1.02
Script created with Final Draft by Final Draft, Inc.
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INT. OSCORP - LOBBY
The familiar lobby, not much different from where we left it
in the previous episode. The same attractive secretaries, the
same stern-faced security guards. There is a small crowd of
visitors, and a few company employees walking about.
Gargan enters through the main doors, apparently in a big
rush. He approaches the main information desk, where a young
female SECRETARY greets him with a smile.
SECRETARY
Can I help you?
GARGAN
I need to speak with Norman.
SECRETARY
Norman?
GARGAN
Osborn. Norman Osborn.
The Secretary just stares at him.
SECRETARY
I'm sorry, sir. You can't just walk
in here and expect to speak with
the CEO.
Gargan fumbles around in his pockets, and pulls out a small
security clearance badge. He hands it to her.
GARGAN
You don't understand. Gargan... Mac
Gargan. R&D specialist.
SECRETARY
(scans it)
This is expired, sir.
GARGAN
Yes, of course it is. I don't... I
don't exactly work here anymore. I
need to speak with Norman, though.
He needs to see this!
SECRETARY
I'm afraid that's impossible.
Mister Osborn is a very busy man.
There's just no way...
GARGAN
Please! I just need to see him!
Once I show him...
SECRETARY
Look, sir, if you'd like I can take
a message. Tell him you're looking
for him.
Gargan glares at her. He glances down at his clinched fist,
but takes a deep breath and relents.
GARGAN
No, that's okay. I'll find him
myself.
The Secretary starts to respond, but Gargan turns and walks
away before she has a chance, his fist still clinched.
EXT. STREETSIDE - FOREST HILLS - AFTERNOON
Peter, Eddie, and Gwen walk down the sidewalk, their
backpacks in tow. Cars pass by, along with a bus or two.
EDDIE
I just don't get it. I mean, I'm
never gonna' be a brain surgeon.
Why do I need pre-calculus to
graduate high school? It's bogus,
I'm telling you!
GWEN
I know what you mean. I could care
less about some dead 16th century
poet.
Peter is walking alongside them, but he's clearly lost in his
own thoughts. Eddie snaps a few fingers in front of his face.
EDDIE
You still with us, bro?
Peter snaps out of it.
PETER
What? Yeah, I was just...
GWEN
Wouldn't have anything to do with a
certain red head, would it?
PETER
What is it with you guys and MJ?
GWEN
Are you going to call her?
PETER
I...
EDDIE
Come on, bro. What's the deal? I
thought you two were friends.
PETER
I'll call her. It's just...
complicated.
GWEN
We've noticed. Look - Dante's -
after school tomorrow. MJ's gonna
be there. I'll save you a seat.
(glances at Eddie)
You can even bring Eddie if you
want. He'll have to bring his own
chair, though.
EDDIE
(grins)
Not a problem, I'll just sit in
your lap.
GWEN
Do you ever stop?
EDDIE
Only for old ladies. And squirrels.
(shudders)
Creepy little bastards.
Gwen shakes her head.
PETER
Yeah, sounds good.
GWEN
(smiles)
Great, see you tomorrow then.
They approach a large sign in the road reading Forrest Hills.
EDDIE
See you, bro.
PETER
(distracted)
Yeah, see you.
Gwen and Eddie continue on their way.
Peter glances to his left, toward home. He looks straight
ahead, toward downtown. He ponders for a moment.
Then walks straight ahead as we:
FADE TO:
INT. OSCORP - RESEARCH LAB
Norman surveys the damage, looking rather pale. Standing
beside him is Smythe. Cleanup crews and maintenance personnel
have begun restoring the lab.
NORMAN
This has gone too far.
SMYTHE
I'd say so.
NORMAN
How did he know where to look?
Thank God we moved the samples, or
we'd really be in over our heads.
The last thing we need is that
maniac getting his hands on the
serum.
SMYTHE
About that...
Norman's head snaps around.
NORMAN
(panic)
The samples were moved?
SMYTHE
Yes, of course.
NORMAN
(relaxing)
Good.
SMYTHE
I was referring to the location of
the lab. There are only two people
other than you and I who know both
it's true nature and location.
NORMAN
Gargan and Stromm.
SMYTHE
(nods)
It seems one of them has found
employment elsewhere.
Norman scoffs.
NORMAN
Until they turn up in a ditch
somewhere.
SMYTHE
No matter, they didn't get what
they were after. All the samples
have been moved, and all the
research with it. If you ask me,
we've really dodged a bullet here.
NORMAN
Maybe this time, but a sharpshooter
like Fisk doesn't miss twice. This
is only the beginning.
Off Norman's troubled stare:
EXT. QUEENS - ALLEYWAY
Peter enters the alleyway from the sidewalk, carefully
looking around to make sure he's alone. Satisfied, he
proceeds farther down the alley, stopping at the end.
He stands there for a moment, unsure of what to do.
PETER
What am I doing?
Peter drops his bag, and glances down at the ground at a lone
brick surrounded by a bit of trash. He ponders this for a
moment, then slowly reaches down and picks up the brick.
PETER
Okay... now what?
Peter squeezes the brick hard, the strain obvious on his
face. After a moment, the brick begins to crumble.
Peter is stunned.
He slowly releases his grasp, allowing the pieces to fall to
the ground. To his obvious surprise however, only a few of
the pieces actually hit the ground.
Most of them are stuck to his hand!
PETER
Whoa.
Peter shakes his hand, trying to rid himself of the pieces,
but only a few more fall to the ground. Still baffled, he
begins picking the pieces off one by one with his other hand.
He rubs his hand against his shirt in an attempt to wipe off
the dust, but when he pulls away, his shirt comes with it,
producing a small tear along the front of it.
PETER
You have got to be kidding me.
Peter glances down at his shirt in mild annoyance, but lets
it pass. Clearly, he is preoccupied.
He looks down at his hands, and once again notices the bite
mark. He examines it for a moment before realization dawns.
He glances up at a nearby wall, nervous and confused.
He slowly approaches it, and reaches his hand out, touching
it lightly. He pulls it back, and examines it for a moment.
He then takes a deep breath and touches the wall again.
With both hands, Peter applies more pressure this time, and
they stick. He hesitates a bit, but finally takes a deep
breath and begins to climb.
Slowly at first, but eventually he brings his feet up and
they stick as well.
Peter looks down in confusion, flicking and feeling of his
shoes. He removes one of them from the wall, and examines the
sole of it, as confused as ever.
He ponders this for a moment before shrugging it off.
PETER
Weird.
Peter looks around as he continues to climb slowly.
He reaches the top of the wall, nearly to the roof and stops,
looking down in amazement. He cautiously removes his hands,
and stares down at them once again.
Peter climbs over the wall, onto:
EXT. ROOFTOP - CONTINUOUS
He glances around at the view from the rooftop and grins. He
looks back down into the alley, still stunned.
Then smiles faintly.
FADE TO:
EXT. FOREST HILLS - SIDEWALK - DUSK - LATER
Peter walks briskly down the sidewalk, picking up his pace to
a run as he approaches his house.
Something catches his eye ahead though, and the grin quickly
fades. Peter stops dead in his tracks.
Parked outside his house are TWO POLICE CARS.
Peter takes off running toward the house.
INT. PARKER HOME - LIVING ROOM - CONTINUOUS
Peter rushes in through the door, and once again stops dead
in his tracks. Sitting on the couch is May, alongside three
OFFICERS, among them WILLIAM ROBERTSON, who consoles her.
May meets Peter's gaze, and we see tears in her eyes.
Peter is pale, and tears are building in his eyes as well.
William gets up from beside May, approaches Peter, and places
a comforting hand on his shoulder.
WILLIAM
Peter, I'm sorry.
Peter stares at him, not fully grasping what it is he's being
told. He looks once again at May, who is now openly weeping.
PETER
Uncle Ben...
Tears begin pouring down his face.
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN:
EXT. PARKER HOME - PORCH - LATE NIGHT
The porch light has been turned off, and Peter sits alone on
the steps, his chin resting on his knees. He has a blank
expression on his face, and doesn't even notice Mary Jane
approaching from the sidewalk.
She notices Peter as she nears, and stops a few feet from the
porch. She stands there, unsure of what to say.
MARY JANE
I didn't know if you'd still be up.
Peter looks up slowly, but his expression doesn't change.
PETER
Couldn't sleep.
Mary Jane walks slowly over to him. She places her hand on
his shoulder, and sits down beside him.
MARY JANE
I don't know what to say. I'm so
sorry, Peter. I wish there was
something I could do.
Peter looks over at her, still in a daze. He doesn't speak.
MARY JANE
Peter...
PETER
I know you're trying to help, but
I'm probably not very good company
right now.
Mary Jane nods understandingly.
MARY JANE
It's okay. I just came to... I
don't know why I came, actually.
She stands.
PETER
You don't have to go.
She stops, and sits back down. A long, tense few moments of
silence pass between the two. Neither knowing what to say.
PETER
He was just getting off work. The
guy didn't even give him a chance.
He took his wallet after...
Peter can't finish his sentence. He closes his eyes tightly,
trying to hide the tears that are beginning to form.
MARY JANE
It's okay, Peter. We don't have to
talk about it if you don't want to.
Peter turns back to face her, and we see that tears have
indeed formed in his eyes.
PETER
We were supposed to go camping,
after it cooled off some. He said
he was worried about me, that we
needed to spend some time together.
Mary Jane gently wipes away a tear from his cheek.
PETER
I know he'd never say it, but I let
him down. I know I did. It's just
not fair... he tried so hard.
MARY JANE
Peter, you've been through so much,
I know he understood that. He just
wanted you to be happy.
PETER
I know that now. I think I always
did, I just never cared. All I
wanted was for him to leave me
alone...
(beat, tears return)
Now it's too late.
Peter takes a deep breath as more tears roll down his face.
He looks down at the ground, away from Mary Jane, who appears
to be fighting back tears herself.
PETER
I feel like I'm being punished.
First my... parents, now Uncle Ben.
It's like no matter what happens,
I'm supposed to suffer.
Mary Jane puts her arm around him. He begins to pull away,
but stops. She hugs him around the neck. Peter fights them at
first, but after a moment, the tears begin to flow freely.
MARY JANE
We'll get through this, Peter.
We'll get through it, I promise.
Peter cries openly. He lies his head on Mary Jane's shoulder,
and continues to sob as a single tear flows down her cheek.
EXT. OSBORN RESIDENCE - NIGHT
In stark contrast to the modest homes of Queens, the Osborn
mansion towers before us. A large fence surrounds the house,
which is three stories tall, with a smaller fourth level
sitting atop the home. Several luxury cars are parked nearby.
ANGLE ON THE FENCE
As a PAIR OF HANDS grabs the entrance gate.
And RIPS it from its hinges!
INT. OSBORN RESIDENCE - FAMILY ROOM
The lights are off, and the room is empty. A large
grandfather clock tells us it's roughly 2:30 am. From a
nearby room we hear a loud CRACKING SOUND.
Suddenly, a large WOODEN DOOR flies into view, crashing into
the grandfather clock, splintering it into pieces.
Gargan steps into view, observing his surroundings. He finds
no one, then turns around toward the stairs.
Standing there in shock is KIM OSBORN.
KIM
Who... who are you?
In a split second, Gargan is standing in front of her and has
her by the throat, pressed against the wall.
GARGAN
Where's Norman?
KIM
(choking)
He's... not here.
GARGAN
You're lying!
Gargan tightens his grip, and Kim violently tries to escape,
but in vain. From behind, the sound of footsteps draws
Gargan's attention. He turns quickly and is greeted by the
sight of three SECURITY GUARDS, guns drawn and aimed at him.
LEAD SECURITY GUARD
Step away! Hands on your head!
Gargan steps away, but slowly, almost casually.
LEAD SECURITY GUARD
Stay where you are!
Gargan doesn't waste any time.
He moves quickly, grabbing the lead Guard and hurling him
across the room, where he crashes hard into the wall.
The other two guards fire a few shots, but Gargan is gone.
REVERSE ANGLE to reveal Gargan standing behind them.
He makes quick work of the Guards, grabbing their guns, and
tossing the men aside as easily as the lead.
He glances over at Kim, who is cowering in fear.
He walks past her, and is nearly out the broken door frame
when he notices something. Lying on the floor with so many
other forms of debris is a magazine. Fortune magazine.
On the cover is a picture of OsCorp Headquarters.
Gargan tears the magazine in half, tossing it to the floor.
He exits, leaving a trail of destruction in his wake.
Off the torn magazine cover:
FADE TO:
INT. PARKER HOME - LIVING ROOM
The door opens, and Peter enters from the porch. From the
redness in his eyes, it's obvious his conversation with Mary
Jane was mere moments ago.
On the couch, May is curled up clutching a blanket in her
arms. Though she is dead still, her eyes are open and she is
wide awake.
Peter slowly takes a seat beside her. He stares off into
space for a moment, not knowing where to even begin.
MAY
Is Mary still here?
PETER
She went home.
A long, tense silence.
PETER
Are you okay?
MAY
I... don't know. I will be... don't
worry about me.
She sits up, and grabs Peter's hand.
MAY
Ben wouldn't want us to sit around
moping. Life goes on.
PETER
Maybe it does, but not tonight.
May doesn't respond. She begins to cry, and pulls Peter in
close to her. Peter begins to tear up again himself.
They hug, and remain this way as we:
FADE TO:
BLACKNESS
FADE IN:
INT. PARKER HOME - LIVING ROOM - MORNING
Rays of sunlight now shine in through the windows. May is
once again curled up on the couch, but now asleep. We hear
the faint sound of an alarm clock going off.
May stirs a bit, and finally wakes. She sits up, but doesn't
make a move to do anything. She stares out the window at
nothing in particular. Lost in thought, she doesn't move.
The alarm clock continues buzzing, taking us to:
INT. PARKER HOME - PETER'S ROOM - CONTINUOUS
The source of the sound. Peter reaches over and cuts it off.
He lies in bed, still in the same clothes from the night
before. His eyes are wide open, and he clearly hasn't slept.
INT. PARKER HOME - LIVING ROOM - MOMENTS LATER
Peter makes his way down the stairs. May hears him coming,
and quickly wipes away her tears. Peter notices her, and they
share an awkward, knowing look.
PETER
Did you sleep?
MAY
A bit. You?
PETER
No.
May nods somberly.
MAY
You don't have to go to school if
you don't feel up to it.
Peter nods.
PETER
Okay.
MAY
If you need to talk...
PETER
I will. I Just... need time.
MAY
I'm always here.
May stands and brushes Peter's hair from in front of his
eyes. She hugs him, closing her eyes tightly.
MAY
I love you, Peter.
PETER
I love you too.
As they pull away, we see the tears are beginning to return
for May. She quickly wipes them away.
MAY
I better get dressed.
PETER
Dressed?
MAY
I have to go to OsCorp. Your
uncle's life insurance policy.
PETER
Isn't that a little...
MAY
Soon? The world doesn't stop for
one family, honey. It just doesn't
work that way.
PETER
You want me to come? You shouldn't
have to do that by yourself.
MAY
That's okay, sweetie, Will's
driving me. I'll be fine. You need
to try and get some sleep.
PETER
Aunt May...
MAY
Go on. Don't worry about me.
Peter looks unsure, but nods and heads back upstairs. May
watches, fighting back more tears.
INT. MIDTOWN HIGH - HALLWAYS
Hundreds of students crowd the hallway, moving from class to
class. Those that care, anyway. Mary Jane stands in front of
her locker, exchanging a few books.
Gwen approaches, a somber expression on her face.
GWEN
Hey.
MARY JANE
Hey.
GWEN
I heard what happened. Have you
seen him since...
MARY JANE
We talked last night. Probably best
to give him some space.
GWEN
Yeah, poor guy.
From down the hall, Eddie approaches.
He smiles, completely unaware of the situation.
EDDIE
Morning, ladies! Dressed to
impress, I see.
Gwen shakes her head somberly.
GWEN
Eddie...
EDDIE
(confused)
What's going on?
(realizes)
Where's Pete?
MARY JANE
He's not here.
(beat)
His Uncle... died last night.
Eddie's eyes widen as he realizes the truth.
EDDIE
Are you serious? Oh man... what
happened?
MARY JANE
He was...
(beat)
He was... murdered.
EDDIE
Oh man. Oh my God. Is Pete okay?
MARY JANE
He's taking it pretty hard.
EDDIE
I'm... sorry. I didn't know.
GWEN
I feel so bad for him. He's already
been through so much with his
parents and everything.
MARY JANE
Oh... so, he told you?
GWEN
Yeah, we talked the other day...
long story. The poor thing.
MARY JANE
It was rough. He hasn't been the
same since they died.
EDDIE
What do you mean?
MARY JANE
He just... changed. It's been nice
seeing him act like his old self
lately.
EDDIE
We should do something. Go talk to
him or call him, or...
GWEN
Give it time, Eddie. Trust me, the
last thing he needs right now is us
beating down his door. He'll come
to us when he's ready.
MARY JANE
(not convinced)
I hope you're right.
Off Mary Jane's uncertain expression:
INT. OSCORP - LOBBY
The familiar lobby, with a small crowd gathered.
May sits in a waiting area a few feet from the main desk.
Beside her is William Robertson, wearing civilian clothing.
WILLIAM
You don't have to do this, you
know. It can wait until after...
MAY
I need to. I don't want this to
drag on forever for Peter. It
happened with his parents... he
doesn't need that again.
WILLIAM
Maybe not, but the investigation
could. That's something you should
be prepared for.
MAY
Just keep Peter out of it. I'll
help any way I can, but he doesn't
need that.
WILLIAM
Right. How's he doing?
MAY
He's been quiet. I tried to talk to
him, but...
WILLIAM
Give him some time. He'll come
around.
MAY
I hope so.
WILLIAM
And you?
MAY
I'll be fine.
WILLIAM
Just like that?
MAY
I don't have a choice, Will.
WILLIAM
That doesn't mean you have to
pretend everything's fine. You have
the right to grieve.
May doesn't respond.
WILLIAM
Ben Parker was a good man. The
finest man I ever served with.
He'll...
William is interrupted when two SECURITY GUARDS come crashing
through the main entrance doors!
Everyone reacts as Gargan walks in behind them, dragging
another guard behind him in one hand, and carrying a gun in
the other! He is not in a good mood.
He crushes the gun in his hand, then tosses it aside. He
walks over to a nearby ATM machine, grabbing it and ripping
it from the wall. Sparks fly as Gargan lifts the machine...
And THROWS IT ACROSS THE ROOM where it CRASHES into the wall!
The room goes silent as everyone stares in awe at Gargan, and
his strength. He leaps up onto the main desk and speaks:
GARGAN
Don't bother trying to escape!
Nobody leaves until I see Osborn!
William quietly reaches for his gun, but glances over at May,
who has taken cover with several others under a nearby table.
He thinks better of it, and lets out a frustrated sigh.
GARGAN
Everyone against the wall! I don't
want this to get ugly, but believe
me when I say it can and will if I
don't get what I'm after!
WILLIAM
What do you want?
Gargan's head snaps around toward William.
WILLIAM
William Robertson, NYPD. Nobody
else needs to get hurt here, just
tell me what it is you're after and
we'll figure this out.
Gargan jumps down off of the desk, and comes face-to-face
with William, who while nervous, puts on a brave face.
GARGAN
Osborn.
Off a concerned William:
FADE OUT.
END OF ACT THREE
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Script created with Final Draft by Final Draft, Inc.