111
Script created with Final Draft by Final Draft, Inc.
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TEASER
OVER BLACK:
VOICE (O.S.)
GIVE ME THE MONEY!
(beat)
In the bag! IN the bag!
CUT TO:
INT. LIQUOR STORE
It's a nice store with shelves lined with hundreds, if not
thousands of bottles of liquor. A few people are present, the
types who are just stopping by after a long day at work for a
little something to take the edge off.
But their hands are extended into the air. Standing before
them is a young thug wearing a ski mask.
We'll call him KENNEDY.
Sweat pours down his face as he wipes his brow quickly,
nervously, frantically moving the gun back and forth from the
CLERK to the customers.
The clerk is stuffing money into a large paper sack, trying
not to agitate Kennedy anymore than he is.
KENNEDY
Hurry! Quit screwing around!
The clerk puts the rest of the money into the bag and hands
it over. Kennedy snatches it away and hurries out the door.
The clerk and customers breathe a long sigh of relief.
EXT. QUEENS - SIDE WALK - AFTERNOON
Kennedy is barrelling through people, knocking them over and
pushing them into buildings.
Suddenly he's JERKED backwards, into the air. He drops the
gun but holds onto the bag of money. He starts screaming as
he's slowly pulled upwards.
ROBBER
Oh God! Not this!
He looks up to see to big WHITE EYES in his face. He screams
as our VIEW WIDENS TO REVEAL that he's about ten stories up,
with SPIDER-MAN holding him by a strand of webbing.
SPIDER-MAN
Is that yours?
Kennedy can't stop screaming. Spider-Man raises his hand and
lets out a quick burst of webbing, covering his mouth.
SPIDER-MAN
Now, is that yours?
He finally calms a little bit and shakes his head.
SPIDER-MAN
(sighs)
Stealing is bad, dude. Didn't you
ever watch Sesame Street?
Kennedy stares at him, wide-eyed.
SPIDER-MAN
Well you're going to return it and
apologize. Then I'm going to drop
you off on the roof of the police
station. I have some place to be.
Spider-Man hoists him onto his shoulder just as his watch
starts to beep. He pulls up his sleeve and notes the time.
SPIDER-MAN
Scratch that. You're gonna have to
come with me...
Spidey fires a burst of webbing off-panel, then leaps into
the air, and finally swinging out of view.
EXT. BAXTER BUILDING - ROOFTOP
Overlooking the city we find NICK FURY, standing alone, a lit
cigar in his mouth. The wind blows, kicking up his jacket
behind him. He stares ahead calmly as Spider-Man swings into
frame, Kennedy still slung over his shoulder.
He lands on the roof.
FURY
You're late.
SPIDER-MAN
Got tied up... tying someone...
(Fury glares)
Up...
FURY
(re: Kennedy)
What's this?
Spider-Man drops Kennedy, who looks as freaked-out as ever.
Spidey quickly webs his hands and feet together.
SPIDER-MAN
You said turn in everyone I caught.
Fury uses his boot to examine Kennedy.
FURY
I didn't mean petty thieves.
SPIDER-MAN
Potato, potato.
(beat)
Alright, so can I go now? I'm here,
your here, I'm fine. No evil
mutants running around blowing
things up...
FURY
No.
SPIDER-MAN
Um... no?
FURY
Not today. You'll recall one of the
conditions for your release was
that you agree to undergo a psych
evaluation. Well, today's the day.
SPIDER-MAN
You can't be serious...
(re: Kennedy)
What about him?
FURY
My agents will take care of him.
Kennedy's eyes widen at the sound of this. Fury motions
toward a nearby door, which leads inside the building.
FURY
You know the way...
Spider-Man shakes his head in annoyance as we:
CUT TO:
INT. WATSON RESIDENCE - LIVING ROOM
CRAIG WATSON sits on his couch, looking rather nervous. He's
dressed in dark shaded clothing, and looks up as ROBBIE
passes in front of him, wearing a similar outfit.
CRAIG
We're absolutely crazy, you know
that right?
Craig looks to his left, at a coffee table containing a
collection of surveillance equipment.
ROBBIE
Yeah, I get that. We're some kind
of major crazy.
CRAIG
Where did you get all of this stuff
anyway?
ROBBIE
It's a loan from some friends at
the Bugle, so we gotta bring it
back. All of it. In one piece.
Craig picks up a camera.
CRAIG
Oh, I figured that much. I just
hope this doesn't turn into an
episode of the Sopranos.
ROBBIE
Don't worry so much, it'll be fine.
CRAIG
You've been investigating this guy
for months without any leads. You
really think we can catch him in
the act? I mean, how can someone so
dirty be so clean?
Robbie picks up a camera and straps it to his chest.
ROBBIE
They can't. That's why we're gonna
take this guy down.
Craig doesn't look quite so convinced.
CRAIG
I hope you're right...
CUT TO:
INT. WATSON RESIDENCE - HALLWAY
Just outside the living room, MARY JANE listens quietly, just
out of sight of Craig and Robbie.
Off her confused, concerned expression:
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
INT. BAXTER BUILDING - HALLWAY
A SOLDIER walks down the hallway, a small canvas bag slung
over his shoulder. He comes to an intersection and breaks
left. He walks with a sure step, his face and stature causes
those who share the hall with him to part and make way.
He takes sharp turn and reassures his grip. After another
turn he comes to a DEAD END. A door without a handle,
containing just a keypad, which he punches a code into.
There's a hiss and the door slides opens.
INT. BAXTER BUILDING - OFFICE
The soldier enters into a large, spacious office with a
single desk, two chairs, and a small black couch in the
center. The outside wall is one continuous row of glass
panes, giving us a breathtaking view of the city.
Fury sits behind the desk, stiff smoking a cigar. Hanging in
front of him from the ceiling, Spider-Man waves at the
soldier as we approaches.
SPIDER-MAN
Howdy.
FURY
Do you have it?
The soldier hesitates for a moment, then places the bag on
the table, pulling out another, smaller paper bag.
It's a take-out bag from Dante's.
SPIDER-MAN
Dante's. Sweet.
He drops from the ceiling and tears into the bag. He goes to
remove his mask, but hesitates.
FURY
Is there a problem?
SPIDER-MAN
This is kind of a private moment.
Fury looks to the soldier.
FURY
You're dismissed.
The soldier salutes and exits. Spidey removes his mask,
revealing a hungry Peter. He takes a big bite.
PETER
(full mouth)
God, I'm starving.
Fury smiles slightly. Peter cocks an eyebrow.
PETER
Is that a smile I see?
What little smile there was fades.
FURY
No.
(then)
Has your appetite always been this
aggressive?
Peter shakes his head as he swallows another large bite.
PETER
Nope. After I got my abilities, my
appetite just kinda skyrocketed. No
matter how much I eat, I'm always
hungry. My metabolism is crazy.
Fury nods as the doors slides open. In enters a tall man with
a slight beard. He wears simple clothes, and has a dignified
feel about him. This is DOCTOR STEPHEN "STRANGE" VINCENTI.
VINCENTI
Hello.
Peter takes another bite and chews slowly as he looks at
Vincenti. Fury greets him with a handshake.
VINCENTI
Am I late?
FURY
Right on time, actually.
(to Peter)
This is Doctor Stephen Vincenti.
He'll be conducting your exam.
Vincenti extends his hand, which Peter shakes slowly.
VINCENTI
You can call me Stephen. Or Doctor
Strange if you like.
(off Peter's look)
It's a professional nickname. You
must be the infamous Spider-Man.
PETER
How'd you guess?
(then)
Infamous? Is that what they're
calling me now?
VINCENTI
(grins)
Among other things.
PETER
Touche.
FURY
Shall we get started?
VINCENTI
Actually, this is going to be a
private session.
FURY
Excuse me?
VINCENTI
Is that going to be a problem?
FURY
The stipulations are that the
session is monitored at all times
by an agent of SHIELD.
VINCENTI
When you asked me to conduct this
session, I assumed you knew it was
under the same arrangement as my
other... cases. Now if you're
looking for someone to look the
other way while you record this
boy's every move...
(grabs his briefcase)
You've come to the wrong man.
Fury stares at him, looking annoyed.
FURY
(after a beat)
Very well.
(beat)
I want a full report.
VINCENTI
If by full you mean my opinion as
licensed psychiatrist on the mental
health of the patient, then you'll
get it. Don't worry.
Fury turns his attention back to Peter, who waves rapidly.
Fury shakes his head and turns back to Vincenti.
FURY
Good luck.
Fury takes one last dirty look at Vincenti, then exits.
PETER
How'd you do that?
VINCENTI
Do what?
PETER
Dude, you owned him.
Vincenti grins, taps his head.
VINCENTI
All about perception.
(motions to couch)
Shall we begin?
Off an intrigued Peter:
FADE TO:
EXT. BISTRO - DAY
PAN DOWN the face of a large building and we find a nice
outdoor BISTRO. About a dozen or so tables are sitting empty
with only one occupied. Occupied by WILSON FISK.
Sitting across from him is his bodyguard, SOLOMON. Fisk takes
a fork full of his meal as they continue their conversation.
SOLOMON
The cooks want to know if you liked
the preparation.
Fisk nods, gives a thumbs up.
FISK
It was as expected.
SOLOMON
The ingredients?
Fisk nods again, taking another mouthful of his food.
SOLOMON
I just got off the phone with
Joseph. The Chess Club's in town.
Fisk stops briefly, taken off guard.
FISK
I see.
(beat)
What of the Renaissance fair? Is
everything shaping up nicely?
Solomon looks away, dreading his answer.
SOLOMON
It's stalled. Looks like we're
going to miss our target date.
Fisk looks angry, but hides it as best he can.
CUT TO:
INT. VAN - BACK
Craig and Robbie are sitting in the back of the van with
headphones pressed to their ears. Craig throws his down in
frustration.
CRAIG
That's it! I can't take anymore!
Robbie takes his headphones off and sets them down.
CRAIG
Son of a bitch is speaking in code.
ROBBIE
Maybe he really likes Italian food,
chess, and frilly shirts.
Craig shoots him a glare, but seems to relax a bit.
ROBBIE
Maybe we're going about this the
wrong way...
CRAIG
What do you mean?
ROBBIE
A guy like Fisk isn't going to slip
up in public, throw around his
business dealings for anyone to
hear. We've been trailing him for
two days, there are others who have
probably been doing this longer and
still have nothing.
CRAIG
Where the hell is Castle when you
need him?
ROBBIE
I won't even try to understand what
goes on in that guy's head.
Besides, from the looks of things
Fisk doesn't get out much.
CRAIG
I guess it was a little naive to
think we could catch him in the act
with an old van and a tape deck.
Robbie is about to reply, but is interrupted by Craig's cell
phone ringing. Craig glances at the caller id, then looks
back at Robbie nervously. Slowly, he answers:
CRAIG
Hello?
FISK
(filtered; through phone)
Long time, no see, Craig. I had
hoped you would have contacted me
before now. Reconsidered, perhaps.
CUT TO:
EXT. BISTRO - DAY
Fisk and Solomon walk away from the bistro, toward the
parking lot with a purpose.
CRAIG
(filtered; through phone)
I thought I made myself clear.
BACK TO:
INT. VAN - BACK
Craig activates the phone's speaker, so that Robbie can hear.
FISK
You made yourself quite clear in
that regard, it's what you weren't
so clear about that concerns me.
Craig and Robbie share a knowing look.
CRAIG
I don't follow.
FISK
I know, Craig. I know what you
know, about the true nature of my
business dealings.
Craig doesn't respond, spooked.
FISK
What I'm not as clear on is how you
came across this knowledge. I think
we need to arrange a meeting, you
and I. To clear a few things up.
CRAIG
I... I'm kinda busy right now.
Suddenly, the back doors of the van are slung open. Waiting
on the other side are Fisk and Solomon!
FISK
Is all this really necessary?
Robbie and Craig JUMP back, startled. Solomon grabs their
tape recorders, SMASHING them together. He pockets the tapes.
FISK
I would like to think we can come
to an arrangement on this matter.
Do business as men, rather than...
(glances around the van)
Resorting to espionage.
CRAIG
How did you...?
FISK
You'll find there is very little
that gets past me.
Fisk looks over Craig's shoulder, at Robbie.
FISK
But you... you seem to have done
just that. I'm afraid I have no
idea who you are.
ROBBIE
Do you really expect me to tell
you?
Fisk laughs.
FISK
No, of course not. It's not
important, I'm sure with a bit of
research the information will come
to me. The more important question
is: why have you been following me?
Robbie doesn't reply.
FISK
You've put me in a difficult
position, the both of you. I'm sure
you know by now how I usually deal
with security issues such as this,
but I don't imagine my former
lawyer disappearing so soon after
resigning would do me any favors.
Craig and Robbie exchange another, concerned glance. Fisk
reaches into his pocket, pulling out a slip of paper, which
he hands to a nervous Craig.
CRAIG
What's this?
FISK
Your way out.
(beat)
I'm prepared to pay for your
silence. The amount is there. As
for your friend here...
(glares at Robbie)
I'm sure you can convince him it's
in his best interest to keep quiet,
because let me assure you, it is.
Craig looks down at the paper, reading the amount.
FISK
Meet me at my office, tonight at
eight. I expect an answer by then.
Fisk walks away. Solomon shuts the van doors, then follows.
Off Craig's conflicted face:
FADE TO:
INT. BAXTER BUILDING - OFFICE
Vincenti sits in his chair, taking notes. Peter isn't on the
couch, though. He's hanging upside down from the ceiling.
VINCENTI
An ice creme truck? Really?
PETER
And three guns. It was crazy.
Vincenti takes a few more notes. After a beat:
VINCENTI
Why do you do that?
PETER
Do what?
VINCENTI
Hang upside down like that. It
can't be comfortable.
PETER
You'd be surprised. It's relaxing.
Plus, it feels... natural.
(beat)
It's hard to explain.
VINCENTI
I see.
PETER
This isn't going to be one of those
"how does that make you feel" type
of things, is it? Because,
seriously, been there, done that.
VINCENTI
I'm aware of that. But to answer
your question, no. That's not what
they want today. This is about your
mental state.
Peter nods, flips down from the ceiling and takes a seat on
the couch, kicking his feet up.
PETER
So... Doctor Strange, huh? How'd
you get that one? I'm guessing your
parents were kind enough to you not
to endow you with that one.
VINCENTI
I do a lot of work with the
paranormal. Extra-sensory
perception, astral projection, that
sort of thing. The name stuck.
PETER
So you're a... ghostbuster?
VINCENTI
(grins)
In a manner of speaking, yes.
(then)
But enough about me. Tell me about
yourself. That is why we're here.
PETER
What about me?
VINCENTI
Whatever you feel comfortable
talking about. Your childhood,
perhaps. What was life like for the
future wall-crawler?
Peter grimaces.
PETER
I'm not big on flashbacks,
actually. My childhood wasn't
exactly black and white.
VINCENTI
Surely there must be something
pleasant that stands out.
(smiles)
Happy memories.
Peter considers.
PETER
Maybe a few... before.
VINCENTI
I'm all ears.
Off Peter's uncertain reaction:
DISSOLVE TO:
EXT. ROCKAWAY BEACH - DAY - FLASHBACK
The sun shines overhead as the waves crash along the beach.
The picture of perfection, sparkling water, waves and all.
The beach isn't crowded, but there are a few people, and
groups of people present along various points along the
shore. Near the edge of the water, two young children are
digging in the sand.
An older boy watches over them, 10 YEAR OLD ROBBIE. The
younger kids are, of course, PETER and MARY JANE, age SEVEN.
Peter stares out at the water. He wears a pair of swim
trunks. In his hands are two small plastic sand buckets. He
drops one of the buckets, and shields his eyes.
PETER
Is that a shark?
Mary Jane looks out onto the water.
MARY JANE
Shark's don't live out here!
PETER
Yes, they do.
Mary Jane doesn't dwell on it, remembering what they were
doing. She reaches for a castle-shaped container filled with
sand, and sets the foundation of a crude sand castle.
PETER
It looks funny.
MARY JANE
It's not done, silly!
PETER
How big will it be?
Mary Jane considers this for a moment.
MARY JANE
Bigger than your tree house!
PETER
My dad's not done with it yet!
MARY JANE
No duh. He should let your uncle
Ben do it. He's good at building
stuff. He should...
The scene FREEZES.
VINCENTI (O.S.)
Let me stop you for a second...
CUT TO:
INT. BAXTER BUILDING - OFFICE
Vincenti drops his notepad for a moment, observing Peter.
PETER
Wrong memory?
Vincenti chuckles a bit.
VINCENTI
I'm just curious... why this
particular memory?
PETER
You asked me to pick one.
VINCENTI
Yes, and you chose one prior to
your parents death.
PETER
Is that a problem?
VINCENTI
No, I'm just curious why you would
choose a memory without them in it.
Peter considers this, not really understanding himself.
PETER
Is this where you ask me how I
feel?
VINCENTI
Do you want to tell me how you
feel?
Peter looks down for a moment.
VINCENTI
Tell me about this...
(reads notes)
Mary Jane.
Peter's head snaps up. Vincenti notices.
He makes note of this on his pad as we:
FADE OUT.
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.