of his window on the 100th floor and towards the city below, the light green of the Hollywood hill and the vivid sky blue above. The door creaks open behind him and Norman grins. A middle aged man walks in, this is BRYAN.
BRYAN
Mr. Osborn- you wanted to see me?
NORMAN
Yes, take a seat Bryan.
Bryan sits down and looks up towards Norman, who was still looking out towards the raining sky.
NORMAN (CONT’D)
Recently files have gone missing, concerning our super soldier serum. Files that I have been told were top secret.
BRYAN
What are you suggesting sir?
NORMAN
We have a mole, someone working on the inside of Oscorp Industries- I’d like to find out who he is and who he’s working for. Problem is I already know the answer to the second question, there’s only one man that’s trying to take my job. Now who is his insider Bryan?
Norman turns around and looks towards the sweating Bryan.
BYRAN
I don’t know sir…
NORMAN
Don’t play me like a fool! I’ve known it was you since the beginning, I’ve been playing you- handing over false reports to turn over to Mr. Hammer. I’m afraid you’ll never get to tell him that, if he’s ever going to get to me- he needs to try harder.
Norman takes out a gun and points it towards Bryan…
JUMP CUT:
EXT. CLINTON- APARTMENT COMPLEX- NIGHT
This is one of those places where people down on their luck live. In some places they would be called hovels, ghettos, slums. Here, they're called apartments.
INT. FRED’S APARTMENT ROOM
The apartment room was even in worse condition, the room had only one small bed, an old black and white television sporting the classic antennas and a kitchen whose width was just barely that of a truck. It didn’t even have a bathroom, only a public one full with termites. Currently Fred was laying on his bed arms resting behind his back. A woman, around 35 years old, was in the room also her name’s ELISA, she lights another cigarette and begins to smoke.
ELISA
Don’t just lay there Fred- there must be some way you can get more money.
FRED
I’m never going to make the front page.
ELISA
Don’t talk like that- we need the money.
FRED
It’s no use Elisa! Ben Urich will always be the Bugle’s star reporter, they’re so fascinated by the guy that they’re not even willing to look at other reporters’ work.
ELISA
Well you have to try!
Elisa begins to hit Fred, tears falling down her eyes… Fred pushes himself away.
FRED
I did everything I could think of… JJ’s never going to open up to new ideas-
ELISA
Jesus Christ- Fred, I’m pregnant!
FRED
What! Since when?
ELISA
A week ago, I didn’t want to upset you- we need that money. Without it…
Elisa begins to break down into tears and Fred catches her just in time…
FRED
Don’t worry I’ll find a way- I promise.
EXT. HAMMER INDUSTRIES
The Hammer Industries has a blue exterior, complemented by the blue bullet proof glass. Hammer Industries towered over the city, its location was close to the docks and to the west of Times Square… just a block or two away from Battery Park.
INT. HAMMER INDUSTRIES- CORPORATE MEETING ROOM
The corporate meeting room was outlined with a wooden desk, marble walls, an expensive carpeted floor and ceiling panels… obviously just throwing the most expensive items that he had and could afford together for a showcase rather than decoration. JUSTIN HAMMER was looking out of the blue glass window and towards the city below. Behind him his personal secretary, MELISSA REYNOLDS enters the room… she was 24 years old, just out of college and amazingly beautiful… anyone would fall for her in an instant, which might have been the reason she was hired.
HAMMER
So, is Bryan back from his previous…
No answer.
HAMMER
What happened?
MELISSA
He’s dead sir… his body was discovered today just off the California coat line.
HAMMER
Gather all of the files that he had recovered from Oscorp… I have a feeling we may be playing into his hands.
Melissa doesn’t move.
HAMMER
Now!
Melissa nods and she hurriedly leaves the room.
INT. PARKER FAMILY HOME- KITCHEN
Aunt May was cooking dinner. Peter brings in the salad bowl.
PETER
I don't understand why you can't just keep this in the pantry.
MAY
I have a system. Dr. Albright’s class began today right?
PETER
Yeah.
MAY
How was it?
PETER
Okay.
MAY
Can you speak in sentences of more than one word?
PETER
Possibly.
MAY
Gwen called…
Peter tries to hide his excitement.
PETER
What did she say?
MAY
I believe that she wanted to meet you at Summit Rock sometime tonight- 8, I believe…
Peter looks up at the clock. 7:50! Peter is halfway out the door when he hears Aunt May.
MAY
Peter, you haven't eaten yet.
PETER
I’m not hungry.
Peter grabs his backpack and exits.
EXT. CENTRAL PARK- NIGHT (Crimson & Clover by Jimmy Eats World)
A massive bedrock outcrop, Summit Rock soars 141.8 feet into the air. Gwen sits on one of several stone benches, waiting. She hears the trees rustling behind her.
GWEN
Peter?
PETER sits down beside her, coming from the opposite direction. Gwen nearly jumps out of her skin.
GWEN
Jesus, Pete, you scared me.
PETER
Sorry.
GWEN
So, you been hearing the rumors going around school?
PETER
Not to my face, no.
GWEN
That's good.
PETER
You and me... it's ridiculous, right?
GWEN
Yeah.
PETER
Can I ask you a personal question?
GWEN
Shoot.
PETER
Why are you with Flash?
GWEN
Doesn't get much more personal than that.
PETER
I mean, aren't you a little... “smart” for him?
GWEN
Look, I know you don't see it, but... he can be really sweet sometimes.
PETER
Coulda fooled me...
GWEN
Hey, how're you holding up?
PETER
Oh, I'm great. Me and Aunt May are seeing a, ummm, 'grief counselor'. So, that's nice. It really... isn't as bad as you'd think. I just can’t believe he’s dead… I know you might tell me I’m crazy but, he talks to me… I go to the cemetery and I just, I tell him about everything that’s going on in my life- how much Aunt May and I miss him.
GWEN
What does he say?
PETER
He tells me that I have to face my destiny, do what I was always meant to do with my life.
GWEN
And what’s that?
PETER
I… I really don’t know.
(hoping to beat around the bush)
How about you? How's your dad?
GWEN
He's fine. They say he could make commissioner some day…
Gwen stops mid sentence… and Peter looks towards her.
PETER
What’s the matter?
GWEN
It’s just… you get this one image of your parents, both perfect together and you never want to lose that, and…
PETER
I understand.
GWEN
Here I am with two parents and yet I'm whining about them fighting. I suppose I must seem quite selfish.
PETER
Not really. Hey, if your life's a movie, there are worse things it could be than Who’s Afraid of Virginia Wolf.
She laughs.
GWEN
What about you? If your life were a movie, what would you like it to be?
PETER
(no hesitation)
Star Wars.
GWEN
Anything in specific?
PETER
Just as long as it's not any of the prequels, I'm happy. And you?
GWEN
Buffy the Vampire Slayer.
PETER
Didn't that movie have Pee-Wee Herman in a starring role?
GWEN
The series, Peter.
PETER
You can't chose a TV series. That's against the rules.
GWEN
Says who?
PETER
Says me.
GWEN
Fine. Maybe a... a Ray Harryhausen movie.
PETER
Which one?
GWEN
Any one of 'em. Just so long as the hero always gets the girl and the monster is always defeated and only the bad guys get hurt.
PETER
That sounds nice... Hey, can I change my answer?
SIRENS ROAR from nearby. Peter looks in their direction.
PETER
You hear that?
GWEN
Yeah. You wanna go check it out?
PETER
No. I... I've got some homework, so... hey, I'll see you later, okay?
GWEN
Sounds like fun.
PETER
Great.
He runs off.
EXT. BANK – NIGHT
SPIDER-MAN sneaks towards the door to the bank.
SPIDER-MAN
Okay, Pete, you can do this. You can do this. Great power, great responsibility. And no vomiting this time.
He turns the corner and sees a DISPOSABLE CAMERA VENDOR.
SPIDER-MAN
Hmmm...
INT. BANK – NIGHT
FOUR ROBBERS have taken the bank hostage. Two handle the customers and staff, one watches the doors, the last one goes through the tellers' drawers. Suddenly, a WEBLINE shoots out of the darkness, splattering against the watchman's chest.
ROBBER 1
What the hell?
He's YANKED off his feet and into the darkness. We hear a PUNCH landing, then silence… ANGLE DOWN as ROBBER 2 turns away from the group of hostages.
ROBBER 2
Hey, where’s our quarterback?
The camera PLUMMETS, FAST, BRUTAL. PULL OUT as we realize we were in ROBBER 1’S POV. SPIDER-MAN lands on the two robbers, taking them out. They go down firing into empty air, the hostages start SCREAMING! The last robber pulls away from the tellers' drawers, sees Spider-Man. Draws his gun, and spills countless bills into the air. SPIDER-MAN'S throws himself behind a banker's desk as the last robber opens fire full auto. He's pinned down. Bullets slowly but surely reduce the desk to timbers.
SPIDER-MAN
I don't wanna die, I don't wanna die, I don't wanna die...
He coils his legs beneath him like springs, waits for a lull in the firing... The last robber goes empty. He pulls a sidearm. Spider-Man leaps out from under the desk at ridiculous speed, hitting the roof so hard it CRACKS, then jumps off towards the last robber. The last robber raises his gun... Spider-Man overshoots him, passing overhead. He immediately tumbles, shoots two weblines behind him to grab the robber. The robber is yanked off his feet and both men land in a heap. They come to at the same time, see each other. The robber goes for his sidearm. Spider-Man pushes him off so hard that the robber CRASHES through a teller's window. Spider-Man stands up.
SPIDER-MAN
Well, at least I didn't vomit.
He looks up at a DISPOSABLE CAMERA, held in place by a cobweb on the ceiling.
SPIDER-MAN
Cheese!
TRANSITION TO:
INT. DAILY BUGLE- JAMESON’S OFFICE
Pictures of Spider-Man taking out the bank robbers are being shuffled by an observant hand. ZOOM OUT. We see Jameson looking down towards the pictures of Spider-Man taken by an eagerly awaiting Peter Parker.
JAMESON
What were these taken with, a disposable camera?
PETER
It's... all I had.
JAMESON
Ahhh... Miss Brant, give nerd-boy...
PETER
Peter Parker.
JAMESON
Parker enough money to buy a decent camera and not a cent more. Come back to me with something that doesn't look like it was taken by a monkey with arthritis and we'll see about more.
INT. BUGLE- OFFICES
Peter stops outside of the door and breaths out.
BETTY
JJ give you a rough time?
Peter looks to his side to see Betty Brant.
PETER
You could say that…
BETTY
Don’t worry, he’s like that to everybody. Betty Brant-
Betty extends her hand and Peter takes it. His arm begins to shake, and Betty looks towards him.
BETTY
You ok?
PETER
Me? Yeah…
Peter finally realizes and stops squeezing her arm, he glances around looking for the sign that sent off the jolt… he couldn’t find it.
BETTY
Paranoid huh?
PETER
What gives you that impression?
BETTY
Right… well, see you around.
PETER
Yeah…
INT. OSBORN MANSION- MEETING ROOM
Harry works at his desk… KNOCK… KNOCK… KNOCK…
HARRY
Come in.
Peter enters.
HARRY
Hey Pete.
PETER
Hiya Harry…
HARRY
I’m sorry that I wasn’t able to get in contact with you sooner.
PETER
No problem…
HARRY
I really should have got in touch… I heard what happened to your uncle and if there’s anyway that I can help, just let me know.
PETER
It’s fine, money won’t accomplish anything anyway… Aunt May and I, we just need to adjust that’s all. Frankly, I'm just glad to be somewhere I don't have to listen to that stupid rumor.
HARRY
What rumor?
PETER
What's this? The information capital of our quiet Forest Hills isn't keeping current with gossip?
HARRY
I've been a little busy lately. So, what's this rumor?
PETER
People have been saying that Gwen and I...
HARRY
Ah. The oldest gossip in the world, who's schtupping who. You make me feel like I'm in L.A. again, only with less pretty people. No offense.
PETER
None taken.
HARRY
So, are you?
PETER
No!
HARRY
But you want to? All rumors have a nugget of truth, Peter.
PETER
Even the one about the munchkin hanging himself on the set of The Wizard Of Oz?
HARRY
Okay, not that one. You're right, it's probably just some girl envious over her guy looking at “your” girl. Or it could be something more.
PETER
What?
HARRY
Well, it's always possible that our gal Gwen is testing the waters herself. A little girl-talk to the right people, soon the rumors spread all over school and then the ball's in your court. She gets to see if you'd take the bait without risking the humiliation of asking you upfront.
PETER
People do that?
HARRY
You'd be surprised.
PETER
So either it's just a rumor and we're only friends or she wants us to be more than friends and it's a... when did high school get so Machiavellian?
HARRY
I see someone got Mr. Parker a word-of-the-day calendar for his birthday.
PETER
Cute. So, what’s it like having the mansion all to your self?
Harry looks around grinning…
HARRY
To be honest, it’s kinda scary… I haven’t even been into all of the rooms here… heck, some rooms I don’t even have access to.
PETER
You're losing “master of my domain” points, Harry.
HARRY
What else is new? Mostly just trophy rooms, wine cellars. That sort of thing. Probably afraid I'll ride in on my Big Wheel and demolish a Ming vase.
INT. MID TOWN HIGH SCHOOL- HALLWAYS
Peter walks through the hallways.
BETTY (O.S.)
Hey, Peter… Peter wait up.
Peter stops. Looks behind his shoulder. To see Betty catching up to him.
PETER
Oh hey Betty, I didn’t know you went to school here.
BETTY
Yeah, my family just moved to New York about a week ago… I’m actually already on the school newspaper… I just work as a secretary at the Bugle to work my way to the top, my father is a reporter for the TIMES… so you know- follow in “the footprints”… so to say.
PETER
So, why are you so interested in becoming a reporter?
BETTY
Why are you so interested in becoming a photographer?
PETER
It’s just a job…
BETTY
I’m sure. So, what's with you and Spider-Man?
PETER
Just right place, right time.
BETTY
Don't kid yourself, you have a bit of talent.
PETER
A bit?
BETTY
Well, a kernel?
PETER
Is that more or less?
BETTY
More than a dash, less than a bit.
PETER
That's comforting.
BETTY
So, how do you do it?
PETER
If I told you, you'd just tell your boss and he'd send his own photographer.
BETTY
Pete, you've got to be more trusting.
Gwen approaches them from the hallway.
GWEN
This a private party or can anyone join.
PETER
Hey Gwen, this is Betty, Betty this is Gwen.
Betty extends her hand and Gwen takes it.
GWEN
Nice to meet you.
BETTY
The pleasure's all mine. You two make a cute couple.
PETER
We're not a couple.
BETTY
Oh. Sorry.
GWEN
So, how do you know Peter?
BETTY
We work together.
GWEN
Really? Never figured you for the newspaper staff, Pete. Yearbook seems more your speed.
PETER
(offended)
Thanks.
BETTY
We met at the Daily Bugle. Peter sold us a few pictures.
GWEN
Pictures?
BETTY
Yeah, of Spider-Man
GWEN
The celebrity? Why would anyone care about some glorified stuntman like that?
PETER
Glorified stuntman?
BETTY
No, he does more than that. We have a story of him robbing a bank.
PETER
Robbing a bank?
FLASH (O.S.)
I don't believe it!
Everyone turns. Flash is holding up a copy of the Daily Bugle. The cover story is “NO HONOR AMONG THIEVES! Spider-Man Turns On Criminal Compatriots.”
FLASH
You can't just print lies! That's... that's...
Peter snatches the paper away.
PETER
Libel!
He scans through it.
BETTY
Actually, you can. Spider-Man is a public figure, the press can interpret the facts any way they see fit...
PETER
What facts? All this is, is... is... vicious speculation! It doesn't even say if there's any money missing! How can they say he's a thief?
Flash snatches the paper back.
FLASH
Exactly! They're just trying to drag him down! It's probably because Spider-Man knocked Jameson's son off the headline.
PETER
He did?
Betty grabs the paper.
BETTY
Page 2, Colonel John Jameson leaves for lunar exploratory mission. Mr. Jameson wouldn't be that petty... would he?
She hands the paper to Gwen.
GWEN
Petty or not, he's got a cute son.
Flash, looks towards Gwen and…
FLASH
Hey where were you last night? I missed you.
Gwen looks towards Peter and then back towards Flash and shrugs… she wraps herself under her arms and he smiles. They walk off and Peter looks towards Betty.
BETTY
Ouch- That must have stung.
Peter looks towards her.
PETER
Huh?
BETTY
I can read emotions from a mile away Pete, and you read jealousy in bold print.
PETER
Of what?
BETTY
You like her…
Peter blushes
PETER
No I don’t…
BETTY
Sure…
PETER
I don’t.
INT. DAILY BUGLE- OFFICES
Peter is standing in front of Betty, showing off a new camera.
PETER
Something like this?
BETTY
Yeah, that should be fine.
FOSWELL(O.S.)
Peter Parker...
Peter turns around to stand face to face with Fred.
PETER
Do I know you?
FOSWELL
Frederick Foswell.
PETER
The first eyewitness account of Spider-Man?
FRED
That's the one. I owe you big-time.
Betty looks towards Peter and begins to pack her things.
BETTY
So, see you tomorrow Pete.
Pete looks towards her and shakes his head ok, turning his attention back towards Foswell.
PETER
(accusingly)
Why did you call him a menace?
FRED
Who? Oh- the article, I write em’, JJ supplies the headlines.
(beat)
Did the guy bad judgment if you ask me.
JUMP CUT:
INT. DINER
The diner was modeled after a diner from the 1960’s. Currently Peter and Foswell were sitting at a table waiting for their meal.
PETER
So you believe Spider-Man is one of the good guys?
FRED
You kidding? Spidey’s the best as they come. Tell me who else you know who risks their life saving civilians, stopping bank robbers- standing up for the little guy. There ain’t many.
PETER
What about the police?
FRED
You can trust a few, but from experience I learned that most have been corrupted- rooted for man kind’s sins to grow. Days used to be when the cops only PLAYED bad cop. Now it's all too real. There are things that don't make the front page. Because HE doesn't want them to.
PETER
The kingpin?
FRED
Yes. He's real. I haven't seen him, but I've felt his influence. Witnesses that disappear in the middle of the night, leads that dry up for no reason, cases that fold into shadow. He's like a shark, swimming in the shadows. All you can see is the ripples in the water. As days go by he’s gaining more and more influence; there’s few people anymore that stand up for truth, justice and the American way. But, Spider-Man he represents something this world needs, we are in dark times Peter- 9/11, the war on terror. Now is the time for a hero, now is a time for a hero to take rise, to be born. Spider-Man represents the future, he represents the good in this world that we keep on forgetting. The world needs him Peter, and what JJ’s presenting him as is a crime. All this city needs is more good men to say that we're not going to be pushed around by people like the Kingpin anymore. That we'll fight tooth and nail to drive them back.
PETER
You know, in the old days a bugle was used to... rally troops to battle. Lead the charge against tyranny and injustice.
FOSWELL
And you're saying it could be again.
PETER
Like you said. All it takes is some good men. Personally, I'd much rather read about that than some celebrity tabloid.
FOSWELL
I forgot what it's like to be in high school. So idealistic. What can I do to fight him? Kingpin owns the law. He owns the city.
PETER
But does he own you?
FOSWELL
Look, can the self-righteous act. All that matters in this world is how much you can take. If the Kingpin goes down, it will just be so someone can take from him.
EXT. NEW YORK CITY STREETS
Peter and Foswell walk through a crowded street. Fred stops walking, frozen in place.
PETER
What is it?
FRED
Ben Urich- Mr. Star Reporter.
Peter looks forward and can see BEN URICH friendly shaking the hands of pedestrians who were fans of his. Fred grits his teeth in anger.
PETER
Doesn’t seem like that bad of a guy, better than Jameson.
FRED
Don’t buy into his friendly persona Parker, inside of that man is pure evil.
Peter looks at Foswell, who is working himself into a paranoid rant.
PETER
Nobody can be all bad.
FOSWELL
He comes the closest! He’s a job stealing, front page, news article, whore. He steals from those beneath him Parker, his stories cover up first page. He writes for crap, even when he has a good story! He gets it all, the money, the paper- the avid readers… they all fall into his grasp. If there’s one thing I teach you about the Bugle Peter know this, never trust Urich- he’ll just win another article out of it, after all that’s his job.
Urich begins to walk up towards them.
URICH
There’s the big guy! Read your article. Nice work.
He pats Foswell on the shoulder.
FRED
Sure you’d say that, what are you trying to do? Steal it? It’s not copyrighted you know, you could just claim it as your own.
URICH
Huh? I’m not going to steal your article Fred, it’s great. It’s yours, I’m surprised it didn’t make front page- story of a lifetime.
FRED
Are you being sarcastic Urich?
Peter begins to back away from Fred.
PETER
Mr. Foswell he was just trying to-
FRED
What is it Urich? Front page not enough? You have to put others down also?
Fred begins to walk away. Urich looks on in suspicion and uncertainty.
URICH
Am I missing something here?
Peter looks towards Ben.
PETER
Me?
URICH
Yeah, you kid-
Peter shrugs
PETER
Beats me-
(extends his hand)
Peter, Peter Parker sir- I’m a fan of your work. The article about Herman Shultz was really amazing, it captured the psyche of an insane criminal mind. Very impressive.
URICH
Well, you’re a good photographer Peter, those pictures of Spider-Man, I thought those would be unattainable. You’re the only one to ever get that close to the masked vigilante- how’d you do it?
PETER
Contacts.
URICH
Do you know who he is? You know under the mask-
PETER
Me? No… why would I?
URICH
I see.
(beat)
Just in the right place at the right time, huh, kid?
PETER
(fast and suspicious)
You could say that, sure- why not.
URICH
Well hang in there kid, the paper is a tough business- Spiderman, in my mind’s eye, he’s here to stay- trust me.
INT. HAMMER INDUSTRIES- LABS
The laboratories were different from those at Oscorp, there were specific projects that went on here. Projects that are primarily funded for by Wilson Fisk himself. The cops, the lawyers- no one knows about this place, and if they do it won’t matter **** anyways. Because the Kingpin owns everything and everyone, ultimate control over the city. The labs were basic, made out of bricks and stone with chandeliers hanging at the ceiling. There was a small control booth with only 10 computers, but at the highest speed that mankind hasn’t even dreamed of! Top equipment, top scientists- everything being run tooth and nail. In the hallway were gated rooms that held prisoners, most of these prisoners were being tested upon. Justin makes his way towards the control booth and looks towards his two honored SCIENTISTS.
HAMMER
So, what do we got?
SCIENTIST1
From the information passed on from Oscorp sir, we’ve got something- is it important? I highly doubt it sir, he messed with the computer’s data….
Scientist1 and Scientist2 begin walking towards the cell that held WILLIAM BAKER. He was the 25 year old “Sand Man,” as he became company labeled. His body was made out of grain and looked more like wet sand than it did flesh.
SCIENTIST2
His name is William Baker, 25 years old. We’ve had him here for quite a while… to you or anyone else he looks completely normal…
Scientist1 taps on the glass and we can see Will walking towards the glass frame, he peers out towards both of the scientists and sneers taking another toothpick.
WILLIAM
You know what I’m going to do when I get out of here?
JUSTIN
Fill me in, I’d love to hear- what would you do.
WILLIAM
You’d be dead in a matter of seconds… strangulation? Maybe, not that much fun though. Starvation? Perhaps, but then you’ll have a long time to live… what about a slow death, something painful- something that is insurmountable torture, tell me do you have a family? … No, figured as much… but, yet if you did- that was never the plan anyways so why bother? Instead I was thinking of something along the same lines as what you…
Will POUNDS his fist against the glass.
WILLIAM (CONT’D)
Did to me!
(beat)
Tell me have you ever saw yourself drowning? What about slowly, and very painfully eroding into quick sand. You know it’s possible don’t you… well, before it wasn’t… now? Thanks to you I can do about anything I damn well please, so I have to thank you.
HAMMER
Thank me and kill me, sounds like a dual threat.
WILLIAM
If that’s what you’d like to call it, personally- I’d like to say it’s a gift from me to you.
HAMMER
Gift?
WILLIAM
A free passage to the afterlife… but you know, some may view differently.
HAMMER
Well, that’s very sad to hear then- because you’re never going to get out… we’ve got the tests?
SCIENTIST1
Yes…
HAMMER
Well, we don’t need him alive anymore do we?
Scientist1 shakes his head “no”
HAMMER
Then kill him.
WILLIAM
You can’t kill me.
HAMMER
We can’t we? How you know?
WILLIAM
Don’t you think I tried?
Hammer grins as gun turrets appear from the ceiling and shoot out rounds towards William. The bullets were ineffective and just rip straight through his easily penetrable flesh.
WILLIAM
As I said- I tried.
Hammer narrows his eyes.
HAMMER
Put him in permanent lock down- now!
Steel doors slam shut around a small area suitable so that it just gave him enough room to move. Hammer looks up towards the security screen seeing Will smiling and laughing.
WILLIAM (O.C.)
You’ll never kill me! I’m invincible!
Hammer looks towards Scientist1
HAMMER
Norman is going to pay for this.
Hammer begins to walk through the hallway and along the walls we can see scattered genetic projects.
INT. FRED’S APARTMENT ROOM
Fred is reclining on his chair. The door to the apartment room opens and a sober Elisa walks in.
FOSWELL
I had an encounter, Elisa. It's yielded a bit of clarity...
ELISA
Yielded a bit of clarity? Who was this “encounter” with, Deepak Chopra?
FOSWELL
It was right in front of us the whole time, all we needed to do was to see it.
ELISA
What are you talking about?
FRED
It is so clear Elisa, I wish you could see the world the way I do. Mankind in general is stupid, it always has been. A football player goes down the other team chants, a Christian is put to death by lions… when is this torture ever going to stop Elisa? Man has no common sense.
ELISA
And you do?
Fred shakes his head yes.
FRED
I know the world for what it is Elisa, I know mankind’s flaw. The one everyone else is too careless to remember, mankind is a cursed race that was created to suffer. People laugh at those below them, they laugh at me. The Bugle is responsible for all of our problems, I’m going to fix that.
ELISA
You’re not making any sense.
FRED
Soon they’ll see, they’ll see the error of their ways- you and I, we will finally be able to live life happily, together. Then you won’t be ashamed of me.
Fred leaves the room wearing a brown trench coat. Elisa looks around the empty apartment. She discovers a tag on the counter, the tag reads WHITE MASK. She picks it up nervously. Thought about it. Realized what it all meant.
FRED (V.O.)
The Bugle is responsible for all of our problems, I’m going to fix that.
Elisa drops the tag, she covers her mouth in shock.
INT. DAILY BUGLE- OFFICES
Peter was talking to Betty at her desk.
PETER
I really need to see Mr. Jameson. I know he'll love these pictures!
BETTY
You'll just have to wait a bit.
INT. DAILY BUGLE- HALLWAYS (Nobody loves me- Limp Bizkit)
BIG MAN, a man dressed in a brown trench coat, wearing a pure white tight latex mask walks through the hallways. With him are two henchmen, HUGO and FALCO. They enter the offices.
INT. DAILY BUGLE- OFFICES
The Big Man shoots the gun into the air.
BIG MAN
This place is under new management!
A scared reporter looks up at him.
REPORTER
Who are you?
BIG MAN
I’m the Big Man. This is Hugo and Falco. We'll be your captors today.
FADE TO:
INT. OSCORP INDUSTRIES- MEETING ROOM
Harry sits alone in the meeting room. His secretary, MEGAN POWELL enters the room. She was amazingly beautiful and around his age.
HARRY
Oh hey Megan, what’s up?
MEGAN
Mr. Osborn-
HARRY
Harry.
MEGAN
You might want to see this.
Megan takes the remote and aims it towards the conference TV switching it over to local news. Harry spins around his chair to see the Daily Bugle and a newscaster standing outside.
NEWSCASTER (on SCREEN)
It seems to be a strange twist of events today as the employees of the Daily Bugle are being held hostage by a man calling himself the Big Man?
(nods seeing that it’s written right)
The police are trying to…
HARRY
Megan do me a favor will you? Tell the pilot to prepare the helicopter. I’m going to need an emergency lift to the Bugle in 20 minutes… I’m going to be brining someone along with me.
INT. PARKER FAMILY HOME- ENTRANCE
Aunt May is preparing dinner in the kitchen. The doorbell rings. She walks towards the door and answers it. Harry, urgently, looks in towards her.
HARRY
Mrs. Parker, is Peter home?
MAY
No, he’s not home yet…
HARRY
Any chance where he said he was going?
MAY
He just had to drop some pictures off over at the Bugle, you know he works there now as a photographer.
HARRY
I know he told me, I don’t know how to break it to you- but there’s been a hostage situation over at the Bugle.
May covers her mouth in shock.
MAY
Is he hurt?
HARRY
As of yet no hostages were killed- I already arranged for a private helicopter to take me over there. If you want you can come along.
May shakes her head “yes”
INT. DAILY BUGLE- OFFICES
Hugo and Falco are out of the room as Big Man stands with a gun, guarding the hostages. ZOOM IN ON PETER. We follow his line of sight to his BACKPACK, across the room and near the row of windows that occupies the outside wall. We zoom into it, where we see that his costume is inside. Peter looks around for an alternate weapon, one less suspicious and attention grabbing- a CERAMIC ASHTRAY. In one smooth motion he picks it up and HURLS it at Big Man. Big Man turns at the last second, accidentally dodging it. The ashtray crashes against a wall. Big Man turns around.
BIG MAN
Who threw that?
He sees Peter. Walks up to him, gun pointed at Peter's face.
BIG MAN
You want to die, Peter?
PETER
Not particularly.
Not the reaction Big Man was hoping for. He PISTOL-WHIPS Peter. Peter falls to the ground. Betty is suddenly up and on the move. Big Man points the gun at her.
BIG MAN
Where are you going?
BETTY
To get some ice.
Hugo and Falco enter, ushering in the HOSTAGES. Among them is Jameson.
BIG MAN
Hugo, take Miss Brant into the break room. Help her get some ice.
Hugo looks at Betty lecherously.
HUGO
With pleasure.
BIG MAN
On second thought, Falco, you do it.
Hugo sighs in dismay. Falco escorts Betty outside. Peter looks at his broken glasses.
INT. DAILY BUGLE- OFFICES- DREAM
Peter suddenly leaps into action. He takes out Big Man. Hugo turns and opens fire. Peter dodges out of the way, but the bullets hit an innocent person behind him.
INT. DAILY BUGLE- OFFICES
Back in the real world.
PETER
Nice company you're keeping, “Big Man.”
JAMESON
Is that what this slime ball is calling himself?
Big Man turns to Jameson.
BIG MAN
Keep quiet, little man.
JAMESON
You've got some nerve coming in here. I'll see you tarred and feathered in the court of public opinion!
BIG MAN
I'll see you dead first. Where's the one we want?
PETER
He's probably down in the archives, doing research. I'll go get him...
BIG MAN
Nice try.
HUGO
I could go looking for him.
BIG MAN
I need you to help me watch the hostages. Wait till Falco gets back.
Betty and Falco re-enter the room. Betty walks to Peter and holds the ice bag to his temple. Big Man confers with Falco in whispers, then Falco leaves the room.
JAMESON
Where's he going? Hey, BM, where's he going?
Big Man motions to Hugo, who viciously CRACKS Jameson on the head, knocking him out.
BIG MAN
Always wanted to shut him up. And nobody calls me a BM.
Meanwhile, Peter and Betty are under a desk.
BETTY
Are you alright?
PETER
Vision's a little blurry.
BETTY
Do you have a concussion?
PETER
Listen, we have to stop them.
BETTY
Lets leave the thrilling heroics to the professionals, okay? You saw what happened last time.
PETER
Betty, they're looking for Urich. If they find him, they're gonna kill him.
BETTY
What? Why?
Peter notions towards Big Man.
PETER
You remember that reporter I was talking to the other day?
BETTY
Yeah, Mr. Foswell, he’s been working here as long as I can remember.
PETER
Well, yesterday I saw him almost go into a psychotic break over Urich… he’s jealous of him.
BETTY
And you think…?
PETER
Seems like an inside job, he’s go a motive. I don’t think it’s just Urich though, but a grudge over this whole place. He’s dangerous.
BETTY
That could be anybody though Peter, what tells you it’s him?
PETER
Is there anything of value here?
BETTY
No, not really. I guess you could sell the printers, but he'd have a hard time getting those out.
PETER
Anyone worth ransoming?
BETTY
Well, there is Mr. Jameson...
PETER
It had to be him. Listen, I'm going to try and get some help.
BETTY
What are you talking about?
PETER
Spider-Man. You were right, it's not just luck. I have a way of contacting him, but I need to get outside to do it.
BETTY
Swear to God, Peter, if you're saying this just to get out of here...
PETER
I'm not. Trust me. Besides, this is a school night. No way I'm staying up all night for these guys.
Betty smiles.
BETTY
Okay, so what's the plan?
PETER
Big Man's psychology is based on a need to dominate. So here's what we'll do...
FADE TO:
EXT. OSBORN MANSION- BACK YARD- EVENING
The lush garden in the back of the mansion allowed for enough room for a helicopter to take off. The helicopter hovers just above the grass and Harry helps Aunt May in. The helicopter begins to take off.
INT. HELICOPTER
Harry looks towards Aunt May.
HARRY
I promise you Mrs. Parker I will do what ever I can to make sure that Peter is safe. Peter's a smart kid. He'll stay out of trouble until this all blows over.
FADE TO:
INT. DAILY BUGLE- OFFICES
We catch Peter in mid-sentence, finishing his plan.
PETER
...and then we sit on a beach and sip pine coladas.
BETTY
Sounds like a winner.
She kisses him. He returns it. They break.
BETTY
For luck.
PETER
I don't believe in luck.
BETTY
Then to make up for doing this.
She HITS him with a paperweight. He winces.
PETER
Anything?
BETTY
Nope.
She hits him again. And again. Finally, blood trickles down the side of his head.
BETTY
Jesus, I'm so sorry...
PETER
I'll heal. Besides, chicks dig scars, right?
BETTY
Not this one.
Betty stands up.
BETTY
Hey, Big Man!
Big Man turns to her.
BIG MAN
What do you want?
BETTY
I can't stop the bleeding. He needs a doctor.
BIG MAN
Let me see him.
He walks up to Peter, who holds a hand to his head. Blood spills through his fingers.
BIG MAN
Doesn't seem that bad.
BETTY
Look, you've proven how powerful you are. Now's the time to show mercy.
BIG MAN
A doctor is out of the question.
BETTY
Then at least get the first aid kit in the conference room.
BIG MAN
First aid kit in the conference room? What kit?
BETTY
(overeager)
I know where it is! I'll show you!
BIG MAN
Not so fast. I think Mr. Walking Wounded should show us to it. Less chance of... surprises that way.
Betty makes an exaggerated “oh darn” face.
BIG MAN
Hugo, take Mr. Parker to the conference room. See that he doesn't delay.
INT. DAILY BUGLE – HALLWAYS
Hugo walks behind Peter, holding the gun on him. They reach the conference room door.
PETER
Go ahead.
HUGO
You open it.
PETER
No, no I think you should.
Hugo cocks his gun.
HUGO
This ain't a debate, kid. Open it.
PETER
If you insist.
He turns the doorknob, opens the door, and steps through.
PETER
See? Nothing to worry about.
Hugo steps towards him and Peter SWINGS the door outwards. It catches Hugo in the forehead, knocking him to the ground. Peter lunges at him. They struggle over the gun. In XCU, we see Peter get his finger in the trigger guard, preventing Hugo from pulling the trigger. Hugo opens his mouth to cry for help and Peter HEADBUTTS him brutally. Twice, three times, until finally Hugo stops moving. Peter stands up, wipes some of Hugo's blood off his forehead.
PETER
You should've taken into account that the door was just like you, Hugo. It swings both ways.
He drags Hugo into the conference room.
INT. DAILY BUGLE – OFFICES
Falco returns, holding Urich at gunpoint.
FALCO
Look who I found putting in some overtime.
URICH
What's the meaning of this?
BIG MAN
“What's the meaning of this? What's the meaning of this?” Geez, talk like a normal person. You sound just like your articles... overwritten!
He points the gun at Urich's head.
URICH
Look, I'm sure we can work this out...
EXT. DAILY BUGLE
Peter crawls along the side of the building. In the darkness, he's easily concealed. Still, it takes some doing to avoid the SPOTLIGHTS. Finally, he reaches the windows to the office. He looks inside. Sees both Big Man and Falco are inside. Jameson has been tied to a rolling office chair.
PETER
Damn it! Think Parker, think...
A spotlight nearly reveals him.
INT. DAILY BUGLE- OFFICES
Big Man is pacing the room back and forth, his gun at his side like a cobra ready to strike. Urich is sweating profusely. We can see a window slowly being opened in the background...
BIG MAN
For years I worked under you! And when I finally bring in the story of a lifetime, you throw it out like garbage. And when the lead pans out, who gets the byline? Who gets all the credit? Ben Urich, star reporter!
Peter looks around making sure no one was watching, he glances towards his backpack and he reaches in through the window, towards his backpack...
URICH
It's not like that.
Big Man raises his gun and SHOOTS URICH IN THE LEG.
BIG MAN
Now is not the time for talking, boy! Now is the time for LISTENING!
He turns towards Jameson, who's beside the backpack. Peter pulls his arm back.
BIG MAN
But you're the one I really hate! You assigned me rinky-dink stories when I needed the big bucks only a front page assignment could get me! If there's any justice in the world, your death won't even make the front page of your trash tabloid!
He turns and shoots a SKYLIGHT with the painted emblem of the Daily Bugle on it. The glass showers down, giving Peter enough time to reach in and snatch his backpack.
BIG MAN
Don't worry, Jameson. You're not going to die... Well, you are, actually. But you're going to suffer first. Just like I have.
INT. DAILY BUGLE – HALLWAY
SPIDER-MAN, stashes his backpack inside a closet.
SPIDER-MAN
Okay, Parker, think! No way you can save all the hostages unless you split those two up. Divide and conquer... but how?
Beside him, the AIR CONDITIONER comes on. Spider-Man looks at it curiously.
EXT. DAILY BUGLE- NIGHT
The police cars and tents were set along the outside of the Bugle encompassing the whole building. The helicopter lands and before it could come to a stop, Harry jumps out and starts pacing back and forth trying to get information from any nearest cop that would listen.
HARRY
Hey.
A 45 year old cop who was in charge of the situation looks towards Harry.
COP
May I help you?
HARRY
Harry, Harry Osborn-
COP
What can I do for you Osborn?
HARRY
What’s going on in there?
COP
Go back to the tents Osborn.
HARRY
I want to know what’s happening in there!
COP
You have as much information about this as we do.
HARRY
That’s not good enough, one of my best friends is inside- what’s your plan?
COP
We’re sending up snipers as we speak- by video feed it looks like there were no hostages killed yet.
HARRY
Jesus Christ! You don’t even know?
COP
If you go back to the tent Osborn, you can see what’s going on for yourself, now please- I have a hostage situation to handle, lots of people here are scared, but you have to remain calm.
HARRY
Calm?
Harry begins to walk back towards the tent when he stops and looks back.
HARRY
I will be calm when you do your god damn job!
EXT. DAILY BUGLE- TENTS
Harry enters back into the open tent which held the surveillance equipment and looks towards Aunt May. Harry shakes his head no.
HARRY
I promise you, your nephew will not die Mrs. Parker.
INT. DAILY BUGLE- OFFICES
Big Man still had his gun aimed towards Jameson.
JAMESON
I don’t believe you. You don't have the guts to kill me!
BETTY
Way to provoke the maniac, Jameson.
BIG MAN
I am not a maniac!
He fires his gun into the air for emphasis.
BIG MAN
You don’t believe me, eh Jameson? What will it take for you to believe me?
(aims the gun back towards Urich)
The death of your star reporter? Will that help?
He walks over to Urich, who's still bleeding out on the floor.
BIG MAN
Going numb, Urich? Pain starting to go away? WE CAN'T VERY WELL HAVE THAT, NOW CAN WE?
He shoots Urich in the arm. Urich SCREAMS in agony!
BIG MAN
Lets see you type up news stories with a slug in your arm!
We notice that CONDENSED VAPOR is coming out of his mouth as he talks. Falco notices too.
FALCO
Boss, it's getting kind of cold in here.
BIG MAN
Deal with it!
FALCO
But boss...
BIG MAN
Do I have to shoot you? ... Fine, go to the thermostat and turn the temperature up. You won't mind if I raise the bill a little, will you Jameson?
FALCO
Where is the thermostat?
BIG MAN
In Jameson's office, where else?
INT. DAILY BUGLE – JAMESON'S OFFICE
Falco walks in. The lights are out. He flicks the switch a few times. Nothing. He takes out a lighter and flicks it on, uses it as a torch to look for the thermostat.
FALCO
Worst goddamn heist of my career... Where's that stupid thermostat?
SPIDER-MAN(O.S.)
Turning up the heat won't stop me from sending you to the cooler.
The door slams shut behind him. Falco turns around, brandishing the gun in one hand and the lighter in the other.
FALCO
Who's there?
Spider-Man drops down, one of Jameson's LAWN CHAIRS in hand. He pulls it over Falco and SHUTS it, imprisoning him.
SPIDER-MAN
Yippee-ki-yay, Mr. Falco.
INT. DAILY BUGLE – OFFICES
Big Man crouches over Urich.
BIG MAN
Can't walk. Can't type. What else is there to take away from you?
URICH
Up yours!
BIG MAN
Ah yes. The gift of speech.
He pushes the gun barrel into Urich's mouth.
BIG MAN
This is gonna be messy.
Suddenly a body RAMS into him. Big Man goes flying, lands in the middle of the room with the body on top of him. He's face to face with the unconscious HUGO. SPIDER-MAN enters the room.
SPIDER-MAN
Henchman, blunt object... dumb thugs have all kinds of uses these days!
Big Man grabs Jameson, puts the gun to his head.
BIG MAN
Spider-Man! This little news story is getting more crammed by the minute! Someone's going to get a Pulitzer out of this. But not him.
He points his gun at Urich. Spider-Man DIVES at the reporter, shoving him out of the way as Big Man opens fire. The bullet grazes Spider-Man's shoulder. Big Man moves backwards, pulling Jameson with him.
BIG MAN
Don't follow me, Spider-Man!
JAMESON
Spider-Man, you menace! You let me die and I'll crucify you in tomorrow's headlines!
He reaches the elevator, moves in. Presses the button for the subbasement. The door closes.
SPIDER-MAN
How would THAT work?
He looks at Urich. The man's visibly pale from loss of blood.
SPIDER-MAN
Betty, get the first aid kit. Help him!
Betty opens a drawer at her desk, pulls out a first aid kit, and runs to Spider-Man's side.
BETTY
How do you know my name?
SPIDER-MAN
Peter Parker mentioned something about a very attractive and smart girl who had the misfortune of working for JJ.
BETTY
He did?
SPIDER-MAN
He also said she was a great kisser.
He stands up.
BETTY
Where are you going?
SPIDER-MAN
To end this.
INT. DAILY BUGLE - ELEVATOR SHAFT
The doors are pulled open. Spider-Man looks down the shaft to see the elevator descending. He jumps down after it.
SPIDER-MAN
Geronimo!
INT. DAILY BUGLE – ELEVATOR
Big Man is reloading when he hears the THUMP of something landing on the rooftop. He empties the clip into the ceiling.
INT. DAILY BUGLE – ELEVATOR SHAFT
Spider-Man throws himself through a passing set of doors, avoiding the deadly barrage.
INT. DAILY BUGLE – ELEVATOR
DING! The doors open. Big Man reloads and pushes Jameson forward...
INT. DAILY BUGLE – PRESS ROOM
The Presses are running full blast; the noise is deafening. At the "start" end of the presses - where the paper is fed in – Big Man sees a GIANT ROLL OF NEWSPRINT on a CRANE, about to be loaded. SPIDER-MAN rips the top off the elevator car and drops in. Big Man takes aim...
SPIDER-MAN
Hold it! I just want to talk!
Big Man racks the slide-action on his pistol.
BIG MAN
Talk fast...
Spider-Man begins walking towards him slowly... Big Man deliberately keeps the tied up Jameson in front of him, like a human shield.
SPIDER-MAN
You don’t want to do this. This isn't who you are...
BIG MAN
You don't know anything about me.
SPIDER-MAN
Is that so... Fred?
JAMESON
I knew it! You two know each other! You're probably working together!
BIG MAN
So, you figured out who I am.
SPIDER-MAN
It really wasn't all that hard. Look, I'm sure Jameson isn't exactly the last guy in the world who deserves this... in fact, he's a bit of a jerk...
JAMESON
Would you get to the point?
SPIDER-MAN
My point is he doesn't deserve to die.
BIG MAN
You try working with him for twenty years!
Spider-Man takes a final step towards him. Big Man shoots the HOOK on the CRANE CARRYING THE NEWSPRINT ROLL. It plummets towards Spider-Man, who CATCHES it! Leaving himself vulnerable to Big Man, who opens fire. Spider-Man holds the roll out in front of him, using it as a shield. The bullets hit the roll and stop.
SPIDER-MAN
You idiot! One stray shot and a ricochet could get someone killed!
BIG MAN
It's not a ricochet that's going to kill you, Spider-Man!
He retreats backwards, past an INK DRUM. He kicks it over and black ink runs over the catwalk.
JAMESON
Do you know how much that stuff costs!
BIG MAN
Keep quiet!
Spider-Man continues walking down the catwalk.
SPIDER-MAN
Fred, listen. The police have the building surrounded. Even if you do kill me, you won't get past them.
BIG MAN
Than it's a good thing my life insurance will help Elisa make a fresh start.
SPIDER-MAN & JAMESON
Who?
BIG MAN
Elisa! My wife! We're expecting our first child!
SPIDER-MAN
And you're going to get yourself killed instead of raising the little tyke?
BIG MAN
It's the only way!
Spider-Man walks onto the spilled ink, slips. Catches himself on the safety railing. Big Man FIRES at him. Spider-Man uses the safety railings on either side of the catwalk like parallel bars, dodging out of the way of every shot. Finally, he flips himself in front of Big Man just as he clicks empty. Spider-Man grabs Jameson and jumps away.
BIG MAN
No! I must have my revenge!
In another part of the print room, Spider-Man breaks Jameson's ropes apart.
SPIDER-MAN
Get out of here! Now!
Back to Big Man, who finishes reloading. He pulls off his mask.
FOSWELL
Come on, Spider-Man! It's just you and me now! Lets see how good you are when nobody's watching!
Spider-Man is on the rooftop above him.
SPIDER-MAN
I'm not going to kill you, Fred.
Foswell fires upwards compulsively. Spider-Man dodges behind a NEWSPAPER BALING MACHINE. (A large machine that wraps steel or plastic bands around bundles of papers for delivery.)
FOSWELL
It's kill or be killed! Do you know why? Because you ruined everything!
He holds the gun to his head.
FOSWELL
Don't you get it? If I kill myself, she gets nothing! Put me out of our misery!
Spider-Man WEBSWINGS into him, kicking him down the length of the catwalk. Foswell lands about two feet from his gun. He reaches for it, but a webline grabs it and pulls it away from him. Above him, a singular light bulb shines down 44 watts of dingy light.
SPIDER-MAN
Nobody's going to die today.
Foswell breaks down in tears.
FOSWELL
Spider-Man... I've been such a fool...
Spider-Man walks towards him.
SPIDER-MAN
It's okay. Everything's going to be fine.
FOSWELL
Help me, Spider-Man, please... you're the only one who can.
SPIDER-MAN
Just tell me how.
FOSWELL
It would really mean a lot if you could... DIE!
He pulls out a SECOND HANDGUN, fires at Spider-Man. In slow-motion we see Spider-Man barely move out of the way, so close that the gunpowder singes his mask. The bullet ricochets and hits Foswell, who falls off the catwalk. Impossibly fast, Spider-Man rolls half-off the catwalk and shoots a webline down, catching Foswell by the bottom of his foot. Foswell aims up, between his legs. He's just pulling the trigger when his FOOT SLIPS OUT OF HIS TWO SIZES TOO LARGE SHOE. The jar throws his aim off and the bullet hits the LIGHTBULB above Spider-Man. The room is plunged into darkness and we're spared the graphic result of Foswell falling into the press rollers, save for a suddenly choked-off SCREAM. Spider-Man walks down the catwalk. He sees that the pages running through the newsprint web have turned BRIGHT RED.
SPIDER-MAN
You finally made the front page, Foswell.
Jameson walks out in front of Spider-Man.
JAMESON
Where's Foswell?
SPIDER-MAN
He didn't make it.
He pushes past Jameson.
JAMESON
You... you murderer! I knew it all along! You're scum, you're a menace, a freak of nature!
SPIDER-MAN
(not looking back)
Jameson, I am really not in the mood!
JAMESON
You've made an enemy here and you don't realize how bad I can make things for you! Your trouble with the cops? Look forward to more! I won't rest until everyone in the city sees you for the crook you are! Until you're dragged out into the streets and...
Spider-Man turns around and WEBS HIS MOUTH SHUT.
SPIDER-MAN
You know, I've made enemies before. Bigger enemies. More powerful enemies. Enemies with weirder hairstyles. I think I can handle you.
INT. DAILY BUGLE – OFFICES
Peter walks in, having changed back into his civvies. Urich is being taken out on a stretcher. Hugo and Falco are in handcuffs. Peter walks past the abundant police and medical personal to Betty, who's hiding behind a desk.
BETTY
Peter! Are you alright?
PETER
Fine.
He sits down next to her, weary.
BETTY
You should've seen it! Spider-Man came in and just saved the day! By the way, where were you?
PETER
Me? Oh... I was just hiding in the closet. Guess I'm not the heroic type.
BETTY
Maybe that's why I like you. You don't pretend to be what you're not. Do you know what happened to Foswell?
Peter shakes his head no. Jameson runs by, fuming through his web-gag.
BETTY
Look! JJ can't talk. I wonder what's wrong with him...
PETER
Wrong? It's an improvement!
BETTY
You know, Spider-Man told me some of the things you said about me.
PETER
He did? That rat...
BETTY
He said you thought I was a good kisser.
PETER
Well, I may have rushed to judgment on that.
BETTY
Oh?
PETER
Yeah. You can't just conclude these things based on one kiss. An experiment has to be objective, measurable... and the results have to be repeatable.
He kisses her.
BETTY
But what will Mr. Jameson say?
PETER
Nothing... for at least an hour.
INT. MID TOWN HIGH SCHOOL- PSYCHOLOGY CLASS ROOM
Dr. Albright was folding up his work papers and placing them into his suitcase when he hears a knock on the door.
ALBRIGHT
Yes? Come in…
Peter walks into the class room
ALBRIGHT
Peter? I thought you would be enjoying the day off. You're supposed to be taking time to get over the traumatic events you experienced.
PETER
I wanted to talk about something with you.
Albright nods his head understandingly.
PETER
Fred seemed like a good guy, yet what he did...
ALBRIGHT
It seems you're stumped. I guess that’s why I’m the teacher and you’re the student. Some things we just can't understand, no matter how hard we try. Men like Frederick Foswell are all too common. They think that the world owes them something, and when they don't get it they try to take it by force. I just hope he's in a better place now.
PETER
He pumped two bullets into a friend of mine. He enjoyed it. What could make a man enjoy someone else's suffering like that? How could someone become like that?
ALBRIGHT
There aren't any easy answers, Peter.
He closes his suitcase.
ALBRIGHT
There just aren't.
INT. OSBORN MANSION- MEETING ROOM
CLOSE UP Harry Osborn was staring straight towards the screen; gradually we pull back and reveal that he was looking towards Jameson.
HARRY
J.J. why am I not surprised? What does it feel like being alive? You’re lucky Spider-Man came to save your life.
JAMESON
The spider is just a thorn in my side.
HARRY
I see, thankful for being alive- hatred towards the man who saved your life. No wonder my father found you to be one of his most trusted colleagues .
JAMESON
Where is he at the moment Harry? We had important business to discuss.
HARRY
He left for Los Angeles just a couple of days ago.
JAMESON
He left you in charge?
Harry shrugs
HARRY
I’m his only heir to the Osborn legacy, I don’t think he had much of a choice.
J.J. looks towards Harry and then growls the trademark growl and exits the room. Harry just shrugs, picking up a baseball throwing it up into the air and catching it, while looking out the window.
INT. PARKER FAMILY HOME- ENTRANCE
Peter enters, begins to walk up the stairs when he can hear crying coming from Aunt May’s room… he lowers his head and continues on his way.
INT. PARKER FAMILY HOME- AUNT MAY’S BEDROOM
Aunt May was laying on the bed, crying… next to her is a picture of Uncle Ben. Peter enters and sits on the edge of the bed.
PETER
Aunt May…
May looks up towards him…
MAY
I thought I would lose you too...
PETER
No, never.
Peter looks at the picture of Uncle Ben.
PETER
I'm in this for the long haul.
We hear applause...
INT. PULITZER AWARDS CEREMONY (What its like- Everlast)
BEN URICH, still healing from his injuries, walks up to the podium to accept the award.
URICH
There are a lot of ways to find out if you're a real journalist. One of them is to be in a hostage situation and still be thinking of how you're going to write the story after you get out of it.
Laughs from the audience.
URICH
I don't deserve this award. The man who does isn't with us anymore. He resented me as a... “young pup” who stole all his stories, who hadn't done the time to earn being part of the Daily Bugle. I wish we could've settled our differences before it came to tragedy. If we had... Foswell was more than a fellow writer to me. He was an inspiration. He taught me everything I know about the newspaper business. Without him, I'd still be writing traffic reports. So I'd like to dedicate this award to Frederick Foswell. The greatest reporter I've ever known.
INT. FRED’S APARTMENT ROOM
ZOOM OUT to reveal we're watching the scene on a TV SCREEN. A picture of FREDERICK FOSWELL appears on the screen, with a caption showing his date of birth and death. PAN AROUND to show ELISA watching, her BABY in her lap.
ELISA
(to baby)
That's your daddy, Freddy. That's Fred Senior.
[FADE TO BLACK]
And that's the end of the second episode. The Daily Bugle is a strong aspect of the Spider-Man world. Lucky for me, in the classic comics Peter was fifteen when he got a job working for the Bugle. Betty was a secretary, but for the purpose of the series I wanted to give her character more depth and hint towards a possible relationship between the two. The Daily Bugle was originally going to be in the PILOT episode, but I couldn't find a way to make it work- rushing to much into one episode. Then, I found Frederick Foswell... a down on his luck reporter over at the Daily Bugle- thus, from there I penned the first draft of the episode originally titled BIG MAN. Part of the inspiration for the episode came from the SMALLVILLE first season episode- Jitters.
In the days to come I will be posting my favorite episodes that I wrote up (have about 20, but will only post around 3) that have a strong chance making it to the small screen. Also, the Pilot and Hostage will more than likely (although some changes will be made) to be the first two actual episode.
Side note: Thank god Spider-Man is aiming for 6 films... I really have time to build up my profile and pitch the series. Things are looking really good- especially with a more than likely contact in Avi Arad.