113
Script created with Final Draft by Final Draft, Inc.
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TEASER
FADE IN:
EXT. WATSON HOME - EARLY MORNING
The familiar Watson home, with Robbie's Jeep parked in the
driveway. It's light out, but the sun isn't quite up yet.
INT. WATSON HOME - LIVING ROOM
ANGLE ON A PAIR OF WALKING FEET
They stop for a moment, then turn and walk in the opposite
direction. PAN UP to reveal CRAIG WATSON, pacing back and
forth frantically, an expression of panic on his face.
CRAIG
(frantic)
It's my fault. I did this. What are
we going to do now?
Our VIEW WIDENS TO REVEAL the rest of the room. KATHERINE
WATSON is also present, sitting on the edge of the couch with
her head hung low, and tears filling her eyes.
Sitting beside her is ROBBIE, and beside him PETER. They both
look as concerned as the Watsons.
Robbie stands and walks into Craig's path.
CRAIG
What are we going to do? There's no
telling what he'll do to her.
Robbie places a hand on his shoulder.
ROBBIE
Relax. We'll find out where she is,
and we'll get her back. Safe.
KATHERINE
Relax? How can we relax when that
psychopath has our daughter?!
Robbie looks back at her, but has no adequate response.
CRAIG
It didn't have to be this way. If I
would have just taken the money...
ROBBIE
You did what you had to do. What
was right. Don't beat yourself up
over this, it's not your fault.
KATHERINE
I knew something like this would
happen. You had to keep on rattling
those cages, didn't you?!
Craig faces her, but can't argue with what she's said.
PETER
Robbie's right. We don't have time
for this. We have to find her.
KATHERINE
How? He could have taken her
anywhere.
ROBBIE
I'll see what I can dig up at the
Bugle. They keep property records,
and I'm betting wherever she is,
it's got Fisk's name on the deed.
CRAIG
And then what, call the police?
This man owns the police!
Peter's expression hardens.
PETER
Maybe, but not everyone's for sale.
Off his determined expression:
FADE TO:
INT. THE BUILDING - DARK ROOM
The lights are off, and everything is dark.
A BRIGHT FLASH goes off as the lights are raised,
illuminating the room. It appears to be - or to have once
been - an office of some sort. Empty boxes fill the room.
Tied to a chair in the middle of the room is MARY JANE. She's
bound by her hands and feet and has a strip of tape over her
mouth, but doesn't appear to have been harmed physically.
FISK (O.S.)
Good morning, my dear.
WILSON FISK enters, followed by SOLOMON and several THUGS.
Mary Jane glares at him as he approaches and kneels down in
front of her. He grabs the tape and slowly peels it off.
FISK
Mary Jane, isn't it? Such a lovely
name.
Mary Jane finally realizes.
MARY JANE
You.
FISK
(smiles)
You recognize me. Good. Memory is
such a subjective thing though,
don't you think? Do you know who I
am?
MARY JANE
My dad worked for you.
FISK
And dad made a very hasty decision,
one I'm sure he now regrets.
MARY JANE
Why am I here?
FISK
You must understand, this isn't
what I wanted. Had your father
simply been more reasonable...
MARY JANE
What do you want with me?
FISK
Everyone needs a reminder every now
and then. A wake-up call. Your
father needs one now, and I'm going
to provide that for him.
Fisk snaps his fingers, and one of the Thugs hands him a
bottle of water. He opens it and holds it up to Mary Jane.
FISK
Would you like something to drink?
She doesn't immediately respond, glaring at Fisk hard.
MARY JANE
Go to hell.
Fisk sighs and nods.
FISK
Soon enough, but right now, I have
business to attend to.
He sets the bottle down just beside her feet, then nods to
Solomon, who places another strip of tape over her mouth.
Mary Jane struggles to protest, but her voice is muffled by
the tape. Fisk stands, looking down at her with a smirk.
FISK
You are your father's daughter,
aren't you? Fighters, you Watsons.
Fisk begins to exit...
EXT. ALLEYWAY - MORNING
The sun has now risen, but our primary focus is on a familiar
BLACK VAN parked in the alley. We move toward the back door:
INT. BLACK VAN
In the back of the van, a man sits with a small listening
device pressed to his ear. We recognize him as one of
Schultz's men from the previous episode; SHERMAN BONNER.
FISK
(filtered; through radio)
Keep an eye on her. Nobody gets in,
nobody gets out.
We hear the filtered sound of a door slamming. Bonner
continues to listen, but his attention is soon drawn by a
ringing cell phone at his side, which he answers.
BONNER
Go ahead.
INT. OSCORP - NORMAN'S OFFICE
Standing near the window is HERMAN SCHULTZ, the phone pressed
to his ear, and a deadly serious look on his face.
SCHULTZ
Anything?
INTERCUT BETWEEN SCHULTZ AND BONNER.
BONNER
I don't know what we've stepped
into here, boss.
SCHULTZ
What's up?
BONNER
I mean the girl from last night.
He's holding her here, some kinda
beef with her old man or something.
Schultz doesn't miss a beat.
SCHULTZ
Not our problem. What's the
security look like?
BONNER
For a guy that doesn't believe in
security, he sure is paranoid about
something. I'm figuring at least
eight guys on the upper floors,
plus that gorilla bodyguard of his.
SCHULTZ
Nothing we can't handle. Keep an
eye out, stay in touch.
Schultz flips the phone shut.
NORMAN (O.S.)
I trust we're on schedule.
NORMAN OSBORN walks into frame, having been standing there
the entire time. He walks around his desk, and takes his
seat. Schultz walks around to the other side, and we see a
large BLACK PLASTIC CASE sitting atop the desk.
SCHULTZ
I don't keep schedules.
NORMAN
For what I'm paying you, you can
start.
SCHULTZ
Give me time to get my boys ready,
and we'll be knockin' on ole'
chrome dome's door by supper.
NORMAN
What about the girl?
SCHULTZ
Not my problem. She gets in the
way, she gets fried just like the
rest of 'em.
Schultz opens the plastic case and gazes inside.
NORMAN
Your new prototype?
Schultz grins deviously.
SCHULTZ
Not this time. These babies are
fully functional.
NORMAN
I don't want any mishaps. I hired
you and your men because you're the
best money could buy. Get it done.
Schultz reaches into the case and pulls out a DEVICE. It's
metallic, with patches of black, and is just large enough to
fit around someone's forearm, wrist, and hand like a glove.
Schultz slides it onto his left hand, then reaches in a grabs
another, identical device, sliding it onto his right.
SCHULTZ
Don't worry. All your problems will
be taken care of soon enough.
Schultz grasps a thin trigger on the inside of each of the
gauntlets. A small indicator light activates.
They begin to charge as we:
FADE OUT.
END OF TEASER
ACT ONE
FADE IN:
INT. DANTE'S - MORNING
The usual scene, but missing a few familiar faces. GWEN sits
at a booth, not with her friends, but with her mother.
GINGER STACY sips a cup of coffee as a WAITER approaches.
WAITER
Have you decided yet?
GINGER
(smiles)
Yes, I'll have the scrambler combo.
The Waiter turns to Gwen.
GWEN
(quickly)
Coffee.
The waiter nods and walks off.
GINGER
You're sure that's all you want?
Gwen massages her temples, still feeling the effects of the
night before. Ginger knows the story, but isn't in any
position to say anything.
GWEN
I'm not hungry.
An awkward silence. There's so much that needs to be said,
but neither has a clue where to start.
GWEN
How did you...
GINGER
(quickly)
County records.
Gwen nods, and the silence resumes.
GINGER
The Marshalls seem nice.
GWEN
Yeah...
GINGER
Gwen, look...
Gwen throws up a hand.
GWEN
Wait. I don't know if I'm ready for
this...
GINGER
I don't know if I am either, but we
can't just...
GWEN
We can't? Last time I checked, it
was you that walked out on us.
Ginger nods somberly.
GINGER
I know, and I know there's nothing
I can say or do that's going to
change that or make anything
better, but I thought...
GWEN
Where have you been?
Ginger stops, not knowing how to answer this.
GWEN
While dad was so depressed he
couldn't get out of bed? When
things were so bad he'd rather kill
himself than live with them? Where
were you when I didn't have any
place to go? When I needed you?!
GINGER
I know, I know. I made a mistake, I
know that now. I'm sorry, but...
GWEN
You're SORRY?!
The few people in the diner react to Gwen's shouting.
GWEN
(lowers her voice)
How can you sit there and say
you're sorry and expect that to
even come close to covering it?
Ginger hangs her head low.
GINGER
I... don't know. I guess I don't, I
just don't know what else to say.
Gwen folds her arms and leans back. We see a faint glare as
tears are beginning to form in her eyes. She looks away from
her mother, out the window.
GINGER
Gwen, I know you must think I'm a
horrible person. A horrible mother,
and maybe I am, but I'm not here...
Gwen turns back with an angry glare.
GWEN
Why?
Ginger stops. She looks at Gwen for a moment.
GWEN
Why did you do it? Answer me that,
because it's the one question I've
never been able to answer myself.
(beat)
Why?
Ginger is a little stunned at Gwen's tone.
GINGER
You've changed...
Gwen rolls her eyes, quickly getting to her feet.
GWEN
Yeah, well too bad for both of us,
you haven't.
Gwen storms out, leaving behind a shell-shocked Ginger.
She lets out a frustrated sigh as we:
FADE TO:
INT. DAILY BUGLE - MAIN FLOOR
Robbie sits in front of his computer, with Peter sitting
beside him on a steel folding chair. Stacks of paper and
folders are everywhere. Robbie lets out a loud sigh and
pounds his fist lightly on the cubicle.
ROBBIE
Dammit!
PETER
Still nothing?
ROBBIE
It's like the van doesn't exist.
There's nothing in the database for
the past two years.
PETER
What about before that?
ROBBIE
(low, to himself)
Come on, Enrique.
PETER
How reliable is this guy?
ROBBIE
I don't know, Pete. He's always
come through for me in the past,
but if there's nothing to find,
there's nothing to find. Are you
sure you got the numbers right?
PETER
I chased it for five blocks before
they got away. I'm sure of it.
(beat)
If I could have just caught up with
them... I don't get it, why didn't
my sense warn me?
ROBBIE
I don't know. They weren't after
you, so maybe that's it.
PETER
I just can't believe... I saved the
guy's life. Twice. I saved him, and
now he's got MJ, and who knows what
he'll do to her.
(beat)
I should have let him die. I should
have let Castle put a bullet in his
head, then none of this would be
happening.
ROBBIE
Peter, you know that's not you. If
it's anyone's fault, it's mine. I
spent so long trying to catch this
guy in the act. I never meant to
get Craig involved, and now MJ...
PETER
It doesn't matter now. He's got
her, and I swear to God, if he
hurts her...
(beat, considers)
Maybe I should go to Nick Fury with
this...
ROBBIE
I don't know, Pete. From what
you've told me about that guy he
only deals with the big stuff.
PETER
This is big!
ROBBIE
To us, yeah. But to him?
Peter nods in reluctant agreement.
JONAH (O.S.)
Robbie!
J. JONAH JAMESON walks into view and isn't pleased.
JONAH
What is this? You baby-sitting or
something?
(before he can respond)
This isn't a God damned day care
center!
ROBBIE
He's just...
JONAH
I don't give a damn if he's Father
Christmas come early, he doesn't
belong here!
(points to sign)
Employees only!
Peter stands to leave.
ROBBIE
Wait. Jonah, he's...
JONAH
Employees. Only.
PETER
It's okay. Call me when you hear
something.
Peter walks past Jonah, who gives him a dirty look. Peter
stops, and looks back at him with an even dirtier look.
PETER
You know, I'd heard stories, but I
never realized how big a dick you
really were.
Peter storms off, leaving an unsettled Robbie.
Off Jonah's flabbergasted expression:
INT. WATSON RESIDENCE - KITCHEN
Craig and Katherine both sit at the kitchen table. In front
of them is a green teddy bear alongside the phone.
Craig picks up the bear and stares at it. We see the initials
MJW are stitched into its chest inside of a heart. He sets it
back on the table and massages his temples.
Katherine grabs his hand and holds on tight.
KATHERINE
You know I didn't mean what I said
earlier. This isn't your fault.
Craig looks up into her eyes.
CRAIG
I wish I could get myself to
believe that. If I would have just
taken the damn money...
KATHERINE
That's not you, Craig. You've never
just taken money and looked the
other way.
CRAIG
That's fine, but if he wanted
someone, why didn't he take me?
Craig stands up and begins pacing again.
CRAIG
God, I feel so worthless! MJ's out
there somewhere, and I'm sitting
here doing nothing!
Katherine stands and walks over to him.
KATHERINE
You heard what Robbie said. There's
nothing we can do right now. She
could be anywhere, and we can't
call the cops...
CRAIG
I know, but we have to do
something! What if he doesn't find
anything? What do we do then?
Katherine is about to respond, but is interrupted by the RING
of the phone. They look at one another knowingly. Craig picks
up the phone, taking a deep breath before answering.
CRAIG
Hello?
FISK
(filtered; through phone)
You sound tense, Craig. I'd suggest
a massage therapist, but I have a
feeling you're busy today.
CRAIG
What do you want from me? Can't you
just leave me and my family alone?
FISK
Unfortunately, no. You have
something I want. I'll make this
real simple for you. I want that
information, or you'll be fishing
your daughters remains out of the
Hudson.
CRAIG
Fine! Okay! Whatever you want!
FISK
Why do I get the feeling you're not
being honest with me, Craig?
CRAIG
I am being honest with you! You
think I'd put my daughter's life at
risk to get one over on you?!
FISK
You've already put her life at
risk. Her's along with your wife's,
and your own, and not to mention
that intern at the Daily Bugle.
CRAIG
Look, just let her go. I'll do
whatever you want. You won't ever
have to deal with us again.
FISK
What assurance do I have that you
won't release the information
anyway? Make copies, perhaps? The
intern's father is a police chief
if I'm not mistaken. You'll have
your daughter back, he'll have his
big break, and I'll be in jail and
unable to do anything about it.
CRAIG
I... you'll just have to trust me.
I don't know, just please don't
hurt her. I'll figure it out.
Nothing will ever be released. We
can burn it if you want. Anything.
Silence as Fisk considers.
FISK
Very well. Jeannette Park, tonight
at eight. Bring the information.
CRAIG
Fine. I'll be...
Click. Fisk is gone. Craig slowly hangs up the phone.
FADE TO:
EXT. MIDTOWN HIGH - FOOTBALL FIELD - BLEACHERS
The campus is deserted, save for a single figure sitting in
the bleachers. EDDIE stands as another figure approaches.
It's Gwen, and she looks to be in the same rotten mood as the
last time we saw her.
EDDIE
I got your message. What's up?
Gwen walks over slowly and sits down beside him.
GWEN
Sorry, I just needed to get away.
EDDIE
Away, huh? And here I thought
school was out for the summer.
Eddie is smiling, but it fades as notices Gwen's mood.
EDDIE
What's wrong?
Gwen looks over at him, a few tears building. Eddie moves
closer to her and puts his arm around her.
EDDIE
Hey, what's going on?
GWEN
Where do I start?
EDDIE
If this is about last night, I know
you got pretty...
GWEN
My mom's back.
Eddie's eyes widen. This is the last thing he expected.
EDDIE
Your mom? I thought she...
GWEN
Yeah. She did.
EDDIE
What... I mean, why? What does she
want?
GWEN
I don't know. She just showed up
out of the blue, and now she wants
to be all mommy dearest with me.
EDDIE
Screw that.
GWEN
What do you mean?
EDDIE
What do I mean? After what she did,
I can't believe you'd even think
about having anything to do with
her.
GWEN
I can't help it, Eddie. She's still
my mom.
EDDIE
No, she's not. She left you and
your dad, remember?
GWEN
Do you honestly think I don't?
EDDIE
Then how can you not tell her to go
to hell? She's obviously...
GWEN
No, you don't know anything about
her. You don't know what my life
was like before I came here, and
you don't know what you'd do in the
same situation, so don't even...
EDDIE
I know how hard you've tried to put
all that stuff behind you.
GWEN
That stuff was my life, Eddie!
EDDIE
This is your life, Gwen. You have
friends, a family...
Gwen folds her arms and turns away, but Eddie turns her back.
EDDIE
Me. Someone who loves you. We'd
never walk out on you like that.
You're right, I don't know what
you're life was like, but I know
what it's like now, and she has no
right to come along all the sudden
and screw it all up for you.
GWEN
Look, she's my mother. I know it
might be hard for you to relate,
but I actually want to have a
relationship with her.
EDDIE
Even if she doesn't want one with
you?
Gwen ponders this for a moment.
GWEN
She's here for a reason. I owe it
to myself to at least try.
EDDIE
I just think you should be careful.
You don't know what she...
GWEN
What is it with you? Do you not
want me to be happy?
EDDIE
Of course I do! I mean... are you
not happy here?
Gwen says nothing.
EDDIE
You have friends, and a family that
would do anything for you, and
you're letting some woman that
walked out on you - that left you
when you needed her the most - come
along and bring you down?
GWEN
Why did I think I could talk to you
about this?
EDDIE
You can talk to me about anything,
you know that!
GWEN
You don't know what I've been
through...
EDDIE
I know you.
GWEN
No...
(stands up)
No, you don't.
She runs off. Eddie quickly follows.
EDDIE
Gwen, wait!
He runs after her, but she's already gone.
Off a troubled Eddie:
FADE OUT.
END OF ACT ONE
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Script created with Final Draft by Final Draft, Inc.