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ACT TWO
FADE IN:
EXT. NEW YORK CITY - SKYLINE - AFTERNOON
A sweeping view of the city skyline, the sun shining down
from above. PAN AROUND the multitude of other buildings until
settling on one familiar structure: THE DAILY BUGLE.
A dark figure stands alone on the roof. SPIDER-MAN swings
into frame, swinging up over a building, and landing on:
EXT. DAILY BUGLE - ROOFTOP - CONTINUOUS
Spidey lands, and we see the figure is actually Robbie. He
holds a piece of paper in his hand. Spidey removes his mask.
PETER
What did you find out?
ROBBIE
Enrique checked the plates. They
expired five years ago.
PETER
Meaning?
ROBBIE
Meaning he had to check the
archives. Turns out the van was
registered to a Vanessa Morgan.
PETER
And that helps us how?
ROBBIE
Morgan is actually her maiden name.
Robbie shows him the print-out.
PETER
Vanessa Fisk...
(realizes)
His wife.
ROBBIE
Exactly. She slipped into a coma
five years ago, and all her
registration information was
transferred into his name.
PETER
Just cut to the chase.
ROBBIE
Registration requires an address.
Turns out the plates you saw were
registered to an address out by the
docks. Looks like an abandoned
warehouse.
Robbie hands Peter another slip of paper.
PETER
I'm there.
Peter leaps up onto the ledge.
ROBBIE
Peter, wait.
He stops and turns back.
ROBBIE
You know there are no guarantees.
This may not lead anywhere.
PETER
It's a start.
Peter slips his mask back on, then leaps from the ledge. He
swings up and out of view. Off Robbie:
EXT. GWEN'S HOUSE - FRONT PORCH - AFTERNOON
Gwen sits alone on the porch, her chin resting on her knees.
A familiar SUV pulls up, and JOHN and BRIDGET MARSHALL step
out. They see Gwen and rush over to her.
BRIDGET
Gwen! Oh my God, where have you
been?
JOHN
We looked everywhere.
Gwen doesn't move.
GWEN
I had breakfast with my mom. Went
to see Eddie.
The Marshalls exchange concerned glances.
BRIDGET
Gwen, we were worried about you.
JOHN
You should have told us. Left a
note or something.
GWEN
I'm fine. Can we just drop it?
JOHN
No, we can't just drop it.
GWEN
What difference does it make to you
guys anyway?
BRIDGET
I hope you don't mean that!
JOHN
Gwen, I know this isn't easy for
you. Your mom's been gone for over
a year, and now she's right back in
your life, but you need to take
things slow. We don't know...
GWEN
She's my mom, I can't just ignore
her. I know she messed up, but I
have to at least give her a chance.
JOHN
Gwen, listen. I know you have to do
what you have to do, nobody's
trying to stop you. We just want
you to be careful, and not rush
into things with her.
GWEN
God, you guys are just like Eddie!
What the hell are you so worried
about anyway?
BRIDGET
We just don't want you to get hurt.
GWEN
Why is everyone so worried about me
getting hurt? Like I haven't been
before! If I get hurt, I get hurt.
Big deal. I can handle it!
JOHN
There's nothing wrong with seeing
your mother, with talking to her,
and trying to make things right
between the two of you, but you've
got to understand where we're
coming from. She's already walked
out on you once. We don't want you
to have to go through that again.
GWEN
Hey, I can take care of myself,
alright? I don't need anyone to
protect me!
Gwen stands.
GWEN
Just stop, alright? I'm tired of
everyone thinking they know what's
best for me. I wish you all would
just trust me for once.
She storms into the house, slamming the door shut. As John
and Bridget share a concerned glance we:
FADE TO:
EXT. NEW YORK CITY - DOCKSIDE - WAREHOUSE - AFTERNOON
An old, run-down warehouse near the docks. A faded neon sign
on the side of the building reads: Ray's.
There doesn't seem to be anyone around as Spider-Man swings
into view, landing on the side of the building. He crawls
over to a nearby window, kicks it open, and swings in.
INT. WAREHOUSE - CONTINUOUS
Like its exterior, the building's interior has seen better
days. Or maybe it hasn't. Spidey drops in from the broken
window, and has a look around. He finds no one.
He begins walking around, looking and listening for any sign
that someone may be there. He finds none.
Spider-Man slams his fist down onto a nearby wooden pallet,
shattering it to pieces. He tosses it across the warehouse,
where it crashes against the far wall, crumbling into pieces.
EXT. WAREHOUSE - ROOFTOP
Spidey leaps up onto the ledge, then down to the rooftop. He
has a look around and at first sees nothing.
The slamming of a car door draws his attention. He looks down
into the alley below, where he spots the familiar black van.
He LEAPS from the roof.
EXT. ALLEYWAY - CONTINUOUS
Spider-Man lands directly on top of the van.
BONNER (O.S.)
What the hell?
Bonner quickly steps out of the driver's side, but stops cold
when he sees Spider-Man. He turns to run, but Spidey webs his
feet together and YANKS him up into the air.
He catches him just before he hits the ground and webs his
feet to the brick wall of the warehouse. Spidey climbs the
wall and looks down at a shaking Bonner from above.
BONNER
What are you doing?!
SPIDER-MAN
Tell me what I want to know, and we
can avoid the really painful stuff.
BONNER
I don't know anything, I swear!
SPIDER-MAN
Where is she?
BONNER
Where's who?
Spider-Man presses him against the wall harder.
SPIDER-MAN
Where. Is. She.
BONNER
Man, I don't know what you're
talking about, I swear!
SPIDER-MAN
I think you do.
Spidey presses him even harder against the wall.
SPIDER-MAN
Who do you work for? Fisk?!
BONNER
Our boss was hired to track Fisk!
SPIDER-MAN
By who?!
BONNER
I don't know! We never saw him!
SPIDER-MAN
Do you know where Fisk is?
BONNER
We tracked his men here this
morning. Fisk showed up, but he
left. I think he's worried
someone's been trailing him.
SPIDER-MAN
He should be.
Spidey flips up the wall and onto the ledge. He's about to
swing away when:
BONNER
Hey! You can't leave me like this!
Spider-Man looks back. He reaches down and tears the webbing
away from the wall. Bonner falls to the ground, crashing into
a dumpster below.
Spider-Man quickly leaps out of view.
INT. THE BUILDING - THE ROOM
Mary Jane is still tied to the chair, but she is now alone
with one of Fisk's thugs, a large man with tattoos.
Her eyes dart back and forth, surveying her surroundings.
After a few moments of this, something catches her eye:
The thug's cell phone, sitting beside him on the desk.
She glances up at the thug, who is occupied with a magazine.
She glances back over at the phone, then down to her feet and
the bottle of water from before.
She twists her foot a bit, and carefully (and very slightly)
leans back, raising the chair slightly. She looks over at the
thug, making sure he's not watching. He isn't.
She slips the rope and her foot out from under the chair,
then positions it to look like it's still tied.
She begins to whimper, drawing the attention of the thug. He
slowly walks over and removes the tape from her mouth.
THUG
What?
MARY JANE
Can I have some water?
THUG
This ain't a luxury suite, honey.
MARY JANE
Just a sip?
He rolls his eyes.
THUG
Whatever.
He slowly bends down to pick up the bottle, and notices that
her foot is now loose. He looks up at her. She smiles...
And kicks him HARD in the face!
He falls back, and she stands up. She spins around, cracking
the chair against him causing one of the arms to crack
slightly. She frees her arm and begins to untie the ropes.
The thug regains his footing and rushes her, but she kicks
him low, and cracks the chair against him again. With the
thug down, Mary Jane hurries to the desk and grabs the phone.
She rushes out of the office.
INT. WATSON HOME - KITCHEN
Craig and Katherine are still in the kitchen, and obviously
still very concerned. The phone rings. Craig hurries to it.
CRAIG
Hello? Robbie?
MARY JANE
(filtered; through phone)
Dad!
Craig's eyes widen.
CRAIG
Mary Jane?!
Katherine perks up as well, and rushes over to his side.
MARY JANE
Dad, what's going on?
CRAIG
MJ, where are you?
MARY JANE
I don't know... an office. There's
nobody here but me and...
CRAIG
And who? Fisk? Is he there?
MARY JANE
He was, but he left.
(then)
I didn't want to call the cops. I
thought if I did he might hurt you
or mom, or...
CRAIG
Honey, listen to me. You have to
get out of there. Now. Don't waste
any time. Just run. Tell me where
you are and we'll come get you...
MARY JANE
I don't know where it is. They
blindfolded me.
CRAIG
Is there... something you
recognize? A landmark? Anything?
A brief pause as she thinks.
MARY JANE
The sign! The green sign. I saw it
through a window, Ray's or
something, I think.
CUT TO:
INT. THE BUILDING - HALLWAY - CONTINUOUS
Mary Jane runs down the hallway, searching for an exit door.
CRAIG
(filtered; through phone)
You have to try to make it out of
there! Just run!
She finds a door marked EXIT and opens it...
And finds herself face-to-face with another THUG!
BACK TO:
INT. WATSON HOME - KITCHEN
Craig begins to panic at the lack of a response.
CRAIG
Honey? Mary Jane?!
The line goes dead, and Craig's face fills with dread.
INT. THE BUILDING - HALLWAY
The thug snaps the phone shut and pockets it.
We PAN DOWN:
And find an unconscious Mary Jane lying on the floor.
FADE OUT.
END OF ACT TWO
ACT THREE
FADE IN:
EXT. MOTEL - LATE AFTERNOON
An average motel. Not run down, but not top of the line
either. A few cars are parked outside the various rooms. We
CLOSE ON a door with 103 painted on it.
Footsteps approach and stop nearby. A hand comes into view
and knocks on the door lightly.
It opens, revealing Ginger Stacy.
GINGER
(surprised)
Gwen...
On the other side of the door, Gwen looks up at her.
GWEN
Sorry I didn't call.
GINGER
It's okay. You didn't have to.
She leads Gwen into...
INT. GINGER'S ROOM
Ginger shuts the door as Gwen sits on the bed, hanging her
head low. Ginger takes a seat beside her.
GINGER
I'm sorry about this morning. It
was too much, too soon. I should
have given you some time.
GWEN
No, it's fine. I shouldn't have
flipped out like that.
GINGER
You had every right to.
GWEN
Maybe, but that's no excuse. I've
been a bitch to everyone lately.
GINGER
I would say something, but I'm not
exactly the best person to be
giving advice on how to treat
others.
Gwen laughs a little, then hangs her head low again.
GINGER
Everything okay?
Gwen slowly looks up.
GWEN
I'm not sure anymore.
(beat)
I had a big fight with Bridget and
John. Ran away from my boyfriend.
GINGER
Eddie?
GWEN
Oh, so you...
GINGER
The Marshalls told me. He sounds
like a nice guy.
GWEN
He's...
(beat)
He's incredible. He didn't deserve
that. I shouldn't have...
GINGER
Your father was the same way. I
adored him, but he could push my
buttons like nobody else.
Gwen looks away. Clearly, this is a very touchy subject.
GWEN
He was never the same after you
left. He didn't even want to get
out of bed. Stopped going to work.
They were going to foreclose on the
house. That's when he...
Gwen can't finish her sentence. She begins to cry. Ginger
hesitates, then hugs her.
GINGER
I'm so sorry. For everything you've
been through. I hope you know that
I would never have left if I'd have
known what was going to happen. I
know things were rough, but I never
wanted this for you.
Gwen doesn't speak. She sits with her head on her mother's
shoulder for a moment, a blank expression on her face.
GWEN
Why did you come back?
GINGER
(hesitates)
I...
(beat)
I guess it all just started to sink
in. What I had done. That you were
out there somewhere, alone. It's
good to know you have a family.
GWEN
They're not my family.
Ginger seems surprised by this. Gwen hugs her. Ginger smiles
and closes her eyes, returning the embrace.
GINGER
I know I can't change what happened
or fix everything, but I want to
try and make things right between
us. Or at least... as right as they
can be.
GWEN
(smiles)
I'm glad you're back.
(beat)
Mom.
Off the two of them:
FADE TO:
INT. DAILY BUGLE - ROBBIE'S CUBICLE
Robbie sits in front of his computer, on the phone. He hangs
up the phone, and appears anxious. Something catches his
attention in the distance.
It's Peter, making his way toward him, making sure he's not
spotted by Jonah, or anyone else for that matter.
PETER
Tell me you've got something.
ROBBIE
You're not gonna' like it.
PETER
All that matters is that it helps
us find MJ.
Robbie looks away, hesitant.
PETER
What is it, Robbie?
He turns back to Peter and takes a deep breath.
ROBBIE
I just got off the phone with
Craig. He got a call... from MJ.
Peter's eyes widen.
PETER
Is she ok? Where is she?
ROBBIE
She got away. She called him, but
the line went dead. We don't know
what happened.
PETER
What do you mean went dead? Like...
ROBBIE
We don't know. It could mean
anything.
PETER
Where is she?
ROBBIE
She wasn't sure. They had her
blindfolded. All she remembers is a
sign. Ray's, but she doesn't...
Peter perks up.
PETER
Was it a green sign?
ROBBIE
Yeah. How did you...
PETER
The warehouse. It was Ray's Welding
Service. There was a green sign.
ROBBIE
Let me check on something...
Robbie quickly turns to his computer and begins typing.
ROBBIE
This might take a second.
PETER
I checked the place though. There
was nobody there except that guy in
the black van.
ROBBIE
Tracking Fisk. You believe him?
PETER
Actually, yeah. It's just not
Fisk's style.
ROBBIE
It doesn't surprise me. Guy like
that must have plenty of enemies.
PETER
Yeah, well now he's got one more.
The computer screen stops, displaying the results Robbie's
been waiting for. His looks on with surprise.
ROBBIE
Peter, take a look at this...
Peter leans in closer.
PETER
Ray's Welding Service, owned by
Fisk Enterprises...
ROBBIE
So is the office building across
the street. Under construction.
They exchange knowing glances. Peter starts to run off.
ROBBIE
Pete!
Peter stops, turns back.
ROBBIE
Be careful out there.
Peter nods and runs off. Off a concerned Robbie:
FADE TO:
EXT. GWEN'S HOUSE - FRONT YARD - DUSK
Eddie approaches the house. Sitting on the porch are the
Marshalls, who stand up when they spot him.
JOHN
Eddie? Where's Gwen?
Eddie hops up onto the steps.
EDDIE
(alarmed)
She's not here?
Bridget and John exchange worried glances.
BRIDGET
We thought she was with you.
EDDIE
No, we had a... well, I guess it
was an argument, this afternoon.
She just took off. I tried to stop
her, but she wouldn't listen to me.
(beat)
She must be with her mom...
JOHN
That's what we're worried about.
BRIDGET
How much do you know about her?
EDDIE
Only what Gwen's told me. I warned
her not to rush into this.
JOHN
So did we...
BRIDGET
We have to find her.
JOHN
I'll get the keys.
John hurries into the house. Bridget looks back at Eddie.
BRIDGET
You don't think...
EDDIE
No, she wouldn't do that.
(beat, unsure)
Would she?
Off Bridget's uncertain, worried expression:
INT. OSCORP - NORMAN'S OFFICE
Norman stands facing the window, the phone to his ear.
NORMAN
Cutting this a little close, aren't
we?
CUT TO:
EXT. ALLEYWAY - DUSK
The familiar alley, now filled with a second black van.
Standing next to the lead van is Schultz.
SCHULTZ
Son of a bitch came back just like
we figured on. We're right on top
of him.
NORMAN
(filtered; through phone)
I want to be notified if anything
goes wrong. If this is anything
other than an in-and-out deal,
things could get really messy.
SCHULTZ
Ah, well as much as I love a good
mess, I'll try and keep this as
quick as possible. Wouldn't want to
give ole' Kojak a chance to call
for backup, would we?
INTERCUT BETWEEN SCHULTZ AND NORMAN.
NORMAN
No, we wouldn't. Don't
underestimate this guy, Schultz. He
might not be as easy a target as
you seem to think.
SCHULTZ
I love me a good challenge.
NORMAN
Well I don't. Not when Fisk is
involved. The man's dangerous.
Schultz' expression hardens.
SCHULTZ
He hasn't seen dangerous
(beat, walks forward)
Trust me, we'll get the job done.
Don't you worry, moneybags.
Schultz ends the call and glances up across the street at a
modest-sized office building, which is under construction.
BONNER (O.S.)
We're good to go, bossman!
Schultz walks out of frame, but our focus remains on the
building as Spider-Man briefly swings into view, landing atop
the roof. He quickly walks out of frame.
FADE TO:
INT. THE BUILDING - HALLWAY
Two of Fisk's THUGS stand on either side of an elevator door.
One of them is on the phone.
THUG 1
Yeah, we got it. Don't worry,
nobody's gettin' through.
(listens)
Yes, sir. Thank you.
(ends call, to other thug)
He's on his way down.
The other Thug nods. They stand silent for a moment before
the sound of BREAKING GLASS draws their attention. The second
Thug peers around the corner, down the hallway.
The window at the end of the hall has indeed been broken, but
there's nobody around. The thug turns back to his partner.
THUG 2
Must have been one hell of a
breeze.
The other thug draws his gun.
THUG 1
Idiot.
He walks around the corner, but doesn't get very far before:
A burst of WEBBING shoots into frame, spraying the man's face
and eyes, temporarily blinding him.
The second thug turns the corner, but is met with a BOOT TO
THE JAW as Spider-Man drops from the ceiling.
He walks over to the first thug and lifts him off the ground
with one hand. He presses him against the wall, and TEARS the
webbing from his eyes.
SPIDER-MAN
Where is she?
The thug looks at Spidey, the fear obvious in his eyes.
THUG 1
Where's who...
Spidey moves his hand from the man's collar to his throat.
SPIDER-MAN
The girl. Where IS SHE?!
The Thug begins to choke.
SPIDER-MAN
WHERE?!
THUG 1
(faint)
Eighth floor...
Spidey drops the thug, who drops to his knees on the floor.
Spider-Man walks toward the elevator, but not before landing
a solid KICK to the thug's jaw, knocking him out cold.
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Script created with Final Draft by Final Draft, Inc.