1.04
Script created with Final Draft by Final Draft, Inc.
[
previous
| bottom
]
EXT. QUEENS - STREETSIDE - AFTERNOON
Gwen and Mary Jane walk along the sidewalk.
GWEN
I saw the sketch you gave Peter. It
was really nice.
Mary Jane smiles.
MARY JANE
It was just something to try and
cheer him up.
GWEN
Oh, it worked. Eddie... well, you
know how his twisted mind works.
Mary Jane begins to blush. Gwen notices.
GWEN
Wait, is there something going on
there?
MARY JANE
What do you mean?
GWEN
I dunno, I just don't get you guys.
MARY JANE
There's nothing to get. We're
friends. We have been since
forever.
GWEN
Well yeah, but that was then.
MARY JANE
And...
GWEN
Things are different now.
MARY JANE
I just wanted to do something to
cheer him up, that's all.
GWEN
Yeah, well don't tell Indy. She's
already got her gossip hounds all
over you guys.
Mary Jane rolls her eyes.
MARY JANE
Wonderful.
They approach Gwen's house and stop.
GWEN
You wanna come in, watch a movie or
something? You've really gotta see
this plasma in action.
MARY JANE
Maybe later, I've got some trig to
finish up.
GWEN
Well, give me a call.
Mary Jane nods and continues on her way.
INT. GWEN'S HOUSE - LIVING ROOM - CONTINUOUS
Gwen steps in and closes the door behind her. She drops her
bag by the door, but before she can announce that she's home,
she begins to hear voices coming from another room.
BRIDGET (O.S.)
Nobody said it'd be easy.
JOHN (O.S.)
I know, but I can't help thinking
we might have moved too soon. Are
we really cut out for this sorta
thing? I just don't know.
Realizing they're coming from the kitchen, Gwen moves in
closer, approaching slowly so she won't be heard.
CUT TO:
INT. GWEN'S HOUSE - KITCHEN - CONTINUOUS
The discussion between JOHN AND BRIDGET MARSHALL continues.
The Marshalls are an attractive couple in their late
twenties. John's police badge sits on the table.
BRIDGET
It's never easy raising a teenager.
JOHN
I know that, but we had always
talked about going younger. I mean,
sometimes I wonder if we're doing
her more harm than good.
BRIDGET
We made the choice, John. We can't
back out now.
JOHN
I know, I know...
Letting out a sigh, John runs his fingers through his hair.
BRIDGET
We have to think about what's best
for her.
JOHN
Are we...?
They look at each other, unsure.
BACK TO:
INT. GWEN'S HOUSE - LIVING ROOM - CONTINUOUS
Gwen stands, her back pressed against the wall. She stares
ahead, a blank expression on her face.
INT. OSCORP - NORMAN'S OFFICE
Norman is on the phone, but does not look to be enjoying the
conversation very much.
NORMAN
Okay, but what am I supposed to do?
(listens)
We both know that's not true. Look,
go if you want, but you don't mean
what you're saying.
(listens again)
Who else would know?
Suddenly, the office doors burst open as ALISTAIR SMYTHE
enters. He appears to be near panic.
NORMAN
Ah, honey - I have to go. There's
an emergency here...
(listens, sighs)
Yes, I'm sorry. I have to go.
Norman hangs up the phone.
NORMAN
What is it?
SMYTHE
The samples. One of them has gone
missing.
Norman's eyes widen. He quickly stands.
NORMAN
Missing?!
SMYTHE
I don't know how or when, but it's
gone.
NORMAN
They were under lock and key! Under
guard! How could anyone get in?
SMYTHE
I... I don't know.
NORMAN
He did it. That son of a bitch.
SMYTHE
Fisk?
NORMAN
Who else? There's no one else brash
enough - crazy enough - to try!
SMYTHE
Maybe it was someone else. Doctor
Stromm, perhaps?
NORMAN
He wanted to continue his research,
but he wouldn't go this far.
Norman turns to face the large office windows.
NORMAN
It's Fisk. He's got the serum...
(beat)
God only knows what he'll do with
it.
Smythe glares at Norman from behind as we:
FADE TO:
INT. PARKER HOME - PETER'S ROOM
Peter sits at his desk, a stack of books beside him open, but
he doesn't seem to be paying them much attention. Instead,
his focus is on the two web shooters in front of him.
He presses the trigger, and a stream of webbing shoots out.
There's a knock at the door, and Peter quickly covers them.
PETER
Come in.
May enters.
PETER
Working late again?
MAY
No... actually, I just got home
from the police station.
May kneels down to Peter's eye level.
MAY
Peter, they think they have him.
Your uncle's killer, they know who
he is.
Peter doesn't respond.
MAY
We'll have justice, Peter.
Peter looks away. He doesn't really want to hear it.
MAY
God has his plan, Peter. We can't
always see it, but it's there.
PETER
I don't think God has anything to
do with this, Aunt May. Unless his
plan is to make my life miserable.
(beat)
I think I'll find my own way.
May nods with a frown.
MAY
You're strong, Peter. You'll do
what's right. I know it.
She gives Peter a kiss on the cheek, then exits.
Peter turns back and looks down at the web shooters.
PETER
What's right...
He walks to the closet, pulling out his sweater and ski mask.
INT. GWEN'S HOUSE - GWEN'S ROOM
The room is sparsely decorated. A few knickknacks here and
there, but nothing to draw our attention away from the plain
white walls, and matching sheets.
Gwen sits on her bed with a pair of headphones on.
Bridget peaks her head into the room, grabbing Gwen's
attention as she removes her headphones.
BRIDGET
Can I come in?
GWEN
Sure.
Bridget enters and sits on the edge of the bed.
BRIDGET
You seemed so quiet at dinner. I
thought something might be wrong.
GWEN
I'm fine, just school stuff.
BRIDGET
Are you sure? Because if there's
anything on your mind, I hope you
know you can talk to me.
Gwen looks her in the eye. For a brief moment, she appears to
consider actually doing so, but instead:
GWEN
Just had a rough day at school.
BRIDGET
It happens. I'd know. Believe it or
not, it hasn't been that long since
I was there.
An awkward silence as Bridget tries to think of something to
talk about. Gwen seems to be content with the silence.
BRIDGET
So... did you talk to Eddie today?
Gwen can't help but to laugh.
GWEN
Eddie...
BRIDGET
He seems like a nice guy.
(smiles, winks)
Cute, too.
GWEN
He's just... well, he's Eddie.
BRIDGET
Uh-oh. I've heard that one before.
GWEN
I don't think you guys have
anything to worry about there.
BRIDGET
Why would we be worried? We want
you to have fun - to be happy.
GWEN
Good to know.
BRIDGET
Are you sure everything's okay?
Gwen hesitates, then:
GWEN
Yeah, everything's fine. I think I
just need to get some sleep.
BRIDGET
Alright then...
Bridget gets up and walks over to the door. Before leaving,
she turns back and smiles.
BRIDGET
Good night.
GWEN
Night.
Bridget leaves, closing the door behind her.
Gwen exhales in disappointment. She puts her headphones on
and flops backwards onto the bed.
EXT. ROOFTOP - QUEENS - NIGHT
Peter is perched up on the top of a ten story building,
wearing his make-shift costume. His eyes are focused and
intent as he watches over a hole-in-the-wall bar with a dimly
lit sign that simply say's 'Mark's Tavern.'
He is unmoving as TWO MEN walk out onto the sidewalk.
PETER
Where are you...?
He watches for a few more moments, then stands slowly. He
fires a strand of webbing across the street.
Peter takes a deep breath and swings over, missing his mark
and starting the upward motion. He quickly lets go then lands
rather gracefully on the roof of the bar.
INT. MARK'S TAVERN
It's a slum of a bar. There are a few dirty chairs around
three or four tables, and a long bar with an assortment of
alcohol behind it. A juke box plays some faint Johnny Cash in
the background. A hand full of PATRONS have gathered.
The large BARTENDER stands behind the bar, chatting with
another MAN in a leather jacket, with a mug in his hand.
Peter enters, drawing everyone's attention.
BAR PATRON 1
What is this?
PAN AROUND to see Peter standing in the doorway. He takes a
few steps forward as the Bartender stands up.
BARTENDER
Is it Halloween already?
Peter continues forward, the other men in the bar are now at
full attention, but Peter seems to be paying them no mind.
BAR PATRON 1
You looking for trouble, freak?
PETER
I'm looking for Dennis Carradine.
Everyone in the bar now stands up and begins to approach
Peter. The Bartender pulls out a sawed off baseball bat.
BARTENDER
What business you got with Dennis?
Peter is now surrounded.
PETER
Just tell me where he is and nobody
has to get hurt.
Everyone laughs.
ANGLE ON THE BARTENDER'S EYES
As the sound of the web shooters is heard, followed by shouts
and the sounds of punches, kicks, and breaking glass.
His eyes become wider and wider as, one after another, we
hear loud thumps against the ground.
BACK TO SCENE as the Bartender stands, frozen in fear, the
bat still in his hands. Webbing suddenly sprays it, and it's
pulled away.
PAN AROUND to see Peter standing over the various patrons,
who are now spread across the floor, unconscious.
Peter drops the bat and LEAPS into the air, landing on the
bar, in front of the Bartender. He grabs him by his shirt and
lifts him up to eye level.
PETER
Where is he?
Off the Bartender's terrified face:
EXT. MOTEL - NIGHT - LATER
It's dark, and hard to make out Peter as he crawls along the
side of the small, two-story building. He stops, looks into
one room, then opens the window.
INT. MOTEL ROOM - CONTINUOUS
It's a run down room that could barely be considered livable.
There is no light as Peter climbs in. He slowly and softly
steps down onto the carpet and looks around.
PETER
This place should be condemned.
He looks around a bit more, then walks over to a dresser. He
pulls a drawer open and flips through some clothes.
He closes the drawer, then opens another.
He finds a dozen or so wallets inside.
PETER
Jackpot.
He picks up a wallet and opens it. He examines it, then puts
it back into the drawer. He repeats this two more times
before picking up a familiar, red and black wallet.
He opens it, and his eyes go wide with shock.
PETER
No...
ANGLE ON THE WALLET
Containing Peter's ID!
FLASH TO:
EXT. QUEENS STREET - DUSK - FLASHBACK
Flashback to "Curses."
THUG #1
I told you to watch your mouth
punk. Around here, we got ways of
shuttin' it for you.
The Thug flashes a GUN stuffed into his belt. Peter glances
down at the gun, then up at his face. He's clearly nervous.
PETER
Just let me pass. What do you want,
my money? Here...
Peter takes out his wallet and throws it on the ground. THE
SECOND THUG picks it up and looks inside.
BACK TO:
INT. MOTEL ROOM
Peter stares at the wallet in shock.
Off his stunned reaction:
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN:
INT. MIDTOWN HIGH - CAFETERIA
The students have gathered for lunch. We spot Gwen in the
middle of the crowd, but unlike everyone else she's moping
along slowly with her head down.
Eddie walks up beside her, carrying his lunch.
EDDIE
Okay, so I've been thinking about
what we were talking about and it
turns out... I'm still right.
Gwen doesn't pay him much mind, and keeps walking.
GWEN
Uh-huh.
EDDIE
So, you are willing to admit
defeat?
GWEN
You win, Eddie.
Eddie smiles, but it fades when he notices Gwen's demeanor.
EDDIE
Well, there is a consolation prize
for the loser!
GWEN
Great.
EDDIE
You better believe it is! An all
expenses paid night on the town
with yours truly!
He smiles and strikes a corny Superman pose, but Gwen ignores
him. He drops his arms and frowns.
EDDIE
You okay?
She doesn't respond.
EDDIE
Hey, come on. I was just messing
around.
Still nothing.
EDDIE
Gwen?
GWEN
I gotta' go.
Eddie looks on, confused and concerned, as she walks away,
heading toward a nearby vending machine. Eddie walks over to
a table where Mary Jane is seated, and sits down.
EDDIE
Where's Pete?
MARY JANE
I haven't seen him today. Must have
stayed home.
He takes a big bite out of his lunch and shakes his head.
EDDIE
You people...
MARY JANE
We 'people?'
Eddie takes another huge bite and nods.
EDDIE
Watch...
He thumbs over his shoulder. Mary Jane looks past and sees
Gwen walking in their direction, a small bag in her hand.
Eddie looks over his shoulder as she passes.
EDDIE
No veggies today?
Gwen ignores him and walks right past the table. They watch
as she exits into the courtyard outside.
EDDIE
You people.
Mary Jane frowns and grabs her bag.
MARY JANE
Well, I'm going to go find out what
was up with that.
EDDIE
Seriously, no smile, no punches,
nothing.
Mary Jane smiles sarcastically at him as she stands.
MARY JANE
I'll go see what's wrong and re
tame her for you then, big guy.
EDDIE
Would you? That'd be awesome!
Mary Jane rolls her eyes, walks off and exits.
EXT. MIDTOWN HIGH - COURTYARD - AFTERNOON
Outside, several students have gathered. Mary Jane exits the
cafeteria and looks around for a moment, searching.
She spots Gwen sitting on a bench alone.
MARY JANE
Gwen?
She sits down next to her, but Gwen doesn't acknowledge her.
MARY JANE
Everything okay?
GWEN
(quickly)
I'm fine.
Mary Jane doesn't buy it.
MARY JANE
Come on, I haven't known you that
long, but it doesn't take a genius
to figure out you're down about
something.
GWEN
I'll manage.
MARY JANE
Maybe, but...
GWEN
Look, I know you're trying to help,
but will you guys please just leave
me the hell alone?
Mary Jane is silent, and a little shocked.
MARY JANE
Gwen, I...
GWEN
Okay?
MARY JANE
(hesitates)
Okay...
Gwen quickly stands and walks back inside.
Off a stunned Mary Jane:
FADE TO:
EXT. NEW YORK CITY - RESTAURANT - AFTERNOON
Robbie sits at a table with his father, WILLIAM.
WILLIAM
We should do this more often.
Robbie nods.
WILLIAM
How's school?
ROBBIE
I'm adjusting. How's work?
WILLIAM
You know, the usual.
Robbie nods and takes a bite of his food.
WILLIAM
Why do I get the feeling you didn't
ask me here for idle chit-chat?
Robbie stops chewing, and looks William in the eye.
ROBBIE
The Parker report. When were you
planning on telling me?
WILLIAM
Is this my son asking, or is this
on the record?
ROBBIE
Did you tell May? Does she know?
WILLIAM
Of course I told her.
ROBBIE
But not me? Do you have idea how it
feels to learn about something like
this from my bosses secretary?
William shakes his head.
WILLIAM
Robbie... I can't talk about this.
You know how it works. Do you have
any idea how many people are killed
in this city? In a day? In a month?
ROBBIE
We both know this is different.
WILLIAM
They're all different to someone,
son. Ben was my best friend. My
best friend, but I have to distance
myself from this, be professional.
ROBBIE
Don't you think I know that? This
isn't about being professional,
it's about trusting your son.
WILLIAM
I think we both know what this is
about, and it has nothing to do
with trust. You want to make it in
journalism, fine. But you're going
to make it on your own steam. I'm
not going to be your exclusive
source for every case that comes
across my desk. If it were up to me
the information would have never
been released, but hey - I don't
make the rules.
ROBBIE
So that's it?
William eyes Robbie for a moment then wipes his mouth and
puts his napkin down, and stands up.
WILLIAM
Thank you for lunch, Mister
Robertson. I'll contact your people
when we have an update.
William turns and walks away, leaving Robbie at the table
alone. Robbie throws his napkin down in disgust.
INT. OSCORP - RESEARCH LAB
The lights are dimmed, and everything has been put away.
Doctor Conners is about to exit when Norman enters.
CONNERS
Norman. I was just on my way home.
NORMAN
(getting to the point)
Can you develop a counter-agent to
the serum?
Conners looks at him in confusion.
CONNERS
A counter-agent?
NORMAN
Something to reverse its effects.
CONNERS
We haven't even properly developed
the serum itself. Developing a
counter-agent would be next to
impossible.
NORMAN
Could you develop one based on the
current formula?
CONNERS
What's this all about?
NORMAN
Imagine what would happen if the
serum were to fall into the wrong
hands. Imagine the danger that
could pose without a counter-agent
available to us.
CONNERS
Do you have reason to believe
that's going to be a problem?
Norman hesitates.
NORMAN
Just covering all bases. I assure
you Major Trest would do the same.
CONNERS
A precaution, then?
NORMAN
You could say that.
CONNERS
I just don't under...
NORMAN
Can you, or can't you?
Conners is taken back by Norman's tone.
CONNERS
Well... yes, I suppose I could try.
NORMAN
Try is a word you'll find has
little meaning here.
Norman turns and quickly exits, leaving a baffled Conners.
FADE TO:
[
top
| previous
| next
]
Script created with Final Draft by Final Draft, Inc.