Spider-Man 4

[Tempest19]

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CREDITS:

Tempest19 (Story & Screenplay)

Stan Lee (Marvel Comic Book)

Steve Ditko (Marvel Comic Book)

Gerry Conway & John Semper ('Night of the Lizard')

Sean Catherine Derek & Marty Isenberg ('Black Cat')

 

[Tempest19]

INT. CATHEDRAL

We open to a beautiful cathedral and a CLOSE UP on Mary Jane Watson in a wedding dress. A wide brimming smile swept across her face as she looks into the screen with dazzling eyes.

PETER (V.O.)
This, like any story worth telling, is all about a girl. That girl. Mary Jane Watson. The girl I’ve been destined to marry. The only problem is, I don’t know if it’s the right thing to do.

PULL BACK to reveal that Mary Jane is up on stage and that this is only a scene in a play. Peter watches from the first row of the theater. Smiling as he watches Mary Jane perform.

Mary Jane and her “husband” kiss as the stage curtains come to a close. Peter stands up and applauds with the rest of the audience.

The curtains open back up for the standing ovation. The cast comes back onto the stage, bowing for the audience. Peter and Mary Jane lock eyes, Peter smiles and nods. Mary Jane blushes as she smiles back.

FADE TO:
INT. DRESSING ROOMS- MARY JANE’S DRESSING ROOM

MJ walks around her tidy dressing room and finally hangs her wedding dress up with the rest of the costumes. KNOCK… KNOCK… KNOCK… Mary Jane looks up at the door and smiles.

MARY JANE
Come in.

Peter opens the door and enters the dressing room.

PETER
You were great.

MARY JANE
You always say that.

PETER
Yeah? Well, I always mean it.

MARY JANE
Do you think they liked me?

PETER
Who?
(beat)
Oh… them.

Mary Jane sighs as she looks around her dressing room.

PETER
It was just a couple of bad reviews, MJ. Every career is bound to have some slumps along the way. But, look at you- you never gave up without a fight and that’s something to be proud of.
(beat)
Hell, I even gave up being Spider-Man some point during my “career.” But, you kept on fighting.

MARY JANE
That’s because I have you.

Peter sighs as he nods his head.

MARY JANE
What is it?

PETER
Nothing, don’t worry about it.

MARY JANE
I can tell when something’s bothering you.

Peter nods as he looks around, not wanting to admit it.

PETER
It’s Harry. I can’t keep on going without thinking that maybe there was something I could have done. Maybe things could have ended- differently.

MARY JANE
It’s not your fault Peter. What happened to Harry… it’s nobody’s fault. He made a decision and he stuck with it to the end. He loved you like a brother…

PETER
I know, that’s what makes it so hard.
(beat)
But, I think this calls for a celebration. Why don’t you and me go hit the town? And don’t worry about the reviews; you’ve already lit up Broadway.

Mary Jane smiles, Peter smiles back as he grabs her coat from the coat rack. They walk out of the dressing room, turning the light off and closing the door behind them. Peter wraps his arm around Mary Jane’s shoulder.

FADE TO:
EXT. EMPIRE STATE UNIVERSITY- AFTERNOON

The afternoon sun beams down upon the campus of Empire State University. Students go about on their daily routines.

FADE TO:
INT. DOCTOR CONNOR’S CLASSROOM

And Doctor Connors is giving another classroom lecture.

DOCTOR CONNORS
Regeneration.

He scribbles the word down onto the chalkboard. Peter pays close attention as he takes notes.

DOCTOR CONNORS
Lower orders of life, such as certain types of lizards, often have the power to simply regenerate a leg or any lost base extremity.
(beat)
If only someone could learn how it is done and apply that secret to humans… think about what that would mean! A man might grow a new pair of legs, perhaps even new eyes, or a new heart! If only we were able to tap into that power, we could work miracles far beyond your wildest beliefs.

Doctor Connors glances at his watch.

DOCTOR CONNORS
Look at the time… sorry for the delay, class dismissed.
(beat)
Oh and Peter, may I see you in my office?

Doctor Connors leaves the classroom; Peter follows him out.

FADE TO:
INT. DOCTOR CONNOR’S OFFICE

Peter enters Doctor Connor’s Office. Connors is already flipping through a binder full of notes next to a couple of pieces of lab equipment.

PETER
You wanted to see me sir?

DOCTOR CONNORS
Yes, Peter… I wanted to offer you a job. Only part time. I need a lab assistant and seeing as you’re one of the brightest students I know…

PETER
I’d be honored sir.

A wide grin spreads across Connors face as he nods his head.

DOCTOR CONNORS
Yes, and well- I imagine you’d be “on time” from now on?

Peter laughs and shakes his head yes.

PETER
Of course.

DOCTOR CONNORS
Good. That’s good.

PETER
What are you working on?

DOCTOR CONNORS
Recall my lecture from class today?

Peter nods his head.

PETER
Regeneration. Lizards. Cracking the secret DNA code.

Doctor Connors nods as he flips the binder around to show Peter a couple of anatomic sketches of lizards.

DOCTOR CONNORS
Exactly…

Peter grins as he flips through the notes.

DOCTOR CONNORS
Think of what we can accomplish. Think about the gift we can bestow upon mankind. A new age is approaching Peter and I want you here, by my side, as we embrace it’s reckoning.

FADE TO:
INT. EMPIRE STATE UNIVERSITY- SCIENCE- HALLS

Peter walks through the halls of the science department. Gwen Stacy approaches him.

GWEN
Hi Peter.

Peter stops and turns towards Gwen.

PETER
Oh, hey Gwen. How’s your father?

GWEN
He’s doing good, crime seems to be on the decline recently.

PETER
Yeah?

GWEN
So, how are you and Mary Jane holding up?

PETER
We’re doing okay. We’ll get by, we always do.

Gwen looks at Peter, she can see there is more to the story than he’s telling her- but she doesn’t press it.

GWEN
What did Doctor Connors want to talk to you about?

PETER
He offered me a job.

GWEN
A job?

PETER
Yeah. He’s working on some great scientific advancements and he wanted me there by his side.

GWEN
Didn’t he fire you?

Peter smirks and shrugs.

PETER
That happened years ago, besides I’d like to think I’ve matured since then.

GWEN
We all have… so, I’ll see you around?

PETER
Yeah. Give your father my regards. And also, thanks for going to the funeral- Harry would have appreciated it.

Gwen smiles and nods as they part ways.

EXT. EMPIRE STATE UNIVERSITY- EVENING

Peter walks through the campus, rain pouring down on him from the gray sky above. We hear the sound of THUNDER in the distance.

FLASH CUT:
INT. PETER’S APARTMENT

Peter stares out the window as the rain continues to pour. He glances around the room before settling down on the bed. He takes a deep breath and lies down, closing his eyes.

FLASH CUT:
EXT. CONSTRUCTION SITE- FLASHBACK

Harry swerves in between Spider-Man and the sky stick.

SPIDER-MAN (O.S.)
Harry!!!

Harry is impaled by the spikes on his sky stick!

FLASH CUT:
EXT. CONSTRUCTION SITE- LATER- FLASHBACK

Spider-Man kneels by Harry’s side as his friend slowly passes away…

PETER
I should never have hurt you. Said those things.

HARRY
None of that matters Peter. You’re my friend.

PETER
Best friend.

Harry closes his eyes for the last time. Peter cries…

PETER
Harry…

FLASH CUT:
EXT. CEMETARY- NIGHT

Peter stands beside a grave, wearing a hoody with the hood pulled up over his head. He places his hand on the grave stone reading: HARRY OSBORN. THE BEST FRIEND A GUY COULD ASK FOR.

PETER
I’m sorry. I’m sorry I got you into all of this. I keep saying to myself that there was no way I could have saved you, but I know that’s a lie. I know that those closest to me are always going to be the ones who pay for my mistakes. And I can’t let that happen again, I can’t lose Mary Jane because of another mistake somewhere down the line…
(beat)
If you are here Harry… I just need an answer- a sign.

EXT. DAILY BUGLE

ANGLE UP at the looming and foreboding Daily Bugle in its prime on a clear sunny New York day.

INT. DAILY BUGLE- JAMESON’S OFFICE

Jameson holds a cigar by his hand as he yells into the phone.

JAMESON
Yes. I know and our paper has already published an apology. Look, it’s not my fault that some hotshot photographer wanted to… yeah, yeah… will do.

Jameson hangs up the phone and smokes the cigar.

JAMESON
Lousy board thinks they own the damn paper.

Peter Parker enters the office.

JAMESON
Parker? What do you want?

PETER
I just thought I’d drop by to tell you- I quit.

Jameson gags on his cigar as it plummets to the ground.

JAMESON
You what?!

PETER
I already told you. I quit. But, seeing as how I don’t technically work for the Bugle anyways-

JAMESON
It’s the job, isn’t it?

Peter shakes his head no.

JAMESON
Money?
(beat)
Then what the hell do you want?

Peter turns around and sees a headline over a picture of New Goblin reading: “Goblin heir dead. City is now safe.” Peter sighs.

PETER
It’s complicated.

Peter leaves the office. Jameson barks out at him,

JAMESON
Parker! Get back in here… Parker!!!

INT. DAILY BUGLE OFFICES

Peter leaves Jameson’s office with a big wide grin spread across his face. Betty looks up to him from her reception desk.

BETTY
You quit?

Peter looks at her and nods.

BETTY
Why?

PETER
I can’t stand working for Jameson any more. I got an offer over at the Daily Globe. I’m going to take it.

Betty nods.

BETTY
Good for you.
(beat)
It’s going to be lonely around here without you.

Peter sighs and nods as he looks around the Bugle and turns his attention back to Betty.

PETER
I’m going to miss you too. Give your brother my regards?

BETTY
Good luck Peter.

Peter smiles.

PETER
Thanks.

And he leaves the Daily Bugle for the last time.

INT. JAZZ CLUB

We pan through the jazz club as we come across an ELDERLY COUPLE, one of the only people inside this early in the evening.

ELDERLY MAN
Remember Frank Sinatra?

ELDERLY WOMAN
Yes. I remember him. He was a wonderful man.

ELERDLY MAN
Great singer, too. Those were the days. Frank Sinatra and the rat pack.

Mary Jane approaches them in her waitress attire.

MARY JANE
Hi, welcome to the jazz club. How are you doing this evening?

ELDERLY WOMAN
Good…

The elderly couple hold hands.

MARY JANE
That’s good, is there anything that I can get you before the meal?

The elderly couple shake their head no. Mary Jane nods her head and walks off. JASON JEROME, handsome, around mid twenties, approaches her.

JASON
MJ! Just the gal I wanted to see.

MARY JANE
Hey.

JASON
You see the papers today?

Mary Jane sighs and shakes her head no.

JASON
The reviews are out…

MJ gulps, as she looks at Jason quivering…

MARY JANE
And?

JASON
They love you.

Mary Jane smiles as she takes in the news.

MARY JANE
Oh my god!

JASON
Yeah, I read one review that stated, “despite Miss Jane’s debut in Manhattan Memories, she lights up the stage with a breath of fresh new talent.”

MARY JANE
Get out, did it actually say that?!

JASON
Yeah, it did. I have the paper here to prove it.

Jason hands Mary Jane the newspaper.

JASON
There’s a thousand more where this came from. They loved you.

Mary Jane throws her arms around Jason and embraces him in a hug. Jason smiles as he holds MJ in his arms.

MARY JANE
Thank you, so much. This… this is great.

JASON
You deserved it.

FADE TO:
EXT. DAILY GLOBE (BEAUTIFUL DAY by U2)

ANGLE DOWN on the DAILY GLOBE a majestic and ornate building.

Peter looks up at the news building, grinning. He deserved this. A hot dog VENDOR standing just outside of the office looks at him.

VENDOR
First day on the job?

PETER
Yeah.

VENDOR
Congratulations.

PETER
Thank you.

Peter enters the building through the double swinging doors.

INT. DAILY GLOBE–NEWSROOM

The Daily Globe newsroom is bustling with lively activity. Reporters rush around the room, getting their story ready for tomorrows headline. Photographers examine the pictures they took. Peter looks around and smiles to himself… home. A photographer, LANCE BANNON approaches Peter sizing him up…

LANCE
Hey, you the guy that takes the pictures of Spider-Man?

PETER
Yeah, that’d be me.

LANCE
How do you do it?

PETER
Do what?

LANCE
Get pictures of Spider-Man. I’ve been trying a long time now.

PETER
I just get lucky, I guess.

LANCE
Luck?

Peter shrugs and nods his head.

PETER
Yeah.

Lance looks at Peter, not completely believing it.

LANCE
Anyways… welcome to the team.

Lance smiles, nods and walks away. Peter shrugs it off and smiles as he looks around.

FADE TO:
INT. FANCY RESTARUANT

PAN THROUGH a fancy gourmet restaurant. Peter and Mary Jane sit at a table eating their dinner.

Mary Jane takes a deep breath and leans forward.

MARY JANE
The reviews came in.

Peter looks at her, anxious and nervous to hear the rest…

MARY JANE
They loved me!!!

Peter smiles, looks around and his mouth opens agape.

PETER
They did?! That’s terrific news!!! See, I told you… sometimes you just know people.

MARY JANE
Yeah, you did.

PETER
That’s really great MJ. You’re finally where you’ve always wanted to be.

Mary Jane smiles and nods as she wipes her hair away from her eyes.

MARY JANE
How are things at work?

Peter laughs.

PETER
Jameson didn’t take that well to the news. But, I couldn’t go on like that… it was like I was fighting, well… me.

Mary Jane laughs.

MARY JANE
How is Aunt May doing?

Peter thinks about it…

PETER
I actually haven’t heard from her in a while. I was thinking about maybe stopping by later tonight. Just to, you know- check on her. See how things are going.

MJ nods.

PETER
You can come… if you want.

MARY JANE
Can’t… have a rehearsal for tomorrow night’s wide premiere. See how the general public responds to the play.

PETER
Don’t worry about that. You’re on the top of your game, nothing’s going to happen.
(beat)
You’re going to be everywhere.

Peter and Mary Jane smile as they hold hands… Peter looks around the restaurant seeing married couples young and old. He looks back at MJ, longingly but not knowing if he should proceed.

The WAITER arrives with the check.

WAITER
Here’s the check.

The waiter hands it to him. Peter’s eyes widen. He didn’t know it was going to be this expensive!

EXT. NEW YORK CITY STREETS- NIGHT

Peter rides along the lit streets of New York on his bike. He takes a deep breath as he looks to the sky…

EXT. AUNT MAY’S APARTMENT COMPLEX

Peter arrives at Aunt May’s apartment complex, lifts the bike up and carries it inside.

INT. AUNT MAY’S APARTMENT

Aunt May sits on a reclining chair flipping through the pages of a photo album. She hears the doorbell ring and she gets up to answer it. May opens the door.

Peter smiles and waves as he sees his aunt.

PETER
Hi Aunt May.

AUNT MAY
Peter, what a pleasant surprise… come in, come in…

May escorts Peter into the apartment.

PETER
I haven’t heard from you in a while…

May nods her head, understanding.

MAY
I’ve been busy.

PETER
Doing what?

MAY
Pish posh, no need bore you with an old wives tale.

Peter smiles as he sees May preparing tea.

PETER
I’ve been worried about you.

MAY
I’m okay Peter. Really, I’m fine- I can at least assure you of that. Sit down, while I prepare us some tea.

Peter sees a piece of paper hanging off of top of a garbage bin. He can clearly see the word “Doctor” written on it.

PETER
What’s this?

Peter approaches the note.

MAY
Peter…

He picks it up and looks it over, he takes a deep breath and looks back at Aunt May.

PETER
Why didn’t you tell me?

MAY
I didn’t want to worry you. Besides, it’s not a big deal.

PETER
Not a big deal?! This says that the cancer is terminal! Why wouldn’t you tell me about this?

MAY
Because I knew you would over react, like you are doing now. People get old Peter, people die- that’s the nature of life. And besides, it’s not like it’s going to happen any time soon.

Peter looks at the note and then back towards Aunt May, not knowing what to say.

MAY
Promise me you won’t make a big deal out of it.

PETER
(reluctantly)
I promise.

MAY
Good. Now sit down and drink your tea.

Peter cracks a smile as he sits down.

FADE TO:
INT. DOCTOR CONNOR’S OFFICE

Doctor Connors stands next to a caged mouse whose missing its front left arm. Peter enters. Doctor Connors turns around.

DOCTOR CONNORS
Peter. Glad you could make it, come over here I want to introduce you to you a “friend” of mine… this is Mickey.

Connors motions to the mouse.

DOCTOR CONNORS
He’ll be our first test subject. Mickey, similarly to my own situation, is missing his arm. We’re going to see if we can cure him. Make him better.

Peter nods as he takes the information in.

DOCTOR CONNORS
And this…

Doctor Connors motions to a ray-type device attached to the ceiling point downwards.

DOCTOR CONNORS
… is the neogenic recombinator. This is what helps to make all of this possible.

Connors turns back to Peter, noticing that he isn’t paying as much attention as he usually would.

DOCTOR CONNORS
Is something troubling you Peter?

Peter shakes his head no.

PETER
That’s the test subject… and that’s the neogenic recombinator.

Doctor Connors nods as he looks at Peter curiously before continuing.

DOCTOR CONNORS
Tomorrow the first test will commence. I hope you will be more attentive when that day comes.

 

[Tempest19]

FADE TO:
INT. PETER’S APARTMENT

Peter looks out his window at the bright summer sky above, the wind blowing in his face. In the background we can hear the police radio signaling in distress calls.

KNOCK… KNOCK… KNOCK… Peter opens the door and Mary Jane walks in.

PETER
Hey…

Mary Jane looks at Peter, seeing that something is bothering him.

MARY JANE
What’s wrong?

PETER
It’s my aunt…

MARY JANE
What is it?

PETER
(reluctantly)
She has cancer… it’s terminal.

Mary Jane stands frozen solid, trying to take it all in.

MARY JANE
(sympathetic)
Oh my god, Peter… I’m so…

Peter sighs as begins to pace around the room.

PETER
She told me not to make a big deal out of it.
(beat)
That’s what I’m going to do.

MARY JANE
What a person wants and what’s the best thing to do is not always the same.

PETER
I know. But, I have to remain strong… for her.
(beat)
I’m not going to let her die, MJ. If it ever comes close to that, I’ll find a way to save her. She’s not going to die. Not when I’m here… never.

POLICE RADIO
Chase Manhattan Bank. Bank robbery in progress, suspect should be considered armed and dangerous.

Peter begins to change into Spider-Man.

POLICE RADIO
All units please respond… Chase Manhattan Bank. All units please respond.

Peter holds his mask as he looks between Mary Jane and two helicopters hovering off in the distance. He tilts his head, waiting for a signal from her on what to do.

MARY JANE
Go get em’ tiger.

Peter smiles as he leaps outside and takes off swinging.

Mary Jane approaches the window and watches as Spider-Man swings off into the distance trailing after two helicopters.

EXT. SKIES OF NEW YORK CITY

The two helicopters ZOOM past the screen. Spider-Man follows close behind. RRRRING-RRRING-RRRING. We hear the sounds of a nearby alarm growing in volume and intensity.

INT. CHASE MANHATTAN BANK

CLOSE UP on a pair of eyes shielded by a glass lens. PAN BACK to reveal that these lens eyes belong to a man in a yellow-net like garb with a black metallic “helmet”, a dark leather jacket and gloves, and metallic thrusters in each hand. This is SHOCKER a.k.a. HERMAN SHULTZ.

Shocker looks around the bank as we see BANKROBBERS gathering the stolen money.

SHOCKER
Got everything?

A BANKROBBER turns towards Shocker and nods.

BANKROBBER
Everything boss.

SHOCKER
Then lets get outta here.

Shocker moves for the exit and puts out each hand, a wide grin spreads across his face under the mask as the thrusters begin to vibrate… BLAST! An ELECTRIC FORCE BURST rockets out of the thrusters and SHATTERS the glass of the surrounding windows. The door swings loose and hurtles across the street. Shocker flexes his muscles, job well done.

ANGLE on a bent VAULT door behind them, as it falls to the ground with a CLANG!

EXT. SKIES OVER CHASE MANHATTAN BANK

Spider-Man continues to swing through the air following the helicopters. He looks down to see that he has reached his destination. Flashing light alarm system, people running, shattered glass…

SPIDER-MAN
Must be the place.

POV. SPIDER-MAN
Shocker exits the bank and motions for his men to fill the armored van, waiting for them at the curb.

Shocker glances up at the sky, seeing the approaching helicopters and Spider-Man.

SHOCKER
Well, well… what do we have here?

Shocker puts out his hands to the sky.

Spider-Man tilts his head, not expecting… BLAST!!! Another force blast rockets out of Shocker’s thrusters…

INT. RIGHT HELICOPTER

ANGLE DOWN to see the force blast shooting towards the windshield. The PILOT looks at it, not knowing what to make of it-

PILOT
What the…?!

EXT. SKIES OVER CHASE MANHATTAN BANK

The force blast knocks the two helicopters and Spider-Man back.

Spider-Man quickly recovers mid-swing.

The helicopter to his right spins out of control and manages to keep steady.

EXT. CHASE MANHATTAN BANK

Pedestrians look up to the sky to see the helicopter on the left descending at a rapid pace.

The cars on the street attempt to get out of the way… only to find that they are stuck in regular New York City traffic.

EXT. SKIES OVER CHASE MANHATTAN BANK

Spider-Man checks on the two helicopters and takes off for the helicopter on the left.

The helicopter smashes into an office building and it’s blades shred straight through the walls of the building!!!

INT. OFFICE BUILDING

The rotating blades cut through the walls like a paper shredder as employees take off running and ducking out of the way.

EXT. SKIES OVER CHASE MANHATTAN BANK

Across the street, people look out their windows as Spider-Man catches up to the front of the whirling helicopter.

EXT. CHASE MANHATTAN BANK

Shocker grins as he watches the unfolding mayhem. He hears police sirens approaching the scene of the robbery. He turns his attention towards his men.

SHOCKER
Finish packing the van.

Shocker takes another look up at the sky, to see Spider-Man’s back pressed up against the front of the helicopter.

EXT. SKIES OVER CHASE MANHATTAN BANK

Spider-Man quickly sends out webs to his side and below him- and the helicopter- creating a MASSIVE NET!

Spider-Man swings off and onto an adjacent building. He attaches himself to the wall as he watches the helicopter safely land in the net, blades rotating just above- not able to cut through.

Knowing that his work here is done, Spider-Man turns his attention towards Shocker. He web swings through the air as the people below scream his name in rejoice. “Go Spidey!!!”

EXT. CHASE MANHATTAN BANK

Police officers get out of their cars and aim their guns at Shocker. George Stacy is amongst them. George steps forward, approaching Shocker, from the line of police cars.

GEORGE
I order you to surrender. Put your arms in the air and…

Shocker tilts his head, quickly puts out his hands and BLAST! A force blast is sent hurdling towards them, the cops duck out of the way, as their police cars are sent backwards and flipping in the air.

SHOCKER
I’m not gonna go back to the dog house.

Spider-Man yo-yos down behind Shocker and taps his finger a couple of times against his shoulder.

Shocker turns back, angry and confused, to come face to face with Spider-Man! He takes a couple of steps back…

SPIDER-MAN
Hey, fishnet what’s up with all the whirling dervishes…

SHOCKER
You!

SPIDER-MAN
(sarcastic)
No… you think?

Shocker puts out his hands and sends out another force blast. Spider-Man quickly BACK FLIPS in the air, landing just behind Shocker. A part of the wall crumbles upon impact.

SPIDER-MAN
(sarcastic)
Nice aim. But, I’m over here.

Shocker turns around and stares at Spider-Man, not moving.

Everything begins to move in slow motion as we see various shots of the location and then… behind Spider-Man one of the robbers aims a gun at his back!

Spider-Man quickly summersaults out of the way as the bullet strikes the wall.

Shocker takes the opportunity and BLAST! He sends out a force blast knocking Spider-Man up against the building across the street.

Spider-Man SLAMS into the wall, creating an indent and slowly descends towards the ground. Knocked out.

Shocker chuckles to himself as he picks up the final moneybag and tosses it into the back of the armored van.

SHOCKER
Let’s scram boys.

Shocker gets into the back and closes the doors behind him. The armored van takes off.

George approaches Spider-Man and kneels by his side. Spider-Man quickly comes back to his senses.

GEORGE
Are you okay?

Spider-Man nods his head as he slowly picks himself back up off of the ground and stretches his muscles.

SPIDER-MAN
(to GEORGE)
I’m going after them captain. Think you and your men can keep up?

George nods his head yes.

SPIDER-MAN
Good.

Spider-Man takes off and swings through the streets.

George motions for his fellow officers to follow them.

EXT. NEW YORK CITY STREETS

ANGLE DOWN to see the armored van speeding through the streets below. PLOWING it’s way through traffic. Sending cars to either side as it SPEEDS through.

INT. ARMORED VAN

Inside the robbers are celebrating as rock music blasts out of the speakers.

BANKROBBER
Spider-Man… all hype, no pay off.

JOLT! The van SLAMS to a sudden HALT in the road.

BANKROBBER
What the hell?!

The DRIVER of the van glances up at the windshield as Spider-Man lands and peeks in.

DRIVER
It’s him!!!

SPIDER-MAN
Missed me?

Shocker gets up from the back of the armored van and puts out his hands… Spider-Man disappears from view.

SHOCKER
Stay here.

Shocker KICKS the back door open and jumps out of the back of the van.

EXT. NEW YORK CITY STREETS

Shocker glances around. Spider-Man is nowhere to be seen!

SHOCKER
Show yourself coward!!!

WEBS lace around Shocker’s thrusters…

SPIDER-MAN (O.S.)
Yank!

Spider-Man YANKS the thrusters off of Shocker’s hands.

SPIDER-MAN
I’ll be taking those.

As the thrusters drop to the ground below, Spider-Man charges at Shocker and knocks him out cold.

SPIDER-MAN
(sarcastic)
What a shocker!

Shocker’s thugs emerge out of the van and approach Spider-Man.

SPIDER-MAN
Here comes the welcoming parade!

Spider-Man quickly takes out the thugs one by one using his fast reflexes.

Shocker takes this time to yank off his mask, cough out the blood gurgling around in his mouth and reach for the thrusters.

STOMP! A FOOT lands on Shultz’s hand reaching for the thrusters.

SPIDER-MAN
Looks like the fun and games are over Shultz. You’re heading back to the big house.

The police cars arrive on the scene as Spider-Man PUNCHES Shultz, knocking him out. George steps out of the police car and approaches Spider-Man.

GEORGE
Thank you for all of your help.

SPIDER-MAN
Don’t worry about it captain.

FADE TO:
INT. PETER’S APARTMENT COMPLEX

Peter walks up the stairs of the apartment complex, approaches his room, unlocks the door and enters.

INT. PETER’S APARTMENT

The lights are still on. He sneaks into the room.

He glances over towards his bed to see MJ already fast asleep. Peter smiles as he begins to take off his shoes. Mary Jane wakes up and looks at Peter, smiling.

MARY JANE
Hey.

PETER
Hey.

MARY JANE
What happened?

PETER
Just the usual. Nothing for you to worry about.

MARY JANE
I can’t help it.

PETER
(understanding)
I know.

Peter sits down on the bed, Mary Jane comforts him.

PETER
There are still times that I think to myself… maybe it’s best to call it quits. Then I remember what happened last time.
(beat)
My gift. My burden. I never asked for any of this to happen.

MARY JANE
But it did…

PETER
It did. And you’ve always been there for me. Always. Even when I wasn’t there for you. I…

Peter leans forward, sighs and looks around the apartment.

PETER
I don’t know if it’s safe around me any more. I don’t know if it ever was. But, what I do know is that if anything ever happened to you- I don’t know what I would do…

MARY JANE
It’s not your choice. It’s mine. I know what the risks are Peter. And I choose you.

Mary Jane lays her head on Peter’s shoulder. He smiles and glances out the window. Still contemplating what he should do. What we want is not always what’s best…

FADE TO:
INT. DOCTOR CONNOR’S OFFICE

CLOSE UP on a lizard in a cage. A SYRINGE is injected into the lizard, taking in the reptilian DNA.

CLOSE UP on Mickey as the syringe is injected and the DNA flows in.

Doctor Connors looks down at Mickey and across at the lizard. Hoping. Praying that this is going to work.

Peter stands off to the side, wearing dark lab glasses, next to the data terminal.

PETER
Doctor Connors, I’m ready to proceed.

DOCTOR CONNORS
Start her up.

Peter nods as he presses a button and the neogenic recombinator begins to heat up as we hear it’s mechanical humming.

Doctor Connors takes a step back and lowers his dark lab glasses onto his eyes.

DOCTOR CONNORS
If this works… just think about what we can accomplish.

The neogenic recombinator positions itself just above Mickey and a beam shoots down from it encompassing the mouse in its beam.

PETER
Temperature Alpha… Respiration Alpha.

The beam shuts down and the neogenic recombinator shuts off as it repositions itself on the ceiling.

PETER
Life signs all registered normal, Doctor Connors.

Doctor Connors approaches Mickey.

DOCTOR CONNORS
If I’m right, Mickey is better than normal.

Doctor Connors bends down to examine the mouse. No change.

DOCTOR CONNORS
Hmm…

CLOSE UP as the missing limb regenerates!!!

Doctor Connors grins, trying to restrain his excitement. Peter approaches him as he looks at Mickey.

DOCTOR CONNORS
Look! There it is!
(beat)
A reptile’s ability to grow a new limb, in a mammal. All because of a couple of micrograms of reptile DNA and the neogenic recombinator.

Peter takes the mouse out of the cage and looks it over.

PETER
Incredible.

DOCTOR CONNORS
No Peter, this is just the beginning. When we do the same for humans, well we can replace limbs lost in accidents or during a war. That would be incredible.

Peter pets the mouse as it rubs up against his palm.

Peter smiles and looks back up at Doctor Connors, to see a couple of tear drops rolling down his cheeks.

DOCTOR CONNORS
My life’s work, finally coming to its fulfillment. We are so close Peter, I can feel it. What we are doing here, today, is going to help change mankind in ways nobody would have ever dared dream of.

FADE TO:
EXT. CENTRAL PARK

Peter and Mary Jane walk through Central Park, the leaves blowing past them.

PETER
The experiment was a success. You should have seen the look on his face, this means so much to him. His dedication is phenomenal.
(beat)
I missed it… didn’t I? The play… MJ, I’m so…

Mary Jane shakes her head no.

MARY JANE
It’s okay. I don’t expect you to be there all the time Peter.

Peter laughs and smiles as he looks at Mary Jane.

PETER
I know, it’s just… I wanted to be. So, how did it go?

MARY JANE
We got a standing ovation. The crowd seemed to like it.

PETER
Really? That’s great MJ! Congratulations.

MARY JANE
May called… she was trying to reach you earlier today…

PETER
What did she want?

MARY JANE
Just to see how you’re doing… check up on you.
(beat)
How are you doing?

Peter shrugs… pushing the question aside.

PETER
I’m doing fine. Really. Never felt better.

 

[Tempest19]

FADE TO:
EXT. DINER- EVENING

Open to a small city street, at the corner is a small diner. By the looks of it, it’s been there for a while.

INT. DINER

Peter, Mary Jane, Curt and MARTHA Connors sit at a booth next to a window.

PETER
I was just telling MJ about the success of today’s test run.

MARTHA
Curtis couldn’t shut up about it since the moment he got home.

DOCTOR CONNORS
Can you blame me? My whole life’s work finally coming to fruition before my very eyes…

MARY
How long have you been working on it?

DOCTOR CONNORS
I… I actually can’t remember. It’s been a long time… a very long time.
(to Martha)
Were we even married when the idea first popped into my head?

Martha shakes her head no.

MARTHA
Long before that.

Doctor Connors smiles as he holds his wife’s hand in his.

DOCTOR CONNORS
You know what they say: behind the success of every good man lies a good woman.

Doctor Connors and his wife squeeze hands.

DOCTOR CONNORS
It’s what makes life just a little more bearable. Day in and day out, knowing that at the end of a hard day’s work- there is someone to go home to, someone who will always be there for you. And once you have that, you should never let it go.

Peter and Mary Jane look into each other’s eyes lovingly. Peter’s gaze breaks as he sighs and nods his head.

PETER
How long do you think it will be until we’re able to test a trail run on humans?

DOCTOR CONNORS
Patience, Peter. That’s not going to be for another couple of years probably. Patience is a virtue. And it’s something, especially as a scientist, you need to stay true to. This was just the first step of many. But we are close. I can feel it.

Peter notices two police cars speeding through the streets.

PETER
I’m sorry.

Peter gets up.

PETER
I have to go.

Mary Jane nods her head as Peter walks off.

DOCTOR CONNORS
Where does he go all the time?

Mary Jane slightly blushes as she laughs it off…

MARY JANE
It’s complicated.

Doctor Connors narrows his eyes, not exactly believing her. Mary Jane looks out the window to see Spider-Man swinging off through the city.

EXT. EMPIRE STATE UNIVERSITY- AFTERNOON

ANGLE DOWN on the campus below as we fade to…

INT. EMPIRE STATE UNIVERSITY- BOARDROOM

Doctor Connors enters the boardroom. The board of advisors sit around a desk; at the head of the desk is STANLEY, the head of the department.

DOCTOR CONNORS
You wanted to see me?

STANLEY
Yes, take a seat.

DOCTOR CONNORS
I’ll stand. What is this about?

STANLEY
The university is cutting back on its employees.

DOCTOR CONNORS
Are you telling me I’m fired?! I’ve worked for this university for more years than a lot of the other professors here. This has to be some kind of mistake.

STANLEY
This isn’t a mistake. Your methods, your ways of thinking- it’s unorthodox.

DOCTOR CONNORS
So, practically you’re dismissing me because I’m saying that the world is round and not flat? Is that what this is about?!

STANLEY
You’ve given quite enough of your fellow professors a stir, they don’t feel safe around you some of the time. Sure, your students seem to have a deep admiral respect for you but the same cannot be said about your colleges. I’m sorry Connors, but you’re out. You’ll have to the end of tomorrow morning to pack up your belongings.

DOCTOR CONNORS
You can’t do this to me… I’m so close to the breakthrough. I know it. I can revolutionize the way we look at neogenics, at regeneration. I just need a little more time, please… I beg of you. Don’t do this.

Doctor Connors struggles to restrain his emotions.

STANLEY
I’m sorry. But our decision is final.

Doctor Connors walks out of the boardroom.

INT. EMPIRE STATE UNIVERSITY- SCIENCE HALLS

He takes a deep breath as he looks around. He wipes tears away from his eyes and walks away.

INT. DOCTOR CONNORS’ OFFICE

Doctor Connors packs all of his possessions into cardboard boxes in a mad hurry. His lab suit is disheveled, his hair is messed about, he looks like a man whose whole life has just fallen apart.

Peter enters the office and looks at Connors.

PETER
What are you doing?

DOCTOR CONNORS
Didn’t you hear?
(beat)
I’m fired.

PETER
What?!

DOCTOR CONNORS
Apparently the school is cutting down on its employees. The department thought I shouldn’t make the cut… saying my way of thinking is too “unorthodox” for them. You know Peter, they did the same to Galileo and all the others. Once in a while when a great man comes around with a radical new way of thinking, “the man” is always there to tear him to shreds. I should have known this was going to happen… the signs were there. I just didn’t watch closely enough. Never again. I know the true potential to which my experiments are going to reach… in a couple of years I’ll look back on all of this and laugh. I know what I’m doing. It doesn’t take an imbecile to see that. It just takes someone’s trust. You trust me, don’t you Peter?

PETER
Yeah. I do.

DOCTOR CONNORS
You’re a good man Peter. A good student. I won’t see you in class.

Doctor Connors finishes packing the last of his possessions and leaves the room.

INT. MARY JANE’S APARTMENT

Peter and Mary Jane sit on a sofa overlooking the kitchen in front of them.

PETER
I’m worried about Doctor Connors. He was fired today. You should have seen him. Something inside of him changed, he was mad… at the world. At the board not being able to see what he can achieve through these experiments.

FADE TO:
INT. CONNOR’S HOME- BILLY’S BEDROOM

Doctor Connors looks into his son’s (BILLY) bedroom. He waves his sons hair back and smiles as he turns to glance at a picture of him and his family in Central Park. Smiling, having the best time of their life.

INT. MARY JANE’S APARTMENT

Peter sighs…

PETER
I’ve seen what the need of… recognition does to people.

FADE TO:
INT. CONNOR’S HOME- MASTER BEDROOM

Doctor Connors looks in to see his wife, fast asleep…

INT. MARY JANE’S APARTMENT

PETER
What that need… that lust… does to good people.

FADE TO:
INT. DOCTOR CONNOR’S OFFICE

CLOSE UP on the neogenic recombinator heating up… the sounds of its metallic humming.

CLOSE UP on a syringe with reptilian DNA.

CLOSE UP on Doctor Connors injecting his arm with the DNA.

A lightning bolt strikes in the background, illuminating his face as he tenses in pain.

FLASH CUT:
INT. MARY JANE’S APARTMENT

PETER
It turns them into something hideous…

FLASH CUT:
INT. DOCTOR CONNOR’S OFFICE

Doctor Connors screams in agony as his body begins to contort giving into a PAINFUL and TENSE transformation from man to reptile… Connors plummets to the ground, his hand reaching up as it transforms into that of a reptile. Connors lets out a LOUD reptilian roar as he is transformed into… the LIZARD.

INT. MARY JANE’S APARTMENT

Peter looks out the window. Mary Jane is in the other room. The rain falls from the gloomy gray sky above. RING… RING… RING… Peter answers it.

PETER
Hello?

Peter’s eyes widen as he nods his head.

PETER
I understand… I’ll be right over.

Peter slowly puts the phone down. Mary Jane enters the room. Peter turns his attention towards her.

MARY JANE
What is it?

PETER
It’s Aunt May. She’s at a hospital.

Peter sighs as he looks away.

PETER
I have to go.

MARY JANE
I’ll meet you there.

Peter nods his head as he approaches the window. Peter takes out his Spider-Man mask. CLOSE UP on the mask as we…

FADE TO:
INT. HOSPITAL- HALLS

Peter arrives at the hospital and approaches the reception desk. The RECEPTIONIST turns her attention towards Peter.

RECEPTIONIST
May I help you?

PETER
I’m looking for my aunt… Peter Parker…

A DOCTOR approaches Peter.

DOCTOR
Mr. Parker, come with me.

Peter follows the doctor through the halls of the hospital. They stop at a room and look in to see May on a gurney attached to a respirator.

PETER
Is she going to be okay? How bad is it?

DOCTOR
We don’t know.

FADE TO:
INT. EMPIRE STATE UNIVERSITY- SCIENCE HALLS

A female STUDENT walks through the halls. We notice Doctor Connor’s lab torn apart. It looks like a bomb has just gone off inside. The student slowly approaches the room.

STUDENT
Doctor Connors, are you in there?…

The student cautiously enters the room.

We see the shadow of a man staring against the wall, back faced towards the student.

STUDENT
Doctor Connors?

We begin to hear animalistic reptilian noises.

CRASH! Mickey pushes his way off of the desk and lands with a THUD! The student jumps as a cold shiver runs down her spine.

The man looks up and slowly turns his face around at an awkward angle revealing that this isn’t a man at all, it’s the LIZARD wearing the torn to shreds lab coat.

STUDENT
(nervous)
Doctor Connors?

A lightning bolt illuminates his fierce reptilian face. The lizard lets out a mighty ROAR. And the student SCREAMS as she takes off RUNNING.

The lizard’s eyes scan it’s new surroundings.

POV. LIZARD
Angle down to see Mickey in the cage on the ground.

The lizard approaches the caged mouse, picks up the cage and sets it back onto the lab table.

The lizard catches his reflection in a mirror. Its eyes widen in horror… the lizard looks down at its new hands.

LIZARD
What… am I?

The lizard shudders as it turns away from the reflection.

LIZARD
Hungry…
(beat)
No!

CLOSE UP on the lizard’s eyes dilating… it sniffs the air as it looks around and snaps its head towards the door.

LIZARD
Mussst… eat… ssso… hungry…

Lizard’s mouth opens to reveal a fanged grin… saliva drips down its mouth.

INT. EMPIRE STATE UNIVERSITY- SCIENCE HALLS

The student continues to run through the science halls. We hear the sound of rapid feet scrambling towards her. Moving fast. The student begins to slow down as she tries to catch her breath…

The lizard is now directly behind her. The student turns around, shivering…

STUDENT
Please… let me go…

The lizard tilts its head. Thinking about it.

LIZARD
I’m sssory.

It LEAPS in the air towards the student. She lets out a blood-curdling scream.

FLASH CUT:
EXT. EMPIRE STATE UNIVERSITY

RAPID PULL BACKS from Empire State University as the scream ECHOES in the night air.

 

[Tempest19]

INT. HOSPITAL- WAITING ROOM

Peter sits in the waiting room, staring at the clock. Waiting for the news. Any news. Mary Jane enters.

MARY JANE
How is she?

PETER
They don’t know…

Mary Jane sits across from Peter.

A NURSE approaches them.

NURSE
Mr. Parker?

Peter stands.

PETER
That’s me. How is she?

NURSE
She’s going to be okay. She just needs a blood transfusion.

PETER
I’m the same blood type. Use my blood.

The nurse looks between Peter and MJ, before nodding her head.

NURSE
We just need to run some tests first. To make sure…

PETER
Do it.

NURSE
Follow me.

Peter follows the nurse out of the waiting room.

FADE TO:
INT. DOCTOR CONNORS’ OFFICE

George Stacy enters the office, using a flashlight to look around. Stanley looks around the room, furious.

STANLEY
This is going to cost a lot of money to fix. Typical Connors, leaving a mess for others to clean up!

George notices CLAW MARKS against the wall.

GEORGE
What exactly was he working on?

George aims the flashlight across the room and sees a syringe. He picks it up and studies it.

STANLEY
Regenerative properties of a lizard in a human… you ask me, it was all personal gain motivated.

George picks up a torn piece of paper and puts it back together. It’s a note! The handwriting is messy as hell, hard to make out.

GEORGE
(reading)
Take Billy… leave never come back.
(beat)
Who’s Billy?

STANLEY
His son.

FADE TO:
INT. HOSPITAL ROOM

A NURSE takes a sample of Peter’s blood. The syringe has difficulty piercing his skin, but finally it goes in…

FADE TO:
INT. HOSPITAL ROOM- LAB

The doctor examines the blood under a microscope and runs a series of tests.

DOCTOR
It’s a match.

FADE TO:
INT. AUNT MAY’S HOSPITAL ROOM

Peter lays on a gurney besides Aunt May. The doctor sits beside him.

DOCTOR
Just lie there and relax son. This will give your aunt the strength that she needs.

Peter looks across at Aunt May.

PETER
(to DOCTOR)
Are you sure it’s a match?

DOCTOR
Ran the tests myself. You have nothing to worry about.

Peter takes a deep breath and nods as the blood transfusion begins. Peter sighs and looks at Aunt May, worried.

FADE TO:
INT. DOCTOR CONNORS’ OFFICE

George finishes looking around the office. His police dispatcher radio clicks. He answers it.

GEORGE
George Stacy… yes… yes… I’ll be right there.

Stanley crosses his arms.

STANLEY
I’m going to need insurance to cover this damage.

GEORGE
Then take it up with someone else.

George leaves the office.

FADE TO:
INT. HOSPITAL- WAITING ROOM

Peter looks up at the TV screens above playing live news footage.

A NEWSREPORTER stands on an eerily isolated New York City street. Signs of destruction scattered around the wasteland.

NEWSREPORTER
I’m standing in the spot where just moments ago an overgrown Lizard caused chaos and destruction. We are told that the police are currently chasing this unidentified creature. Where it came from, is unknown… back to you Larry.

A newsroom comes on screen as LARRY, your cliché newscaster with the big wide sparkling smile, stacks papers and turns to face the camera.

LARRY
Thank you Jill… and maybe this means there really are giant alligators living in the sewers.

The screen cuts to a commercial.

Peter sighs as tries to think about the possibilities of what it could mean.

MARY JANE
Do you think…?

PETER
I don’t know.

Peter looks down the halls of the hospital and back at the television screen, trying to make up his mind.

MARY JANE
Go. Aunt May is going to be fine, she’s the strongest woman I know.

Peter nods as he stands up, looks back down the halls and walks out.

EXT. NEW YORK CITY- STREETS

ANGLE DOWN to New York City streets. Helicopters hover in the sky above. Police cars surround the streets. In the center we see the Lizard turning around in circles lost.

CLOSE UP on the Lizard looking around. Lost. Confused. Sad.

FLASH CUT:
INT. CONNOR’S FAMILY HOME- WORK ROOM

Doctor Connors sits at his desk going through the notes on his laptop. We see various sketches and 3D renderings of lizards.

A small boy around 5 years old, BILLY, enters the room and moves towards his father.

BILLY
What are you working on?

Connors looks at his son with a wide smile.

CONNORS
Something to make you proud of me… something to save mankind.

BILLY
I’m already proud of you Dad.

Connors looks at his son as he extends his arms…

CONNORS
Come here.

Billy hugs his father.

EXT. NEW YORK CITY- STREETS

CLOSE UP on Lizard. We see tears flowing town his reptilian hide.

LIZARD
Billy…

BAM! One of the policemen fire their gun. The shot barely misses. The Lizard snaps its head towards the policeman.

Lizard ROARS as he approaches the policeman.

ANGLE UP to see Spider-Man swinging onto a nearby rooftop. Spider-Man looks down to see the Lizard.

SPIDER-MAN
It can’t be…

Lizard LUNGES towards the police officer.

Spider-Man looks back up… he has no choice. He swings into action and swings down onto the streets below KICKING the Lizard back.

The Lizard quickly recovers and sees Spider-Man. The Lizard tilts its head, confused.

SPIDER-MAN
Doctor Connors?

LIZARD
(slight recognition)
Connorsss…

Spider-Man looks at the newly formed creature wondering how it all came to this.

George Stacy arrives on the scene. He gets out of his police car.

FLASH CUT:
INT. CONNORS’ FAMILY HOME- MASTER BEDROOM

Doctor Connors looks out the window, Martha holds onto him supportively.

DOCTOR CONNORS
I don’t know if I’ll ever find the cure.

MARTHA
You’ll find it. I believe in you…

FLASH CUT:
EXT. NEW YORK CITY- STREETS

The Lizard furiously shakes its head NO.

LIZARD
No… No… NO!!!!!!

The Lizard LUNGES at Spider-Man knocking him to the ground.

SPIDER-MAN
You don’t need to do this.

LIZARD
(pained)
It hurtsss…

The policemen put out their guns ready for the shots.

SPIDER-MAN
Don’t fire!!! Don’t fire!!!!

George nods as he motions for the policemen to lower their weapons, they do as ordered.

SPIDER-MAN
(to LIZARD)
I can help you Dr. Connors… I’ll find a cure…

LIZARD
No cure… isss no cure…

SPIDER-MAN
It doesn’t need to be like this.

LIZARD
No choice… thisss isss who I am.

Lizard twists its neck in pain. Fighting.

SPIDER-MAN
Fight it. Don’t let it take over. Don’t let it take you over…

The Lizard looks up to the sky and lets out a bloodcurdling cry.

SPIDER-MAN
Please.

The Lizard looks around at the cops and back at Spider-Man.

LIZARD
Leave me alone!!!!

Lizard goes in for the killing strike. Spider-Man KICKS out his feet, sending the Lizard back. The Lizard looks around and then back towards Spider-Man, embarrassed.

LIZARD
I’m sssory…

The Lizard CHARGES through the police battalion. Spider-Man swings after him.

A ROOKIE COP approaches George.

ROOKIE COP
What was that?

GEORGE
A man who needs our help…

CLOSE UP on the Lizard’s face full of suffering and torment.

FLASH CUT:
INT. CONNORS FAMILY HOME- KITCHEN

Doctor Connors looks at Martha, looking for support.

MARTHA
I love you…

FLASH CUT:
EXT. NEW YORK CITY- STREETS

The Lizard continues to run through the street, Spider-Man following close behind in the sky above. People run for cover, screaming in fear.

LIZARD
No… no… no… pleasse God… no…

Lizard struggles to fight his tears.

SPIDER-MAN
It doesn’t have to be this way!!!

The Lizard notices a construction site with an open sewer grate. The construction workers scatter off. Lizard looks back to see Spider-Man… and then DIVES into the sewers below.

Spider-Man lands on the streets and runs towards the sewer grate. He looks down into the deep pitch-black abyss below.

SPIDER-MAN
Here goes nothing…

Spider-Man jumps down.

INT. SEWERS

Spider-Man lands in the wet sewers below. He looks around. There is no sign of the Lizard anywhere!

SPIDER-MAN
Doctor Connors?! Doctor Connors?!!!!

No reply. Spider-Man sighs as he leans his back against the wall… looking around.

SPIDER-MAN
I’m sorry.

Spider-Man stops and realizes…

SPIDER-MAN
Aunt May.

EXT. NEW YORK CITY- STREETS- CONSTRUCTION SITE

Spider-Man web zips up out of the sewers and takes off…

FADE TO:
EXT. NEW YORK CITY- STREETS

Peter stands next to a pay phone, in his normal clothes. Rain continues to pour from the gray night sky. The city is jam packed with cars and pedestrians. Too packed for his sensibilities right now.

PETER
Come on… come on…

MARY JANE
Hello?

Peter can sense that she is holding back tears.

PETER
Hey MJ, it’s me.

MARY JANE
Peter?

PETER
Yeah.

MARY JANE
What happened? What was that thing?

PETER
I think its Doctor Connors. Listen MJ, I need to know how Aunt May is.

No answer. Mary Jane sighs and then…

MARY JANE
She’s dying Peter. The doctors say that her condition, it’s gotten worse.

Peter looks around, furious… Peter holds the phone away.

PETER
(under his breath)
My fault.
(to MARY JANE)
How long does she have?

MARY JANE
The doctors don’t know. They’re estimating two weeks. Maybe more. I’m sorry Peter.

PETER
I… I have to go.

Peter hangs up the phone. He bites his lower lip, furious. He takes off running through the night.

EXT. HOSPITAL

Peter climbs up the walls of the hospital, making sure that he’s hiding in the shadows so that no one can see his face.

Eventually he reaches his destination and looks in the window of May’s hospital room.

Inside he sees May hooked up to the respirator. Eyes shut. Motionless…

CLOSE UP on Peter’s pained expression.

PETER
I’m sorry.

FADE TO:
INT. SEWERS

PAN through the sewers as we come across the Lizard slowly making his way through. Tears stream down his reptilian hide… as he screams in torment. The camera remains behind as we see the Lizard fade into the darkness of the sewer line.

 

[Tempest19]

EXT. EMPIRE STATE UNIVERSITY

ANGLE DOWN to see Empire State University, patrolled by on call police officers requested by Captain George Stacy.

INT. DOCTOR CONNORS’ CLASSROOM

Students fill in the seats, each checking their watch and looking nervously around as they quietly talk to one another. Waiting.

Peter glances down towards Gwen Stacy, head bowed in remorse. Peter sighs… waiting for the inevitable.

A PROFESSOR enters the classroom.

PROFESSOR
Unfortunately, Doctor Connors is no longer working for the department. So, in the meantime, I will be your teacher for this class…

The students look at the teacher with shock.

MALE STUDENT
He wouldn’t leave without saying goodbye…

The other students nod their head in agreement as they talk about the strange absence.

Gwen Stacy looks up at Peter, who quickly looks away.

FADE TO:
EXT. EMPIRE STATE UNIVERSITY

Peter makes his way across campus. Gwen sprints to catch up to him.

GWEN
Hey Peter, Peter wait up.

Peter stops and turns around to see Gwen approaching him.

GWEN
Did you hear what happened to Doctor Connors?

PETER
The whole school knows Gwen…

GWEN
No, I mean… what really happened.

Peter looks at Gwen caught off guard.

PETER
What happened?

GWEN
My father went to his lab last night, got some strange call about an attack. Heard a woman screaming.

PETER
What kind of attack?

Gwen shrugs…

GWEN
I don’t know… but whatever it was, it killed her. She never stood a chance.

PETER
What does this have to do with Doctor Connors?

GWEN
My dad thinks that this Lizard… might have something to do with him. He found a note in the lab.

PETER
What did it say?

GWEN
Take Billy and go… or something along those lines.
(beat)
You worked for him, any of this catch your attention?

PETER
He was working on Lizards. Regenerative properties in a human… he said he needed a human test subject. Maybe something went wrong.

GWEN
Do you think… that he…

PETER
I don’t know. But, I know he can’t be all that dangerous. If it is Doctor Connors, I know he’s still in there- I know he’s still fighting it. And as long as he doesn’t give up, there’s still hope.

CLOSE UP on Peter contemplating…

FADE TO:
INT. DAILY GLOBE- BARNEY’S OFFICE

Peter Parker enters Barney’s office and closes the door behind him. BARNEY BUSHKIN, small and overweight, looks up at Peter welcomingly.

BARNEY
What can I do for you Peter?

PETER
I need a raise.

BARNEY
(skeptical)
A raise?

Peter nods.

PETER
It’s my aunt. She’s ill… she’s not feeling that well. I need to pay for the hospital bills and…

BARNEY
How long have you been working here?

PETER
A couple of days…

BARNEY
Less than a week and you’re already begging me for a raise?

PETER
I know how it sounds. But, I need that money. Please. If it wasn’t important, I wouldn’t have asked.

BARNEY
I’m sorry for your aunt Peter, really, I am. But brass tacks is, you’ve been working here for less than a week. What kind of boss do you think that would make me if I gave you a raise?

Peter shrugs…

PETER
A good one?

BARNEY
I’m sorry, Peter. The answer is no. Now get out of my office.

Peter frowns and nods his head.

PETER
Yes sir.

INT. DAILY GLOBE- NEWSROOM

Peter looks around the newsroom. Everyone scurrying around. Hardly anyone pays any attention to him.

MARY JANE (V.O.)
She’s dying Peter…

Peter frowns as he glances up at a television playing the news. A special bulletin plays out on the screen.

NEWSCASTER
We just got word that John Doe has escaped from prison. He should be considered armed and dangerous.

Peter shakes his head in disgust as Lance approaches him.

LANCE
Hey Parker… how’s things hanging?

Peter shoots Lance a look.

LANCE
What?

Peter sighs, shakes his head no and walks away.

PETER
Nothing.

Lance watches Peter walk away, his smile turning into that of intense anger. He shakes his head… as he turns his attention towards the TV screen and sees the progressing newsreel of a construction complex under attack by a single man. No weapons, just brute force.

EXT. NEW YORK CITY STREETS

ANGLE DOWN to see Police Cars speeding through the streets below. Spider-Man picks up their trail and decides to follow them.

EXT. CONSTRUCTION COMPLEX

Police cars surround the open construction site from earlier. George Stacy stands amongst his fellow officers. Spider-Man lands next to him.

SPIDER-MAN
Where is he captain?

GEORGE
In there.

SPIDER-MAN
Any hostages?

GEORGE
Not that we can see.

SPIDER-MAN
Good.

John Doe rests up against a wooden barrier, glancing over his shoulders as Spider-Man enters the unfinished open construction site.

Spider-Man turns his head towards the noise. John Doe comes out of hiding, putting his hands up in the air.

JOHN DOE
Okay, okay… you’ve got me, I surrender!

John Doe jumps through the air and punches Spider-Man as he lands. Spider-Man goes flying against one of the nearby cop cars. He gets back up.

SPIDER-MAN
That all you got?

Spider-Man sends his webs up and pulls on a construction barrier above. Wooden beams slide down and towards John Doe. Doe quickly gets out of the way as the beams crash to the ground.

JOHN DOE
Is that all you got?

Lance walks out of the subway system and looks at the construction site, grinning from ear to ear… as he sees Spider-Man CHARGING at John Doe.

LANCE
So, this is how he does it.

JOHN DOE
(to SPIDER-MAN)
Easy there Spider… don’t wanna get yourself worked into a frenzy now would yah?

John Doe PUNCHES Spider-Man, sending him back against a nearby building.

Lance takes the perfect opportunity to snap a couple of photographs.

JOHN DOE
You’ve gotta be kidding me! That’s your “big hero”?!

George motions for his men to hold back.

GEORGE
He can handle it.

Spider-Man gets back up.

SPIDER-MAN
I don’t have time for this.

Spider-Man walks towards John Doe.

SPIDER-MAN
Why can’t you guys just learn to stay in jail… Where you belong! I’m sick and tired of being called on all the time to handle you low life thugs!!!

JOHN DOE
Bring it.

SPIDER-MAN
Now you’re talking my game.

Spider-Man CHARGES at John Doe KNOCKING him up against the wall!!!

SPIDER-MAN
I’m thru treating you punks with kid gloves!

Spider-Man PUNCHES John Doe, knocking him down… Spider-Man YANKS him back up by his shirt collar.

SPIDER-MAN
Where are you going?! You want to play?

Spider-Man swings John Doe around and THROWS him up against the wall. John Doe smashes straight through it.

SPIDER-MAN
Then we play!!!

Spider-Man jumps through the man-made hole through the wall and punches John Doe over and over again. Lance sneaks up on the scene.

SPIDER-MAN
I have a life of my own. And because of people like you, everything falls apart. Not anymore.

John Doe coughs out blood.

JOHN DOE
Please, show mercy.

SPIDER-MAN
Mercy?! You want mercy?!

JOHN DOE
I have a family…

SPIDER-MAN
(sarcastic)
Doesn’t everybody?

George Stacy slowly approaches Spider-Man…

Spider-Man holds his fist above John Doe, ready for the final punch. Lance fires away, making sure he gets the perfect shots.

SPIDER-MAN
This is justice…

GEORGE
Stop.

Spider-Man turns around to see George approaching him.

Lance turns around as well- police- he looks at his camera and grins. He quickly runs off. Spider-Man catches his eye.

GEORGE
Stop.

Spider-Man looks back and forth between George and John Doe, confused.

GEORGE
You don’t want to do this son, trust me…

Spider-Man looks back down towards John Doe.

GEORGE
You don’t want to do this.

Spider-Man struggles as he puts his arm back at his side. He stands up, looks at George Stacy and swings off.

JOHN
Thanks…

George handcuffs John Doe and leads him back to the police cars. George looks up to the sky, no sign of Spider-Man.

Lance reenters the subway system looking back down at his camera, he laughs and grins.

LANCE
The boss is really going to love these.

INT. PETER’S APARTMENT

Spider-Man swings into Peter’s open window. He takes off his mask and sits down on the bed… staring at his reflection in the mirror. He looks down towards the ground, ashamed.

KNOCK… KNOCK… KNOCK… Peter glances up at the door. Not knowing if he should answer it.

MARY JANE
Peter. It’s me. Are you in there?

Peter reluctantly stands up and opens the door.

PETER
Come in.

Mary Jane enters and closes the door behind her.

MARY JANE
I just wanted to stop by to see how you’re doing.

PETER
I’m fine. Don’t worry about me.

MARY JANE
(sympathetic)
I don’t believe you…

PETER
Please, just go. It’s not safe around me anymore. It never was…

Mary Jane approaches Peter, wanting him to let her in.

MARY JANE
It’s not your fault.

PETER
Yes. It is.

MARY JANE
I know it’s dangerous Peter… I’ve always known that. But, I don’t care.

PETER
I do. Please, leave.

MARY JANE
Peter…

PETER
(furious)
GO!!!!

Mary Jane looks at Peter caught off guard. She turns around to leave and looks back.

PETER
Now!

Mary Jane sighs as she leaves Peter’s apartment. The door closes behind her. Peter watches as tears stream down his face… he looks out the window and around the apartment.

POV. PETER
Look up at the afternoon sky. The sun is out. Time goes by as day turns to night.

Peter walks towards his bed and lays down, staring at the ceiling as he falls asleep

CLOSE UP on Peter’s face as he twists and turns in bed.

FLASH CUT:
INT. MIND

Spiders crawl around a genetic DNA strand. Filling the DNA with spiders.

FLASH CUT:
INT. PETER’S APARTMENT

CLOSE UP on Peter’s face as his eyes snap open and fill black. Peter SCREAMS in pain and agony as he stands up and wobbles around his room. Four arms sprout out of his back. Peter looks at his new set of arms, screaming in agony and fear. Peter looks in the mirror as spider hairs spread out from his arms covering them completely. His shirt rips as he transforms into a MAN-SPIDER. Man-Spider SCREAMS in AGONY and RAGE.

FLASH CUT:
INT. PETER’S APARTMENT

CLOSE UP on Peter, eyes closed and sweat pouring down his face. He opens his eyes, jolts up in bed and looks around. It was only a nightmare.

MAY(O.S.)
Peter…

PETER
Aunt May?

Peter stands up and looks around the room.

PETER
Where are you?

MAY (O.S.)
I’m over here.

Peter turns around to face the mirror, to see his aunt staring back at him.

PETER
Aunt May?

MAY
Peter… how could you?

FLASH CUT:
EXT. CEMETARY- NIGHT- RAINING

Peter kneels in a cemetery. Gravestones surround him. Peter stands up and looks at the names on the gravestones.

PETER
No… no…

RAPID CLOSE UPS on the names on the grave stones: Ben Parker, May Parker, Harry Osborn, Doctor Connors…

The camera ANGLES DOWN and rapidly flashes back as Peter spins around in a circle… as we pan back we can see that there are THOUSANDS of gravestones encircling him!

PETER
Nooo!!!!!

FLASH CUT:
INT. PETER’S APARTMENT

Peter continues to stare at Aunt May. Dread and GUILT shows clearly through the pained expression on his face.

PETER
I’m sorry Aunt May… I never meant to hurt anyone…

Aunt May’s reflection in the mirror disappears. Peter, reflexively, reaches out towards it afraid.

PETER
Aunt May!

The sound of THUNDER rumbles in the distant night sky.

 

[Tempest19]

EXT. NEW YORK CITY- NIGHT

ANGLE DOWN to see Spider-Man, mask off resting on top of the head of a massive eagle statue on a building. Looking down towards the city below. Stained tears run down his face.

PETER
Am I not meant to have a life of my own?… Everyone I know gets hurt in the end. Uncle Ben, Harry… now Doctor Connors and Aunt May.
(beat)
I can’t let anyone else get hurt because of me… because of Peter Parker.

Peter stands up and walks to the edge of the statue, looking down towards the city below. He sighs as he looks at the mask in his hand. He nods, knowing that this will always be his burden. Peter puts on the mask.

Spider-Man continues to look down on New York City. Everything moves in slow motion as he looks down…

RAPID SHOTS FORWARD: We see a car speeding through the street. Police cars chase after it.

Spider-Man nods his head knowing what he must do. He DIVES off of the building, soaring down head first for the ground below… just before hitting the ground he puts out a web and swings off.

EXT. NEW YORK CITY- STREETS

Two cop cars chase a sports car through the streets of New York.

INT. SPORTS CAR

THUG1, the driver, looks at THUG2 in the passenger seat.

THUG1
Get ridda them!

EXT. NEW YORK CITY- STREETS

Thug2 pokes his head out the window and aims his gun at the tires of the police cars.

Spider-Man swings into action and YANKS the gun out of the thug’s hand.

SPIDER-MAN
Haven’t you heard? Guns are dangerous.

Thug2 slips back into the passenger seat and quickly rolls up the window.

SPIDER-MAN
I don’t think so, Sparky.

INT. SPORTS CAR

THUG2
Lose him! Lose him!

Thug1 presses harder on the gas as the car speeds off faster than before. THUD!

THUG2
What the hell was that?

SMASH! Spider-Man crashes his hands through the windshield and grabs THUG1 by his shirt collar, lifting him slightly up.

SPIDER-MAN
(harsh)
You’re not going anywhere…

EXT. NEW YORK CITY- STREETS

The car begins to swerve out of control. People run for their lives. Spider-Man isn’t paying attention…

SPIDER-MAN (CONT’D)
… but back to where you belong!!!

The sports car angles towards a building, Spider-Man glances behind his back and double jumps in the air as… RAM!!! The car COLLIDES into the wall of a building.

Spider-Man lands glancing at the approaching police cars. Two COPS get out of their cars and aim their guns at him.

COP1
Hands in the air- now!

Spider-Man looks at them, before he decides to swing off into the night sky.

The cops slowly approach the sports car and look in to see the two thugs severely bleeding, thug1’s head rests against the window.

THUG1
(weak)
Please… help me…

FADE TO:
INT. JAZZ CLUB

On the stage a female singer is singing “Free as a bird.” Mary Jane walks around, waiting on people.

Jason glances over at Mary Jane fumbling around with the orders and saying “I’m sorry.” He approaches her.

JASON
MJ…

MARY JANE
(busy)
Not now.

JASON
I can tell when something’s bothering you. All I’m saying is if you need to talk to anyone, I’m here for you.

MARY JANE
It’s nothing.

JASON
Nothing? Come on… I know you better than that. Tell me.

MARY JANE
Fine. It’s Peter.

JASON
Peter?

Mary Jane nods her head as she continues her rounds to the tables.

MARY JANE
Lately he’s been pushing me away…

JASON
Pushing you away? Why would he want to do a thing like that?
(beat)
I mean, look at you.

Mary Jane blushes and looks around not knowing how to answer…

FADE TO:
INT. TREASURE ROOM

CLOSE UP on a pair of black leather gloves reaching into a laser guarded field towards a glistening diamond. She carefully yanks it out.

CLOSE UP on a black leather cat-like mask over her face as she looks it over. This is BLACK CAT. And she is hot!

BLACK CAT
Perfect.

EXT. CORPORATE BUILDING

ANGLE UP towards a glass window, of a corporate building, overlooking the city. CRACK! The glass SHATTERS as Black Cat dives through and towards the ground below. The alarms sound.

Black Cat flips in the air to position herself right side up. She takes out a grapple like device and shoots it towards the adjacent rooftop. The momentum rapidly pulls her up. As she nears the top she flips up onto it and takes off running.

FLASH CUT TO:
EXT. ROOFTOP

Spider-Man looks down on New York City. Taking it all in.

RRRRRRRRING… BRRUAUUUU… RRRRING… alarms. Spider-Man looks back up.

CLOSE UP on the lens on his eye.

EXT. NEW YORK CITY- ROOFTOPS

Black Cat shoots out another grapple towards the building above and across the street, she rockets upwards.

Spider-Man arrives… swinging through the air… he notices the fast gymnast and decides to give chase.

Black Cat glances behind her back and notices Spider-Man.

SPIDER-MAN
Hey, wait…

Black Cat blows him a kiss as she dives off the rooftop.

SPIDER-MAN
Come back here!

Spider-Man follows her through the city. Black Cat swinging through the city via her grappling device.

SPIDER-MAN
I just want to talk…

BLACK CAT
Then try to keep up.

SPIDER-MAN
(under his breath)
Women…

The chase continues as it becomes more of a flirtatious dance through the night sky.

Black Cat leaps onto a building and stops moving. Spider-Man lands next to her.

BLACK CAT
I’m impressed…

SPIDER-MAN
I practice.

BLACK CAT
You’re too modest.

SPIDER-MAN
So, who are you?

BLACK CAT
The black cat.

SPIDER-MAN
The black cat… hmm… you’re not going to bring me bad luck are you?

BLACK CAT
Depends.

SPIDER-MAN
On?

BLACK CAT
Whether or not you get on my bad side.

SPIDER-MAN
Feisty.

BLACK CAT
Meow…

Spider-Man looks her up and down impressed…

BLACK CAT
Like what you see?

SPIDER-MAN
(dodging the question)
Nice costume.
(beat)
I’m going to need you to return those diamonds though.

BLACK CAT
Oh… diamonds are a girl’s best friend.

SPIDER-MAN
Maybe… but, they don’t belong to you.

BLACK CAT
Why do you have to spoil my fun?

SPIDER-MAN
Because it’s my job.

Black Cat nods…

BLACK CAT
I’ll see you around…

Black Cat runs to the edge of the rooftop and dives off.

SPIDER-MAN
Hey wait!

Spider-Man runs to the edge and looks down. Black Cat is nowhere to be seen. He looks back up and sees Black Cat making her way through the city… already fading off into the distance.

SPIDER-MAN
(in love)
The black cat…

FADE TO:
INT. DOCTOR CONNOR’S CLASS ROOM

ANGLE DOWN to see Peter drawing Black Cat onto the pages of his notebook, not paying attention to the “substitute” teacher.

PROFESSOR
Okay, class dismissed. Remember to do your homework.

Peter stands up and is the first to leave the room.

INT. EMPIRE STATE UNIVERSITY- SCIENCE HALLS

His phone rings, he takes it out of his pocket, looks at the information of the call: MARY JANE WATSON… sighs and decides not to answer it. He reluctantly puts it back into his pocket and walks away.

EXT. SEWERS

PAN THROUGH the sewers. Two flashlights cut through the dark as two figures approach the screen. Two underground REPAIR MEN.

REPAIR MAN 1
Catch the ball game last night?

REPAIR MAN 2
No, my wife dragged me along to my inlaws for dinner… how’d we do?

REPAIR MAN 1
Duncan hit another home run and pulled the Yankees to victory over the Red Sox.

REPAIR MAN 2
Sounds like a great game.

REPAIR MAN 1
(in agreement)
It was a close one…

They stop at a fuse box. Repairman 1 sets to work.

REPAIR MAN 1
You’re going to love working down here. Like I was saying, it’s cool during the winter and warm during the summer.
(beat)
oh and no office politics.

REPAIR MAN 2
Sounds better than my last job… I was in the television business.

Repair Man 1 glances behind his back towards Repair Man 2

REPAIR MAN 1
TV? Really?!

He sets back to work.

REPAIR MAN 1
Hey, you know my old TV gets these double images… you know what I mean? Maybe you could uh…

REPAIR MAN 2
No, I was a TV executive.

REPAIR MAN 1
Oh…
(beat)
Well, you’re better off down here.

SPLASH… SPLASH… GRRUND… SPLASH…

REPAIR MAN 2
You hear that?

The Repair Men look around as the noise continues.

ARRRGH!!!!!! A reptilian SCREAM of ANGER.

REPAIR MAN 1
What was that?

REPAIR MAN 2
You don’t know?

REPAIR MAN 1
Never heard it before in my life…

We can see the Lizard making his way towards the repairmen in the distant tunnel…

REPAIR MAN 2
You see that?

REPAIR MAN 1
What?

Repair Man 2 shines his flashlight where the Lizard was… nothing!

REPAIR MAN 2
There was something down there… just a second ago!

REPAIR MAN 1
We should get out of here.

REPAIR MAN 2
Good idea.

The repairmen run off. The Lizard drops down from above and continues to give chase. They reach a ladder leading up and through a sewer grate.

REPAIR MAN 1
Up there…

Repair Man 2 climbs up as fast as he can. SPLASH… SPLASH… the Lizard draws closer and closer. Repair Man 2 tries to open the sewer grate, it doesn’t budge!

REPAIR MAN 1
Open it!

REPAIR MAN 2
I’m trying… I’m trying!

Repair Man 1 glances behind his back to see the Lizard approaching, drawing closer and closer.

Repair Man 2 opens the sewer grate.

REPAIR MAN 2
Got it.

Repair Man 2 climbs out and looks down.

EXT. SEWERS- ABOVE GROUND

REPAIR MAN 2
Hurry!

Repair Man 1 grabs the bars of the ladder and begins to climb up… the Lizard appears below him!!!

EXT. SEWERS

CLOSE UP on the Lizard’s reptilian hands GRABBING Repair Man 1 by the legs!!!

REPAIR MAN 1
Oh no…

REPAIR MAN 2
Carl?

EXT. SEWERS- ABOVE GROUND

Repair Man 1 SCREAMS as he is DRAGGED back down!!!

REPAIR MAN 2
Carl?!!!

No answer. Repair Man 2 looks around, frightened, and takes off running.

EXT. NEW YORK CITY- STREETS

Peter walks through the streets of New York City. A DAILY GLOBE newspaper with a picture of Spider-Man at the construction site catches his eye. He pays the vendor selling the paper and looks at it as he walks away.

The picture shows Spider-Man nailing John Doe to the ground, ready for the final punch. The headline reads: SPIDER-MAN: HAS HE LOST HIS WAY?

Peter shakes his head in frustration as he tosses the newspaper away. Track with it as it flutters in the wind.

FADE TO:
EXT. NEW YORK CITY- NIGHT- ROOFTOPS

Spider-Man stands on a rooftop searching the night sky. Black Cat drops down behind him.

BLACK CAT
I liked you better in black.

SPIDER-MAN
Yeah?... Part of me does too.

BLACK CAT
So what are running from?

SPIDER-MAN
What makes you think I’m running?

BLACK CAT
I don’t know… it’s not often that you’d find a regular guy trying to save the lives of others rather than his own.

SPIDER-MAN
It’s complicated.

BLACK CAT
Hmm, let’s see that must be your answer for everything.

SPIDER-MAN
Yeah.
(defensive)
How are you any better? You’re out here too…

BLACK CAT
Whose to say I don’t have an ulterior motive?

SPIDER-MAN
Good point.

Awkward silence.

BLACK CAT
So, is there a girl?... There’s always a girl.

SPIDER-MAN
There was… but, my life… it’s too dangerous…

BLACK CAT
So you’re going it alone?

SPIDER-MAN
It’s the only way that’s safe.

BLACK CAT
But, don’t you think that should be up to her to decide?

SPIDER-MAN
I can’t stand the thought of losing her. Of something happening to her- because of me.

Black Cat nods her head, understanding.

SPIDER-MAN
Everyone around me ends up getting hurt.

BLACK CAT
Then what about me?

SPIDER-MAN
You? You… can handle yourself.
(beat)
I still need those diamonds.

BLACK CAT
I need them.

SPIDER-MAN
No, you don’t.

BLACK CAT
Hey, you think you’re the only one whose life is in turmoil? I’ve got my own problems…

SPIDER-MAN
Like what?

Black Cat looks up into the night sky, towards Fisk Towers.

BLACK CAT
I’d rather not talk about it.
(beat)
Why’d you come out here tonight anyways?

SPIDER-MAN
I was looking for you…

Black Cat shakes her head no.

BLACK CAT
That’s not the only reason, is it?

Spider-Man looks at her guilty…

Black Cat LEAPS off the rooftops. Spider-Man watches her go. Spider-Man takes off his mask and looks at it, not knowing how to respond… he shakes his head, sternly.

PETER
My life… my curse… my burden. No one else’s.

TEENAGE GIRL (O.S.)
Help me!!! Somebody! Please!!!! Help!!!

Peter sighs as he puts the mask back on and swings off towards the voice of the screaming woman.

EXT. NEW YORK CITY- ALLEYWAY

A GANG surround a teenage girl, blocking her way out.

GANG MEMBER 1
Where you going pretty lady?

The teenage girl looks around, frightened.

TEENAGE GIRL
Please… just let me go.

GANG MEMBER 2
Why would we want to do that?

The gang begin to make kissing and animal noises at her.

SPIDER-MAN
Better listen to what she says.

GANG MEMBER 6
Huh?!

Spider-Man lands with his foot out KICKING Gang Member 6 hard against the back of his head sending him flying against a brick wall face first.

Spider-Man looks around at the other gang members.

Gang Member 5 charges at him. Spider-Man swings his right fist knocking him back and sends his arm back up hitting the gang member in the throat. Gang Member 5 drops to the ground.

Spider-Man sends his right-elbow back knocking Gang Member 4 in the forehead. Knocking him down.

Gang Member 3, standing to his left, slices him with his knife. Momentarily caught off balance, Gang Member 2 (to his right) punches him, sending him back. The three remaining gang members begin to team up on him… pounding him to the ground.

Spider-Man forces his arms into the air knocking them off of him. He breathes out fast and heavy… struggling for air. He looks around- the gang members have been knocked unconscious.

TEENAGE GIRL
Thanks…

SPIDER-MAN
(weak)
Don’t worry about it.

Spider-Man limps away.

Pan over to a wall to see a poster reading: EVER AFTER: THE TALE OF AN EVERLASTING LOVE. COME SEE THE NEW HIT BROADWAY SENSATION. On the poster is a picture of Mary Jane and her co-star “husband.”

 

[Tempest19]

FADE TO:
EXT. EMPIRE STATE UNIVERSITY- AFTERNOON

Peter leans up against a building, looking towards the sky.

Gwen Stacy approaches him, walking beside her is a very attractive light blonde- this is FELICIA HARDY and by the way she dresses, it’s obvious that she is rich and has no problem displaying it.

GWEN
Hey…

PETER
Hey.

GWEN
I just wanted to introduce you to someone… this is Felicia Hardy, she just transferred here…

Peter looks at Felicia. Neither sharing an interest in each other.

PETER
(forced)
Hi.

FELICIA
(forced)
Hi.

They look at each other, taking everything in- two people, two completely different classes.

PETER
How are you liking it so far?… The school.

FELICIA
It’s okay, I guess.

Peter nods…

PETER
Have any family here?

Gwen bites her lower lip, looking at Peter- you shouldn’t have asked. Felicia frowns.

FELICIA
(taking offense)
Yeah. I do.
(beat)
I’m sorry… I have to go.

Felicia walks away… Peter looks at Gwen, confused.

PETER
What was that about?

GWEN
It’s her father… he’s in jail.

PETER
Oh…

Peter looks over at Felicia Hardy talking on her cell phone.

Felicia looks around making sure that no one can hear her. She equips her cell phone as she walks away…

FELICIA
(to CELL)
It’s the Cat… I’ve got the diamonds… just tell me the drop-off point.

FADE TO:
INT. PETER’S APARTMENT

Peter sits on his bed looking at a picture of him and MJ standing beside a poster for Manhattan Memories… tears stream down his face. He sighs as he glances at the Spider-Man costume under his clothes. He hears knocking on the door and quickly hides the picture under a pillow.

He approaches the door and answers it. MJ is standing in his doorway…

MARY JANE
Why haven’t you returned any of my calls?

Peter shrugs it off…

PETER
I’ve been busy.

MARY JANE
No… you’re avoiding me. You’re avoiding what’s happening.

Peter shakes his head…

PETER
(defensive)
That’s a lie.

MARY JANE
You have to let me in Peter, you need help. This isn’t healthy.

Peter faces her, in the Spider-Man costume without the mask on…

PETER
I know what I’m doing. I don’t need your help.
(struggling)
Now… please… just stay away from me.

Peter puts on his mask and leaps out of the window.

FADE TO:
EXT. CENTRAL PARK

Mary Jane stands under a tree, crying, as the rain pours down from the graying sky above. Jason approaches her from afar carrying an umbrella. Mary Jane looks up.

JASON
You sounded urgent…

MARY JANE
I just needed someone to talk to.

JASON
I understand, come on-

Jason puts the umbrella over her, as he holds her in his arm and walks away.

INT. DAILY GLOBE- NEWS OFFICE

Peter sits at a desk in the Daily Globe going through an array of photographs. Lance approaches him…

LANCE
Read the papers lately?

Peter looks at him, repulsively. Lance drops the article down on the desk.

LANCE
Look at what’s happened to the city’s “great hero.”

PETER
There’s more to it than…

Lance laughs as he shrugs.

LANCE
It’s all about one thing. Showing people what they want… a good photograph is one that sells papers. The fall is always better than the rise.
(beat)
Oh and by the way… I got a promotion. Say hello to your Aunt for me, will you?

Lance snickers as he walks away. Peter shakes his head in disgust, holding back his anger. He glances behind his back as Lance passes an attractive secretary.

LANCE
Hey there…

Peter sighs as he looks back down towards the picture of Spider-Man.

INT. CONNORS’ FAMILY HOME- KITCHEN

Martha looks down at the note from her husband… tears stream down her face. Billy enters the room.

BILLY
Is everything okay mommy?

MARTHA
Yes… everything’s going to be okay.

Billy hugs his mother. Remaining strong for her… but we can see that he is also pained over the loss of his father.

FADE TO:
INT. JASON’S APARTMENT

Mary Jane and Jason sit on a couch together.

JASON
I’m sorry… I know how hard that must be.

Jason looks into Mary Jane’s eyes, they lock eyes and Jason acts on it leaning in to kiss her. Mary Jane reluctantly gives in… she quickly pushes him away.

MARY JANE
I have to go.

Mary Jane quickly stands up and leaves the apartment. Jason watches her leave, angry.

EXT. NEW YORK CITY

ANGLE DOWN over the city. Rain pours down from above.

FLASH CUT:
EXT. NEW YORK CITY- ROOFTOPS

CLOSE UP on Spider-Man’s lens eyes reflecting the city.

PULL BACK to see Spider-Man looking down towards the city from his perch high above.

FLASH CUT:
EXT. BROOKLYN- ALLEYWAY

CLOSE UP on a store CLERK pinned against a wall by a ENFORCER.

ENFORCER
The Kingpin gets angry when he doesn’t get his money… what am I supposed to tell him?

CLERK
I’m working on it. I’ll have the money.

ENFORCER
I gave you two weeks!!! Where the hell is it?!

CLERK
I have a family to feed… business has been slow.

ENFORCER
How’s that my problem? Now go get me everything you have. And I mean- EVERYTHING!

Spider-Man jumps down from above.

SPIDER-MAN
Let him go… now.

The enforcer lets go of the clerk and takes off running.

CLERK
Thanks.

Spider-Man chases the enforcer through the narrow alleyway.

The enforcer continues to run, trying to catch his breath. Spider-Man webs him and YANKS him back and round-house kicks him against a brick wall… the enforcer cowers on the ground.

ENFORCER
Please… show mercy…

SPIDER-MAN
Why?

Spider-Man punches the enforcer over and over again… A small BOY walks out of hiding…

BOY
(scared)
Please, don’t hurt him…

Spider-Man looks at the kid, confused…

ENFORCER
(to BOY)
Go… now… go Timmy!

The boy looks at Spider-Man, stained tears running down his face.

BOY
Please… this isn’t you Spider-Man… this isn’t you.

Spider-Man looks at the boy, taken back and then back at the father seeing his fully bruised face… Spider-Man looks down at his hands and then at the father. He runs off.

 

[Tempest19]

FADE TO:
EXT. HOSPITAL

Spider-Man stands on an adjacent rooftop looking down towards the hospital, he looks into May’s room… she’s conscious and chatting to a nurse.

MARY JANE (V.O.)
You’re avoiding what’s happening. You need help. This isn’t healthy.

Spider-Man sighs and nods… he knows what he has to do.

INT. HOSPITAL- MAY’S ROOM

Peter slowly enters May’s hospital room, not knowing what to say. Peter looks at his aunt, fast asleep… tears well up in his eyes. He gulps as he continues to approach her. He brings a chair over next to her bedside and looks at her. Peaceful.

May slowly opens her eyes…

MAY
Peter?

PETER
I’m here Aunt May.

MAY
(pleased)
Peter.

May turns her head to see her nephew.

PETER
I’m sorry I didn’t…

MAY
It’s okay…

Peter looks around the hospital room and closes his eyes, lowering his head.

PETER
It’s all my fault…

May takes Peter by the hand.

MAY
There was nothing you could do…

Peter looks at Aunt May- she doesn’t understand!

PETER
Yes. There was. I could have done something, anything…

MAY
You can’t save everyone Peter. No one can.
(beat)
Not even as Spider-Man.

Peter looks at her taken aback…

MAY
I know…

Peter looks around, taking it in…

PETER
How long?

MAY
For a while now… but, I’ve always had my suspicions…

PETER
The day that you were moving… Henry Jackson… and…

May nods.

MAY
Yes Peter, I knew.

Peter sighs as he nods his head. It all makes sense now.

PETER
Why didn’t you tell me?

MAY
I didn’t want to trouble you… I knew you’ve been keeping it a secret for a reason… and I was waiting for when you were ready to tell me on your own terms, not on mine.

Peter nods, understanding.

MAY (CONT’D)
And you should tell Mary Jane.

PETER
She knows…

MAY
Oh.

May looks at him, curiously.

MAY
Then what’s going on with you two?

PETER
Don’t worry about it.

May grasps Peter’s hand firmer.

MAY
No one can live a life alone. You need Mary Jane as much as she needs you.

Peter sighs. He glances around making sure no one is listening.

PETER
My life… it’s too dangerous. As long as I’m Spider-Man, we can never be…

MAY
Shouldn’t that be up to Mary Jane to decide?

Peter sighs…

FADE TO:
INT. JAZZ CLUB

ANGLE DOWN to see Mary Jane on the stage singing.

MARY JANE
(singing)
They say that love lasts forever.
That love is everlasting.
And if that’s so, why am I stuck here?
Between two roads of life on a crossroads.
The journey gone. The choice haunting…
Is it now… or is it after…

The lights dim.

ANNOUNCER
Let’s give it up for ‘Ever After’s’ own Mary Jane Watson…

The audience erupts in thunderous applause as MJ steps off of the stage. Jason approaches her.

JASON
You were wonderful.

MARY JANE
Thanks.

She quickly walks away, Jason trails after her.

JASON
How’s the play going?

MARY JANE
Good…

JASON
That’s great.
(beat)
Hey, I was wondering- do you think you’ll be free for dinner tomorrow night? I know this great place.

Mary Jane stops and looks at him, cautiously…

MARY JANE
No. I can’t.

JASON
Oh, that’s okay what about the night after? The night after that? Whenever you’re free…

MARY JANE
Listen, Jason… the other night was…

JASON
Sensational?

MARY JANE
(annoyed)
A mistake.

JASON
It can’t be. Don’t lie to me Mary Jane and tell me you don’t have feelings for me… we were meant to be together!

MARY JANE
I’m in love with Peter…

JASON
And look at how he treats you in return! He doesn’t realize how special you are… I do. That’s why…

MARY JANE
Listen to me… there will never be a you and me. Okay?! The other night was a mistake, that’s all it was. I’m in love with Peter and NOTHING will ever change that. Now leave me alone…

Jason looks around at the couples looking at them and the manager.

JASON
You’re making a big mistake running back to him. He’ll never love you like I do.

Jason walks away. Mary Jane rolls her eyes and continues her work. She stops at a table.

MARY JANE
Hi. Welcome to the jazz club, what can I get for you tonight?

FADE TO:
EXT. DAILY BUGLE- AFTERNOON

Angle down on the Daily Bugle as we see Jameson looking out his window…

INT. DAILY BUGLE- JAMESON’S OFFICE

Robbie Robertson enters the room.

ROBBIE
The paper’s sales are continuing to decline…

JAMESON
I shouldn’t have ever let him go.
(beat)
Without pictures of Spider-Man, where are we? And the only one who can track him down left.

Jameson looks at Robbie…

JAMESON
Am I that difficult to work with?

Robbie looks at Jameson, not knowing how to respond.

INT. DAILY BUGLE- NEWS ROOM

Betty looks down at the phone… waiting for calls.

PETER (O.S.)
Is Mr. Jameson in?

Betty smiles as she looks up.

BETTY
Peter!!!

Peter smiles as he nods.

PETER
Hey.

BETTY
I missed you…

PETER
I missed you too… can I…

Betty turns around and looks into Jameson’s office.

BETTY
Go ahead…

Peter enters Jameson’s office.

INT. DAILY BUGLE- JAMESON’S OFFICE

Peter enters. Jameson turns around.

JAMESON
Parker?! What are…
(beat)
Parker!

Jameson unnaturally extends his hand.

JAMESON
Welcome back.

Peter cautiously takes it as Jameson shakes it hurriedly.

JAMESON
Take a seat.

Jameson and Peter sit down at his desk.

JAMESON
What brings you back?

PETER
I need a job sir…

JAMESON
Done!

Peter smiles as he looks at Jameson, not believing his ears.

JAMESON
What else?

PETER
A raise.

JAMESON
How much?

PETER
A thousand dollars.

Jameson thinks it over…

JAMESON
Tell you what… I’ll give you a five hundred dollar raise now and another five hundred after you capture a picture of the newest urban legend to hit Man-hattan… that giant reptile…

Hoffman sticks his head into the frame of the shot.

HOFFMAN
The lizard, sir.

JAMESON
Yeah, him! You get me a picture of the lizard… I’ll bump the five hundred dollar raise to a thousand.
(beat)
Do we understand each other?

Peter grins as he nods.

PETER
Yes sir.

JAMESON
Anything else?

Peter shakes his head no.

JAMESON
Good.
(back to old Jameson)
What are you still doing here? Go get me those pictures!

PETER
Yes, Mr. Jameson.

Peter leaves the office.

Jameson looks at Robbie and grins…

JAMESON
Looks like we’re heading back to the top!

Jameson smokes a cigar… Hoffman approaches him.

HOFFMAN
Um, Mr. Jameson?

JAMESON
(annoyed)
What do you want?
(beat)
Get out of here!

Hoffman nods as he runs off.

HOFFMAN
Yes sir.

Jameson reclines in his chair.

JAMESON
Yep… ha, ha! Life is good.

INT. HOSPITAL- MAY’S ROOM

Mary Jane enters, May looks towards her.

MARY JANE
Hey.

MAY
Hey…

MARY JANE
I just wanted to stop by and see how you’re doing.

Mary Jane pulls up a chair and sits down.

MAY
I’m doing fine. Peter dropped by to see me.

Mary Jane looks at May, surprised…

MAY
He still cares about you, you know.

MARY JANE
It feels like he’s trying to push me away.

MAY
That’s because he’s scared. He’s scared about what might happen to you. But just because he’s afraid, doesn’t mean he doesn’t love you. He’s always loved you… he always will.

Mary Jane looks at May, taking it in.

MAY
Have I ever told you about me and Uncle Ben?

Mary Jane shakes her head no.

MAY
Well, Ben was having second thoughts as well… it’s common to be afraid to spend the rest of your lives together. Not knowing how things might turn out. Not knowing what the future holds in store… but, then he told me the most beautiful thing-

MARY JANE
What did he say?

MAY
That he couldn’t imagine spending every second of his life without me. That he needed me, like I needed him. And Peter needs you, he’s just having a harder time than most.

Mary Jane sighs and nods.

INT. SEWERS- LIZARD’S LAIR

Sewer drains run everywhere… a generator is built into the wall. We see a giant neogenic recombinator attached to the ceiling!!! Giant lizards stand around the Lizard as crocodiles and snakes crawl and slither on the ground. Scattered around we see torn human flesh and “failed projects.” The Lizard stands amongst them looking them over…

LIZARD
And now for the great moment my petsss… we ssshall be the firsst! The firsst of Earth’s new rulers! The humansss will have no place to run… no place to hide from usss!

INT. SEWERS

Spider-Man crawls along the ceiling of the sewers hearing the Lizard and the metallic humming that he could place anywhere…

LIZARD (O.S.)
For they will be usss…

Spider-Man continues to crawl as he makes out a light at the end of the tunnel.

INT. SEWERS- LIZARD’S LAIR

Spider-Man begins to come into view as he crawls along the sewers…

LIZARD
A new day is coming. A day when reptiles rule the world… And NOTHING will ssstop the birth of a new race!

Spider-Man stops crawling as he looks in… hearing everything.

LIZARD
And I ssshall be the master! Massster of an entire planet. Our sssupreme moment is at hand!!! All we need isss more power…

Spider-Man lands. SPLASH. The Lizard turns around.

SPIDER-MAN
I won’t let you go through with this Doctor Connors!

LIZARD
(confused)
Connorsss…

Spider-Man looks at the Lizard afraid…

LIZARD
(to REPTILES)
Get him, my petsss! Sspider-Man must never leave here alive!!!

The giant lizards charge at him as the Lizard runs off.

SPIDER-MAN
There is still a way out of this!!! I can save you!!!!

The Lizard disappears out of view. Spider-Man quickly takes out the giant lizards one by one using his fast reflexes… he zips up onto the ceiling, fastens his camera tighter around a hanging nail and chases after the Lizard.

The Lizard continues to run through the sewers, casually glancing behind his back. Spider-Man slowly catches up to him.

SPIDER-MAN
Let me help you. I can find a cure! I can set things right!!!

The Lizard LEAPS forward and attaches to the walls of the sewers as he continues to run off.

Spider-Man follows close behind.

The Lizard drops through a hole in the sewers to the floor below. Spider-Man drops down.

INT. WIDE SEWERS

Spider-Man looks around. The Lizard is nowhere to be seen!

The Lizard TACKLES him to the ground.

Spider-Man stares up at the Lizard baring its fangs. Spider-Man attempts to hold him back as Lizard goes in for the kill like a vicious hungry animal. Spider-Man quickly kicks the Lizard off.

The lizard rockets back and lands, it quickly gets back up and stares at Spider-Man, ANGRY.

SPIDER-MAN
Oh no.

The Lizard CHARGES at Spider-Man. Spider-Man runs off through the sewers, trying to escape. The Lizard TACKLES Spider-Man, BITING into his shoulder! Spider-Man screams in agony as he continues to run off.

Spider-Man attaches to the ceiling above.

SPIDER-MAN
Let me help you!

The Lizard SWINGS his tail against the wall of the sewer, causing the ceiling to crumble to the ground. Spider-Man lays amongst the rubble.

SPIDER-MAN
Doctor Connors… I know you’re still in there. Fight it!!!

The Lizard GRABS Spider-Man by his throat and yanks him up, staring him in the eye.

LIZARD
There isss no Connorssss!!!

Lizard goes in for the kill, swinging his claws at Spider-Man. Spider-Man quickly sends out a web towards the Lizard’s face. The Lizard drops Spider-Man to the ground and begins to peel the web away.

The Lizard looks around, Spider-Man is nowhere to be seen!

LIZARD
Where are you?!

Spider-Man appears behind the Lizard, attached to the ceiling.

SPIDER-MAN
Here.

Spider-Man SWINGS down and KICKS the Lizard back and into the next room.

INT. SEWERS- STAIRCASE ROOM

A circular staircase leads down for miles around a long round rusting metal barrier. Bridges connect to the staircase as it descends into a deep abyss below.

The Lizard gets up and stares at Spider-Man. Spider-Man swings over his head and lands behind him.

SPIDER-MAN
Let me help you… please…

LIZARD
I don’t need your help.

The Lizard TACKLES Spider-Man… they roll down the staircase. Spider-Man is unable to get free. The Lizard continues to claw at him.

They reach the level below. Spider-Man quickly kicks the Lizard off, knocking him into the next room.

INT. SEWERS- WATERFALL

Inside is a giant sewer waterfall. A narrow gated bridge leads its way across the deep abyss below. Spider-Man follows the Lizard onto the bridge…

SPIDER-MAN
I can cure you!… It doesn’t have to be like this!

The Lizard turns around to face him.

LIZARD
I don’t want a cure!!! I like it thisss way.

The Lizard approaches Spider-Man.

LIZARD
The power. The control. This isss the next step in human evolution!!!!

The Lizard strikes Spider-Man with his tail sending him flying against the wall of the sewer. Spider-Man quickly attaches himself to it.

SPIDER-MAN
No… that’s not true. You have to fight it. You have to fight what it’s doing to you Doctor Connors.

LIZARD
There isss no Doctor Connorsss… I am the Lizard!!!

The Lizard LEAPS at the wall and attaches himself to it. He crawls towards Spider-Man.

LIZARD
And I won’t let you ssstop me from helping mankind.

SPIDER-MAN
Helping? I’ve seen what you turned those… things into back there!

LIZARD
I cured them.

SPIDER-MAN
You destroyed them.

LIZARD
Liesss!!!!

The Lizard sends out a claw, going in for the strike. Spider-Man web swings away and lands on the opposite side of him.

SPIDER-MAN
You don’t want to do this… it’s controlling you. Trust me.

LIZARD
Thisss iss my life’sss work!

SPIDER-MAN
No. It’s not. You wanted to help people. You wanted to cure people… not change them… not change them into this!

LIZARD
You are only postponing the eventual outcome… sssooner or later I will destroy you!

The sewer pipes above rattle… a red light turns on. Spider-Man looks around, what’s happening? VROOSH!!! Sewer drainage shoots out of a massive sewer pipe above. Drowning Spider-Man as it sends him into the murky depths below.

The Lizard LEAPS to the other side as it looks down… Spider-Man is nowhere to be found. He grins as he runs off.

Angle down to see Spider-Man rising to the surface, mask off, and breathing for air. Peter looks around… the Lizard is gone. Peter sighs as he web zips to the ceiling above and lands on the bridge. He puts his mask out, letting the sewage flow out of it.

PETER
(defeat)
Doctor Connors…

FADE TO:
EXT. DOCKS- NIGHT

ANGLE DOWN to see the Docks. Cold. Decrypt. Hardly any boats out on the water…

On the street we can see a black limo and a man in a business suit waiting outside. This is SMYTHE.

Black Cat drops down from the rooftop above. Smythe turns his attention towards her.

SMYTHE
I assume you have the diamond?

Black Cat takes out the diamond and tosses it to him.

BLACK CAT
Like we agreed on.

Smythe looks it over and grins.

SMYTHE
Good job.

BLACK CAT
I learned from the best. You can assure me that he’ll be safe?

SMYTHE
The kingpin always keeps his part of the deal. You’re father is free to go after the awaiting trial.

Black Cat nods her head okay.

SMYTHE
Good night Cat… and rest assured, your father is in good hands.

Smythe enters the limo, closes the door and drives off.

Black Cat watches on as the limo disappears into the distance, feeling as though she just made a deal with the devil.

FADE TO:
EXT. DAILY BUGLE

ANGLE UP to see the Daily Bugle. Ominous clouds hang in the blue afternoon sky.

FADE TO:
INT. DAILY BUGLE- JAMESON’S OFFICE

Jameson continues to smoke his cigar as he reclines in his chair. Robbie looks out over the city.

JAMESON
We’re heading back to the top, Robbie… trust me, I can smell it. Success is in the air.

Peter enters the room. Jameson coughs and covers his nose…

Jameson
(repulsed)
What’s that smell?!
(beat)
Parker?! What do you want?

Peter hands Jameson the photos of the Lizard in the sewers. Jameson flips through them with a wide grin.

JAMESON
Looks like you are good for something after all.

Jameson hands one of the photographs to Robbie. It shows Spider-Man swinging towards the Lizard.

JAMESON
Print this. Headline:
(puts out his hands as if reading it)
WORLD’S WORST CREATURES…
(beat)
No… that’s not right…
(puts out hands again)
WORLD’S DEADLIEST CREATURES.

Jameson nods his head in pride. Jameson looks at Peter…

JAMESON
What are you doing still standing there?

PETER
I have the raise now…?

JAMESON
A raise?!!!! Oh… a raise… yeah, whatever- now scram.

Peter smiles as he walks away.

FADE TO:
INT. CONNORS’ FAMILY HOME- FAMILY ROOM

CLOSE UP on a photograph of Doctor Connors and his family. Together. Happy.

PULL BACK to see Martha looking at the picture, crying.

The doorbell rings. She gets up to answer it and opens the door… Peter stands outside in the rain, looking in.

MARTHA
Peter? Come in…

Peter enters the house and closes the door behind him.

PETER
I heard about what happened to Doctor Connors.

Martha nods her head and takes a deep breath.

PETER
I’m sorry.
(beat)
But, I think I can help…

Martha looks at Peter, not fully understanding what he is trying to say…

PETER
It’s not too late. Doctor Connors is still in there, still in that- creature… he’s fighting it. And I need to help him. I need to help him stop it.

MARTHA
How?

PETER
Can I see his notes?

Martha looks at Peter. Not knowing if that was the best decision.

PETER
Please, trust me. I need to cure him before it’s too late.
(beat)
He’s always been there for me in the past, now it’s time for me to return the favor.

Martha looks at Peter’s pleading face and nods her head okay. Peter returns the nod. Coming to a mutual understanding.

 

[Tempest19]

FADE TO:
EXT. EMPIRE STATE UNIVERSITY- NIGHT- RAINING (LAST WAY OUT OF HERE BY PALO ALTO)

ANGLE DOWN on Empire State University.

INT. DOCTOR CONNORS’ OFFICE

ANGLE UP to see the neogenic recombinator lowering from the ceiling.

CLOSE UP on a Lizard in a cage.

CLOSE UP on a transformed Mickey with more reptilian characteristics.

CLOSE UP on a hand turning on the light switch.

WIDE SHOT of Peter looking over the lab. Determined.

LATER:

Peter sits at a desk going through Doctor Connor’s notes.

CLOSE UP on a drawing of Da Vinci’s “Vitruvian Man.”

CLOSE UP on a sketched drawing of a man with an arm. PAN BACKWARDS as the drawings begin to lose the arm until finally it’s gone.

ANGLE UP to see Peter looking down towards the notes… tired… he looks out the window.

CLOSE UP on Mickey in his cage looking at Peter.

CLOSE UP on a drawing of reptilian’s anatomy.

CLOSE UP on Peter looking up from the notes coming to an idea…

LATER:

CLOSE UP on a hand grabbing a container holding Reptilian DNA. Peter looks at it, pressing his eye up against the container.

INT. MICROSCOPE VIEW

We see the reptilian DNA under a microscope.

INT. DOCTOR CONNOR’S OFFICE

Peter looks around and finally comes across a blood sample labeled: HUMAN. DOCTOR CONNORS.

INT. MICROSCOPE VIEW

We see Doctor Connor’s DNA under a microscope.

INT. DOCTOR CONNOR’S OFFICE

ANGLE DOWN to see Peter hurriedly writing notes.

CLOSE UP on the window sill, rain running down against the glass.

Peter leans forward, tired as hell… he rubs his eyes and continues to work. He looks up…

POV. PETER
Towards Mickey’s cage. Mickey is eating food.

Peter sighs as he looks back down towards his notes.

INT. SEWERS

PAN THROUGH until we come to…

INT. SEWERS- LIZARD’S LAIR

The Lizard stares at a picture of Doctor Connors with his family. He quickly tears it up and sets back to work on the mechanisms in his lair.

INT. DOCTOR CONNOR’S OFFICE

CLOSE UP on Peter mixing chemicals.

INT. SEWERS

CLOSE UP on the Lizard looking over his specimens.

INT. DOCTOR CONNOR’S OFFICE

Peter looks over his notes. He looks out the window… seeing light seeping through.

EXT. EMPIRE STATE UNIVERSITY

ANGLE UP to see the sun rising beckoning dawn.

INT. DOCTOR CONNOR’S OFFICE

Peter activates the Neogenic Recombinator.

INT. SEWERS- LIZARD’S LAIR

ANGLE UP towards the giant Neogenic Recombinator.

INT. DOCTOR CONNOR’S OFFICE

Peter picks up Mickey’s cage. Mickey stares at him and reaches out his hands, attempting to claw at him. But, his hands can’t reach.

CLOSE UP on Mickey’s eyes blinking similar to that of a reptile.

Peter sets the cage down, beneath the neogenic recombinator.

CLOSE UP on Peter looking at a syringe in his hand…

PETER
I’m sorry about this Mickey, but it’s for your own good.

CLOSE UP on the syringe injecting into Mickey.

The neogenic recombinator actives. The beam encompasses the cage.

Mickey withers in agony and screams in torment.

CLOSE UP on Peter looking at Mickey. Hoping. Praying for a miracle.

PETER
Come on… come on…

CLOSE UP on Mickey as he begins to detransform back into his old self.

CLOSE UP on Mickey’s eyes as they revert to normal.

Peter sighs as he slumps down in his chair and reclines back.

PETER
(exasperated)
We did it…

Peter looks at Mickey and smiles.

FADE TO:
EXT. HOSPITAL

ANGLE DOWN on the Hospital as we…

FADE TO:
INT. HOSPITAL- MAY’S ROOM

Peter enters the room and sits down beside his ailing aunt.

PETER
Hey Aunt May…

MAY
Peter.

PETER
How are you feeling?

MAY
I’m doing fine. Stop worrying about me…

PETER
I can’t help it.

MAY
Have you talked to Mary Jane?

Peter shakes his head no.

PETER
I told you… she and I can never…

Peter sighs as he looks around the hospital room.

PETER
I think I know someone who can help… someone who can cure you. I just need a little more time.
(beat)
I promise you… I’m not going to let you die.

May takes Peter’s hand.

MAY
No one man controls fate, Peter. People live and people die. That’s the natural order of life. And there is nothing anyone can do about it, but make sure that when that day does come they don’t look back on their life with regret.

INT. PRISON- VISITATION ROOMS

WALTER STACY, 50 years old, sits at one of the visitation areas waiting for his daughter. Felicia enters the room.

WALTER
Felicia…

FELICIA
Daddy…

Felicia hugs her father.

WALTER
Sit… tell me, what’s been going on in your life recently?

Felicia looks away, not knowing how her father will react.

FELICIA
I’m working on getting you out of here.

WALTER
What?!

FELICIA
I made a deal… I took up your mantel and I…

WALTER
Why would you do that?!

FELICIA
I can’t let you rot away in some prison cell for the rest of your life…

Walter sighs.

WALTER
I wanted something better for you. Better than the life I had. It’s dangerous, Felicia, you could get hurt.

FELICIA
I’m fine… with your coaching, the Black Cat is quite the feline felon.

WALTER
I’m sorry… I should have…

FELICIA
Daddy, this isn’t your fault.

WALTER
Maybe. But, what about all the times you needed me? You were growing up and I wasn’t there. Will you ever forgive me for that?

Felicia embraces her father…

FELICIA
That’s all in the past…
(beat)
I’m going to get you out of here. I promise.

Felicia lets go of her father and walks away. Walter sighs as he watches his daughter go.

EXT. DOCTOR CONNORS’- HOME

Mary Jane stands outside the Connor’s family home. She looks around and finally decides to knock on the door. Mrs. Connors opens the door.

MARY JANE
Hi.

MRS. CONNORS
Hi. Come in…

Mary Jane nods her head and enters the house.

INT. DOCTOR CONNOR’S- HOME

Mary Jane looks around the home, she sees tons of family photographs.

MARY JANE
I need your help.

MRS. CONNORS
What’s wrong?

MARY JANE
It’s Peter. He’s… lost… in his work.

Mrs. Connors nods, understanding.

MARY JANE
And I’m scared for him. That I’m going to lose him.
(beat)
I just need some advice about what I should do…

MRS. CONNORS
Wait for him.

Mary Jane nods her head okay, taking it in.

EXT. PETER’S APARTMENT- NIGHT

ANGLE DOWN on Peter’s apartment. We see Peter sitting on his bed, leaning forward.

The sound of the police radio comes into focus as we pan into the room.

INT. PETER’S APARTMENT

CLOSE UP on Peter, waiting for a sign… an answer.

CLOSE UP on the Police Radio.

POLICE RADIO
Reports of the Lizard last spotted around Times Square. All available units are requested to check on the activity immediately.

CLOSE UP on Peter looking up. He holds the mask in his hand.

CLOSE UP on Peter’s hand clutching onto the mask with a firm grip.

EXT. TIMES SQUARE

ANGLE DOWN on MOVING SHOT over Times Square…

INT. FUTURE TECH INDUSTRIES- TOP FLOOR

CLOSE UP on a powerful computer chip on display, surrounded by a glass barrier.

The Lizard approaches it and swings his claws through it. The glass SHATTERS upon impact and the alarms blare. The Lizard grabs the computer chip.

EXT. TIMES SQUARE

Spider-Man swings through Times Square, rapidly approaching the top floor of FUTURE TECH INDUSTRIES. The flashing alarm lights guiding the way…

INT. FUTURE TECH INDUSTRIES- TOP FLOOR

The Lizard turns around to leave. Spider-Man SWINGS through the glass windows of the room. The Lizard turns around, seeing Spider-Man…

SPIDER-MAN
I’m not going to let you finish it.

LIZARD
You can’t stop me… very sssoon this whole world will be reborn anew. I will sssave everyone.

SPIDER-MAN
You’re not saving them… you’re killing them.

LIZARD
No!

The Lizard SWINGS his tail at Spider-Man, Spider-Man quickly jumps over it. The tail hits the wall.

SPIDER-MAN
I have a cure… there is still time to make things right again.

LIZARD
Connors is dead!!!

Lizard CHARGES at Spider-Man and SWINGS his tail, knocking Spider-Man back and out of the windows…

EXT. FUTURE TECH INDUSTRIES- GROUND LEVEL

Pedestrians look up towards the sky and point at the sight of Spider-Man flying back through the window and glass shattering upon impact. Spider-Man quickly sends out two webs and swings his way back into the building.

INT. FUTURE TECH INDUSTRIEST- TOP FLOOR

Spider-Man lands and looks at the Lizard. The Lizard frowns.

EXT. FUTURE TECH INDUSTRIES- GROUND LEVEL

A police car arrives on the scene. George Stacy steps out of the police car.

INT. FUTURE TECH INDUSTRIES- TOP FLOOR

Spider-Man stares the Lizard down…

SPIDER-MAN
I’m not going to let you destroy him.

Spider-Man CHARGES at the Lizard. The Lizard sends out his tail, Spider-Man simply jumps over it as he continues the charge.

The Lizard CHARGES at Spider-Man as the two CLASH together. They crash out of the windows.

EXT. FUTURE TECH INDUSTRIES

Spider-Man and the Lizard topple out of the top floor. Punching and clawing at each other as they descend towards the ground below.

Spider-Man KICKS the Lizard, knocking him back up against a building. Spider-Man quickly sends out a web and safely lands on the ground below.

The Lizard presses his claws against the building to slow his descent.

EXT. FUTURE TECH INDUSTRIES- GROUND FLOOR

The police escort the people away from the fight.

Spider-Man and the Lizard encircle each other.

SPIDER-MAN
Remember your family!!! You don’t want to do this to them… please, it doesn’t have to…

The Lizard CHARGES at Spider-Man, Spider-Man quickly jumps out of the way.

SPIDER-MAN
You don’t need to do this!!!

LIZARD
Yesss, I do!

The Lizard sends out his tail, knocking a car through the air… Spider-Man ducks out of the way.

TRACK with the car as it approaches a five-year old boy looking at it, frozen in fear. George Stacy notices and runs towards the child…

GEORGE
Get out of the way!

He leaps through the air and quickly shoves the child away from the soaring car. The car nears its descent just over his head!!!

Spider-Man notices and sends out a couple of webs, catching the car!

George looks up at the police car just overhead. He turns towards Spider-Man.

GEORGE
Thanks.

SPIDER-MAN
Don’t worry about it, Cap’.
(motions to the child)
Just get him to safe grounds.

The Lizard TACKLES Spider-Man to the ground, going in for the kill… BAM! The Lizard is shot… Spider-Man looks at the Lizard, afraid… the Lizard screams in agony. But, he is still alive. Spider-Man breathes a sigh of relief and looks towards the COP.

SPIDER-MAN
Don’t fire!!! I can handle it… don’t kill him.

The Lizard looks at Spider-Man, trusting. A tear flows down his reptilian hide…

POV. LIZARD
Double vision ANGLE DOWN towards Spider-Man…

SPIDER-MAN (V.O.)
Don’t kill him… Don’t kill him…

Spider-Man looks at the Lizard staggering back trying to regain control. Spider-Man stands up.

SPIDER-MAN
Doctor Connors? I need your help… I need you to help me fight it.

The Lizard screams in agony.

LIZARD
No!!!!

The Lizard CHARGES at Spider-Man knocking him against Future Tech Industries.

SPIDER-MAN
Think about your family… do what is right, for them…

The Lizard looks at Spider-Man confused… the Lizard GRABS Spider-Man and throws him through the front windows of Future Tech Industries…

INT. FUTURE TECH INDUSTRIES- MAIN LOBBY

ANGLE DOWN on Spider-Man, surrounded by glass, staring towards the ceiling. He quickly gets up and looks around. The Lizard is nowhere in sight!

EXT. FUTURE TECH INDUSTRIES- GROUND LEVEL

Spider-Man runs out and looks around… nowhere…

SPIDER-MAN
(to GEORGE)
What way did he go?

George Stacy points in the direction that the Lizard headed in.

GEORGE
He went that way.

SPIDER-MAN
Thanks…

GEORGE
Good luck.

Spider-Man swings up into the sky.

EXT. TIMES SQUARE

The Lizard runs across the buildings of Times Square, approaching the main television set. Spider-Man swings after him.

SPIDER-MAN
Hey!

The Lizard stops and glances behind its back.

Spider-Man swings down and KICKS the Lizard as hard as he can. The Lizard hurtles backwards through the air and CRASHES into the Times Square television set!!!

The Lizard growls in agony and anger.

LIZARD
Jusst leave me alone!

SPIDER-MAN
I’m sorry… I can’t do that.

The Lizard sends out his tail and hits Spider-Man back. Spider-Man crashes towards the ground below… he regains consciousness mid-fall and quickly attaches a web to a nearby building to slow his descent.

On the ground Spider-Man looks around… the Lizard is gone!

EXT. CONNOR’S FAMILY HOME

ANGLE DOWN towards the Connor’s Family Home… rain pours down from the pitch-black sky above.

CLOSE UP on the Lizard lurking behind a tree, in the back yard, looking into his house through the kitchen window…

Mrs. Connors looks out over the backyard, thinking she saw something from inside the kitchen…

CLOSE UP on the Lizard grinning…

LIZARD
Martha.

FLASH CUT:
EXT. ROOFTOPS

Spider-Man stands on a rooftop above looking over the city… he takes his mask off and scans the streets below.

PETER
Where are you?

CLOSE UP on Peter… as a chill runs up his spine.

PETER
Oh no.

Peter quickly puts his mask back on and swings off.

 

[Tempest19]

EXT. NEIGHBORHOOD

Spider-Man quickly swings through a neighborhood. He hears a woman’s SCREAM. Spider-Man speeds up his pace.

FLASH CUT:
EXT. DOCTOR CONNOR’S HOUSE

Spider-Man arrives… Billy is standing outside in the rain.

BILLY
Mom! Mom!!!

Spider-Man jumps down beside him.

SPIDER-MAN
Billy, where’s your mom?

BILLY
Daddy came back and took her away, down there.

Billy points towards the sewers below.

SPIDER-MAN
The sewers… listen, I’m going to carry you to a neighbor’s house and then I’ll go get your mom and your dad too. Okay?

BILLY
Okay… just don’t let anything happen to them.

ANGLE DOWN towards the sewer grate as we move down and into…

INT. SEWERS

The Lizard carries Martha through the sewers and into his lair…

INT. SEWERS- LAIR

Crocodiles and snakes swarm around at his feet. The Lizard looks up towards the neogenic recombinator and grins. He places his wife down on the ground.

Martha opens her eyes and looks around, afraid…

MARTHA
Where are we?

LIZARD
Don’t be afraid. You are safe now…

Martha stands up and looks around, afraid…

MARTHA
Why did you bring me here?

LIZARD
So that we could be together…

MARTHA
You’re still my husband… I love you, I want to be with you… but, not like this.

LIZARD
I… love you too. I… I need you and I need your help. With this…

The lizard motions towards the neogenic recombinator attached to the ceiling.

MARTHA
What are you going to do?

LIZARD
Don’t be afraid Margaret. It will transform you. You will be able to heal any wound. Replace any limb. First you… then everyone! Once I supply these electrical conduits with enough power, I can reach every home in the city! Every man, woman and child, I can transform all of them! No more suffering… no more pain.

MARTHA
But, Curt after you transform everyone- we’ll all be like you!

LIZARD
Of course! I am the first of a new race, a better race!

Martha shakes her head no… she grabs the Lizard by his hand. Spider-Man crawls along the ceilings over head…

MARTHA
You’re not better! Look at what you’ve become!

LIZARD
No!!!
(beat)
I can make people well again and I won’t stop for anything!

MARTHA
Not even for Billy?! You want him to be like you too?!

LIZARD
My son… I have a son.

Spider-Man leaps down and KICKS the Lizard back.

SPIDER-MAN
Sorry doc, I’m doing this for Billy as much as for you!

The Lizard looks back at Spider-Man and growls… he swipes his tail back and knocks Spider-Man back hard against the sewer pipes. Spider-Man crashes to the ground below.

The Lizard CHARGES at him and LEAPS. Spider-Man quickly back flips in the air, the Lizard strikes his tail against the wall… the lair begins to crumble apart.

SPIDER-MAN
(to MARTHA)
Get out of here!!!

The Lizard TACKLES Spider-Man against the wall… shaking the foundations of the lair…

SPIDER-MAN
Doctor Connors, I know you’re in there… just listen to me and fight it!

The Lizard swings Spider-Man around and knocks him against the other side of the lair.

CLOSE UP on the neogenic recombinator above breaking apart from the wall.

Martha inches back away from the fight. The ceiling above her crumbles… she looks up and screams as debris collapses around her, knocking her out.

The Lizard notices.

LIZARD
Oh no!!!

The Lizard approaches his wife…

LIZARD
Margaret, I’m sorry…

Spider-Man regains consciousness and looks towards the Lizard… he sneaks up to the computer terminal… the Lizard notices and TACKLES Spider-Man… they crash up against the wall and the neogenic recombinator plummets to the icy depths of the sewer below.

The lizard turns his attention towards it. Spider-Man takes his chance and TACKLES the Lizard into the water below.

INT. SEWER WATER

They battle their way down through the water, clawing and punching at each other as the neogenic recombinator sinks to the bottom.

Spider-Man KICKS the Lizard off of him and swims down towards it. The lizard chases after him.

INT. SEWERS- LIZARD’S LAIR

Martha slowly opens her eyes, regaining consciousness. She looks around.

INT. SEWER WATER

Spider-Man holds the neogenic recombinator in his hand and takes out the syringe from a sewn in area on his costume…

The Lizard frowns as he CHARGES through the water towards Spider-Man.

CLOSE UP on Spider-Man flipping a switch on the neogenic recombinator. The mechanical humming begins.

INT. SEWERS- LIZARD’S LAIR

Martha hears the humming and rushes to the edge of the lair, looking down through the water below.

MARTHA
Curt? … Spider-Man?

INT. SEWER WATER

The lizard TACKLES Spider-Man, sending him backwards through the water! He loses the syringe. The neogenic recombinator continues its plummet.

Spider-Man quickly gets out of the Lizard’s area of attack and swims towards the syringe, he reaches out and GRABS it. He quickly turns around to see the Lizard charging at him, mouth open and fangs baring. Spider-Man strikes the Lizard with the syringe!!!

The Lizard screams in agony… Spider-Man backs away…

The neogenic recombinator hits the bottom of the sewers…

INT. SEWERS- LIZARD’S LAIR

Martha continues to look down for a sign…

INT. SEWER WATER

The ray shoots out of the neogenic recombinator, catching the Lizard and Spider-Man in its blast!

INT. SEWERS- LIZARD’S LAIR

The blast from the neogenic recombinator ERRUPTS out of the water creating massive TIDAL WAVES! Martha inches back from the raging waves…

INT. SEWER WATER

CLOSE UP on the Lizard still caught in the blast as he begins to detransform back into Doctor Connors! This is truly a magnificent and overwhelming sight to behold.

INT. SEWERS- LIZARD’S LAIR

Spider-Man surfaces out of the water and gets up onto the dry surface above… Martha looks at him, fearful. Spider-Man pulls Doctor Connors up from the water below. Martha smiles as she embraces her unconscious husband…

MARTHA
Curt!
(beat)
Is he okay?

Spider-Man nods…

MARTHA
Oh, thank heavens…

Doctor Connors opens his eyes and looks lovingly at his wife as tears stream down his face…

DOCTOR CONNORS
Martha?… Is that truly you?

MARTHA
Yes, it’s me…

DOCTOR CONNORS
I thought I lost you. It was all a terrible nightmare.

Spider-Man looks around the crumbling lair.

SPIDER-MAN
Love to catch up, but unfortunately- we don’t have the time… this whole place is about to collapse!

Doctor Connors and Martha look around, noticing the destruction surrounding them.

Spider-Man lifts Doctor Connors and Martha over his shoulders.

SPIDER-MAN
Hang on.

Spider-Man web zips up and out of the lair as the final debris falls apart behind them, creating a cave-in.

FADE TO:
EXT. NEW YORK CITY- STREETS- NIGHT

Spider-Man, Doctor Connors, and Martha walk through the streets of New York. Martha holds onto her husband…

DOCTOR CONNORS
(to MARTHA)
There are a couple of last things I need to take care of…

Doctor Connors looks towards Spider-Man.

DOCTOR CONNORS (CONT’D)
I’ll see you back home.

Martha nods, walks away, looks back and continues on her way. Doctor Connors turns back towards Spider-Man.

DOCTOR CONNORS
I know who you are under there. Under that mask. Don’t worry… I’m not going to tell anyone.
(beat)
If there is any way that I can repay you, I’d…

Spider-Man nods his head. Doctor Connors looks at Spider-Man, head tilted- that was fast.

SPIDER-MAN
There is.
(beat)
My aunt, she’s dying… cancer and… most likely from the blood transfusion, my blood. I need you to…

DOCTOR CONNORS
I’ll do what I can. I’m going to need funding.

SPIDER-MAN
I’ve got it covered.

Doctor Connors looks around the city, still amazed by what happened.

DOCTOR CONNORS
I almost lost my whole life…

Doctor Connors motions to his missing limb.

DOCTOR CONNORS
Because of this… because of an arm.
(beat)
Thank you, for saving me.

SPIDER-MAN
Don’t worry about it.
(beat)
Now let’s get you home to your wife.

Spider-Man motions for Doctor Connors to hold onto him as they swing off into the night.

EXT. DOCTOR CONNOR’S HOUSE

Spider-Man and Doctor Connors approach Doctor Connor’s house.

DOCTOR CONNORS
I don’t know if I should go through this… with all I’ve been through… is it even safe?

PETER
You have to go in, they miss you. They need you there- in their lives.

DOCTOR CONNORS
I know, it’s just… what if I become the lizard again? What will happen to them? What will I do to them? I don’t know if I want to take that chance.

PETER
She needs you as much as you need her. We only have one life, don’t throw it away because you’re scared of a possibility. Take relief in knowing that now, here, you still have a chance to be with her- for no matter how long that might be.
(beat)
Go to her.

Doctor Connors sighs as he looks into the windows of his house, he nods his head.

DOCTOR CONNORS
You’re a wise man. And you should listen to your own advice… don’t let her go.

Doctor Connors enters his house and closes the door behind him.

Spider-Man looks in to see Doctor Connors and Martha embrace, holding firmly onto each other… for stability.

INT. DOCTOR CONNOR’S HOUSE

Close up on the happy couple, back together again as we pan over to see the television set turned to the news. Walter Hardy walks out of prison, the words: WALTER HARDY RELEASED TODAY, DUE TO RECENT DEVELOPMENTS CONCERNING TAMPERED WITH EVIDENCE.

FADE TO:
INT. JAZZ CLUB

Mary Jane finishes singing on the stage… Peter enters and approaches her. Mary Jane looks at Peter with a wide smile spread across her face. She steps down from the stage.

PETER
Day by day, he gazed upon her.
Day by day, he sighed with passion.
Day by day, his heart within him.
Grew more hot with love and longing.
(beat)
For… um…

Peter looks around, forgetting his lines. He cracks a grin and shrugs.

PETER
I’ve loved you since the moment I first laid eyes on you. You were the girl next door, the girl of my dreams…

Peter kneels down beside her.

PETER
What I’m trying to say is, Mary Jane…

CLOSE UP on Mary Jane smiling, awaiting the question… he takes out Aunt May’s ring.

PETER (CONT’D)
Will you marry me?

MARY
Yes! I will marry you, Peter Parker.

Peter smiles as he puts the ring onto her finger. He stands up and they kiss. The people in the Jazz Club applaud…

FADE TO:
INT. CATHEDRAL

ANGLE DOWN on a beautiful cathedral. Peter stands at the front of the cathedral in a tuxedo, waiting for his bride to walk down the isle.

The music begins as Mary Jane walks out in her wedding dress. They exchange a smile.

Doctor Connors and Martha watch from first row seats. Aunt May sits beside them, smiling, cured from the radioactive blood…

Mary Jane stands beside Peter as the priest begins…

PRIEST
We gather here today, in the presence of family and friends, with God as our witness, to celebrate the marriage of Peter Parker and Mary Jane Watson.
(beat)
Do you, Peter Parker take Mary Jane Watson to be your lawfully wedded wife. To promise to love her, honor her, and to cherish her; in sickness and in health; for better or for worse; for as long as you both shall live.

PETER
I do.

PRIEST
Do you Mary Jane Watson take Peter Parker…

MARY JANE
I do!

The priest smiles as he closes the bible.

PRIEST
You may now kiss the bride.

Peter Parker looks at Mary Jane, his wife, smiling… Mary Jane holds Peter by the hand.

MARY JANE
Face it tiger, you’ve hit the jackpot.

Peter grins. They kiss as we pan back taking in the moment before we fade to black…


[FADE TO BLACK]

 

[Tempest19]

SPIDER-MAN 4
SPINNING A TANGLED WEB

SPINNING THE PLOT

Writing a screenplay is a twisted web by itself. I began managing a ‘Spider-Man: The Series’ that premiered sometime last year on the hype forums. Although the run was short, I came to learn the intricacies of these characters and what made them unique.

Spider-Man is perhaps the richest superhero property to be working for. The reason I say this is because we are all Peter Parker. We all go through daily life and are met with obstacles along the way. The only thing that separates us is that Peter has to deal with obstacles that are on a higher scale, such as saving the city and in some cases curing a friend.

Spider-Man 3 left me with one question… this is a story about a girl, that girl, Mary Jane Watson. Yet, at the end of the movie we have no idea where this relationship is going. There isn’t even a proposal! For me, that was the starting point for developing the story of the sequel. The marriage. The final chapter.

It also left me with the feeling of how Harry’s death will overall effect Peter. Sure, at the end it seems summed up… but, in my opinion there is still some guilt residing in him that he believes he could have saved Harry. This is one of the aspects that makes this “gift” a “burden,” and that is the hero complex.

Doctor Connors is perhaps best known for not only his reptilian abilities and appearance, but the familial aspects as well. The love he has for his wife and for his son. Thus, in my mind I could not think of a “villain” better suited for the story I wanted to tell. The lesson he would teach Peter is that every man needs a family to come home to after a hard day’s work. In essence, Doctor Connors encourages Peter to go ahead with the proposal and take Mary Jane as his wife.

The involvement of Doctor Connor’s also gave me an interesting prospect with the character of Aunt May. In Doctor Connor’s second appearance, Peter Parker goes to him to cure his aunt! Thinking that over and what’s happened recently in Peter’s life I knew that this was an aspect of the mythos I had to use.

Taking a look through the comic books and film history, in my opinion the best way to show this overwhelming burden of guilt was to show Peter trying to push his life away- separating himself from the world entirely. In essence, I always viewed this as the opposite scenario from Spider-Man 2 in that rather than “Spider-Man no more” it’s “Peter Parker no more.”

Thus, the story formed had three main parts: marriage, guilt, and final redemption.

The following is a scene by scene commentary:

“THE WEDDING”

The film opens at a wedding. This was an important set up because it established one of the key underlying themes of the film as well as the initial conflict. The scene was constructed to fool the reader into believing that the wedding is the actual wedding between Peter and MJ and as the scene continues, we soon find out that this is actually only a play and Peter is having doubts about marrying MJ due to what has happened recently in his life.

DOCTOR CONNORS

In my personal opinion dialogue is just as important as action in a film. There are certain cue words that can catch an audience’s attention to inform them about what a scene is going to be about. In the case of this scene that line of dialogue was, “regeneration.” Establishing what the story is about and the pursuit of Doctor Connors.

Regeneration is simply defined as regrowth, not necessarily that of a body part or organ. In the case of this film, it can be applied to Peter growing back into his life and allowing for himself to heal from all of the wounds that he’s been blown from Harry’s death to Aunt May’s cancer and the transformation of Doctor Connors into the Lizard. In a sense, this is the fixing of Peter’s “hero complex,” giving him for the first time in his life- freedom.

Part of the dialogue in this scene is actually from ‘The Amazing Spider-Man #6’, the first appearance of the Lizard! In the commentary for Spider-Man 2.1, Alvin Sargent states that part of the dialogue from the film actually came directly from the comics. And I agree that the classic comics are a great source for dialogue, because although some of it may have aged with the times a lot of it is still as epic and emotional as it was back in the day.

The following scenes concerning Doctor Connors hiring Peter allows for a nice little nod to the first Spider-Man film:

GWEN
A job?

PETER
Yeah. He’s working on some great scientific advancements and he wanted me there by his side.

GWEN
Didn’t he fire you?

Peter smirks and shrugs.

PETER
That happened years ago, besides I’d like to think I’ve matured since then.

If you remember, in the first Spider-Man film, Peter actually states that he was fired by Doctor Connors!

PRAYING AT HARRY’S GRAVE SITE

Personally this is one of my favorite scenes, it establishes the overwhelming guilt that Peter has over the death of his friend. It’s also, I hope, an emotional scene, of Peter trying to face what has happened and move on – but, he can’t. His guilt is overwhelming him, even though he tries to act as though he has moved on his “hero complex” doesn’t let him.

LEAVING THE BUGLE

Okay, I’ll admit it- there was really no proof provided for the Daily Bugle to piece together the pieces of Harry’s death being connected to the entity of the Green Goblin. But, for the purpose of the plot- the Bugle was able to piece it together and this is the final straw for Peter that pushes him to finally quitting the Daily Bugle. Abandoning that part of his life for what, he thinks, is a better alternative. It’s okay for Peter that Jameson criticizes Spider-Man and labels him a menace, but he can’t stand the thought of Jameson dealing out the same treatment towards his best friend.

THE JAZZ CLUB REVIEWS

This scene actually introduces a new character that has already been established in the MARVEL Universe, albeit with some changes.

Jason Jerome in the Spider-Man Marvel Encyclopedia:

A former co-star of Mary Jane on the soap opera Secret Hospital, Jason Jerome later chanced MJ at the airport. Jerome was returning from London’s West End theater scene, while Peter Parker was heading to London to bring Knight and Fogg to justice for murdering the Arranger. A smooth-talking sleazeball, Jerome turned his manipulating charm on Peter’s wife. Confused and lonely, Mary Jane nearly fell for his line. She came to her senses before it was too late. Inviting Jerome to her apartment, Mary Jane flicked on the lights to reveal a room she had decorated with photos of her and Peter. She then kicked the humiliated Jerome out of her life for good.

THE DAILY GLOBE

‘Beautiful Day’ by U2 playing over this scene was always a thought that I had in the back of my mind and eventually the scene just took on it’s own being. In a way, it’s my nod to “Raindrops Keep Fallin’ On My Head.”

The main character in the Daily Globe that we meet is it’s own version of Eddie Brock, a character who we start off liking but hold judgment on and later we find out is a scumbag.

Lance Bannon is another character from the Marvel Universe:

When Peter left the Daily Globe to join the Daily Globe as the newspaper’s head photographer, he was shocked to discover he would share that title with a talented show-off named Lance Bannon. Competition was fierce between the two. When Peter went back to the Bugle, Lance followed- and their rivalry escalated.

Suffice to say though, this photographer never bonded with a symbiote.

ROMANTIC DATE/ GOING TO AUNT MAYS

The romantic date between Peter and Mary Jane acted as another reminder the reader that Peter was having doubts about their relationship. Throughout there are also references to the dialogue from previous Spider-Man films, such as “sometimes you just know people.” The waiter would be the perfect spot for the classic Bruce Campbell cameo spot. Once again, in a way, delivering Spider-Man the bad news.

Peter riding his bike through the streets is another reminder of Harry’s presence. Although it was never specified this scene was highly inspired by the scene in which Peter is knocked off his bike by the New Goblin and thus Peter looking towards the sky for his deceased best friend.

Aunt May’s cancer was, on part, an idea I came up with for the film. Aunt May is getting old and I wanted a natural death for her, old age. The cancer just acts as that ticking clock, but Peter’s “hero complex” makes it difficult to accept this. May became ill shortly after the Lizard’s first appearance in the Amazing Spider-Man.

AT THE LAB

This scene served to introduce the various aspects of the experiment such as Mickey and the Neogenic Recombinator both of which came from the Spider-Man TAS “Night of the Lizard.” This scene also served to show Peter’s continuing feeling of being overwhelmed by the news of Aunt May’s cancer.

THE SHOCKER

I’ve always wanted to have the Shocker involved in a fight sequence since early 2004. After Spider-Man 2 came out I wrote a screenplay for the third Spider-Man film that included a very similar sequence. However, after my computer crashed I never returned to the project and that fight has always stayed strong in my subconscious.

Thus, I finally decided to exorcise that fight sequence in my mind and commit it to page for the Spider-Man 4 screenplay. This is what also led to the involvement of the two helicopters that Spider-Man is following in the beginning of the action sequence.

This sequence was always planned as the big action sequence to start the film off. It is a general rule of thumb that these sequences need to escalate and thus I needed to find a way to design an action sequence that would be exciting and “top” the crane sequence from Spider-Man 3. To orchestrate this I involved many aspects into the sequence- such as Spider-Man having to save the helicopters above and taking out Shocker and his henchmen.

The reactions to the crashing helicopter was highly inspired by Raimi’s style, especially the bank robbery sequence in Spider-Man 2 and in part the crane sequence from Spider-Man 3. This response to stylization can also be said for the close up on the vault door crashing to the ground.

Another thing that you might notice is that during this sequence, I relied heavily on the one-liners that Spider-Man is famous for. This aspect of the character is easy for me to write and relate to, because I deal with stress in a very similar manner. Making jokes about tense situations, rather than straight out dealing with it.

Shocker’s costume would be reminiscent of the Predator, netting-wise. To me this texture provides for the classic Shocker, but with a more cinematic quality to the costume.

Taking on a presence that is more similar to this:

The final part of this sequence with Shultz was initially longer in length due to the involvement of Kraven. But, when Kraven disappeared from the roster of villains the final moments of the sequence went with it. This part of the scene is involved in the deleted/ extended scenes portion of the special features.

RETURNING TO THE APARTMENT

After the confrontation with the Shocker, Peter returns to his apartment and verbalizes to Mary Jane his doubts and fears about their relationship. This scene also allows the audience a peek inside of his “heroes complex” and his still unacceptance of what has happened to him. Establishing, in a way, that Peter is not free, but rather trapped by the presence of Spider-Man.

THE FIRST EXPERIMENT

This scene was highly inspired by ‘Night of the Lizard’ to the point of using most of the dialogue, scene setting, and action from the scene in the cartoon. This was always my favorite scene in the cartoon and I couldn’t find a way to improve upon it, thus the original material in this scene is mainly Doctor Connor’s wrap-up at the end.

CENTRAL PARK & THE DINER

These scenes allowed the audience to sense the importance of this project to Doctor Connors. He has worked on this his whole life and is so close to attaining his dream that to have it taken away would mean the end of the world to him and the crushing of his dreams.

 

[Tempest19]

THE BOARD’S DECISION

This scene, although not purposefully, is very similar to the Board’s Decision scenes in the first Spider-Man films. The purpose for these scenes was to push Doctor Connors to his breaking point, so that his decision to use himself as a test subject would seem more like a rash and compulsive decision rather than calculated.

This fall into madness is hinted at in the following scene between him and Peter, which has my favorite dialogue throughout the whole screenplay because it’s really tragic:

“You’re a good man Peter. A good student. I won’t see you in class.”

Just a very twisted variation on a professor’s typical, “I’ll see you in class” statement that serves the function of Doctor Connors’ “farewell.”

SOMETHING HIDEOUS: BIRTH OF THE LIZARD

One key aspect in developing the Lizard is the internal conflict between man and monster. The Lizard and Doctor Connors are infinitely different and although it has from time to time altered whether or not Doctor Connors is in control, the original- in my opinion- is always the better. The lizard is it’s own being.

The Lizard has his own goals, that goal is often creating the birth of a new race, a master race, that of reptilian humanoids.

In the comics and in the cartoons, one of the most memorable scenes of the Lizard’s origin is his recognition that he has a son- the recognition of family. This is the only thing that gets through his reptilian hide. And this was the main aspect of the character that I wanted to keep and find a way to presenting on screen. The way I decided on going about this was to have Doctor Connor’s fight against the Lizard represented through flashback sequences “attacking” the Lizard from time to time. Another way I went about doing this is through having the Lizard take more and more control over his essence as the story went on.

In the beginning, our introduction to the Lizard, he is obviously a man stuck in a monster’s body and a monster’s drives. He kills an Empire State student due to the Lizard’s hunger for human flesh, but all the while Doctor Connors struggles against it and even apologizes for what he is about to do. The first time that Spider-Man encounters the Lizard, the Lizard is not really a killer unless provoked. Before the Lizard runs off, he looks at Spider-Man ashamed of his actions… this was also important, to me, because it reinforces that Doctor Connors is in there somewhere and he is not proud of what he is becoming. Also, this gives another motivation to his move into the sewers below ground.

The letter that Doctor Connors’ writes and George Stacy finds in the lab is from The Amazing Spider-Man #6. Establishing another essential aspect to the tragedy of the character, the loss and break of family.

Thus, a monster was born to wreck havoc for a man in need of a cure.

THE BLOOD TRANSFUSION

The Blood Transfusion scene actually happened in The Amazing Spider-Man #10. Just six issues after the Lizard’s appearance and later on the result from this is what brought the character of Doctor Connors back into the comics.

Because a lot of this scene, in the comic, was internalized, I had to find a way to make Peter’s uncertainty about this happening appear on screen and the way that I did that was make Peter ask the doctor if he is sure about the tests.

DEPRESSION

Peter’s whole world has crashed around him, ending with the news that Aunt May is dying and Peter knows that it’s because of the reaction she had with his radioactive blood.

Meanwhile, Doctor Connors’ life has also come tumbling down as he isolates himself away from the world in fear of what he is becoming.

In a way, Peter and Doctor Connors both isolate themselves away from the world for the same reason- they are afraid that someone might get hurt because of them.

LOSS OF INHIBITIONS

In the comic books, once Peter discovers that the news that Aunt May is dying he- in a way- loses sense of his inhibitions and doesn’t hold himself back from taking his enemies apart one by one.

The scene between him and the created villain of John Doe is highly inspired by this sense of losing control that is seen in Spider-Man # 31-33. But, rather than knocking around the Master Planner’s henchmen he places this anger onto the character of John Doe.

The line, “I’m through treating you punks with kid gloves!” comes from that story arc in the classic comics.

This scene also allowed for Lance to take an incriminating photograph of Spider-Man about to and ready to commit first degree murder.

I have to admit, differing this Spider-Man from the symbiote black suit Spider-Man was a very difficult challenge because in a way they are both very similar. But, emotional Spider-Man is able to keep these feelings at bay whereas the black suit makes him act upon these urges. Thus, it was difficult straddling the line between these two forces at play.

ABANDONING LIFE

After this fight sequence, Peter realizes that his life has broken and that he is now dangerous to be around. Everyone around him gets hurt. And because of this he finally forces Mary Jane out of his life, on purpose, thinking that he has made things better for her.

And yes, I’ll admit when writing this scene I did think of the tragic break up in the Clark and Lana relationship in season 5. I’m still waiting to see how that will turn out.

Following this scene comes- Man-Spider!!! Actually, not really. I know some fans really love this story and have been yelling for an appearance of Man-Spider for a while now. Personally, I don’t think it would work well in a story because of it’s surrealistic nature. But, for a nightmare it works perfectly and that’s the way I decided to graft it onto the story. Peter dreaming that the same thing that happened to Doctor Connors is happening to him.

Peter seeing a visual representation of Aunt May in the mirror is akin to Harry seeing his father in the mirror.

The second nightmare sequence is actually inspired by the hit CW show “Smallville.” During one of these episodes, Clark Kent has a nightmare in which he is in a cemetery surrounded by thousands of gravestones that surround him. Personally I found this to be a very good visual representation of the “hero complex.” Thus, that was the main inspiration for that nightmare sequence.

STARTING AT THE BEGINNING

One of the most iconic shots from Spider-Man 1, at least for me, was Peter sitting atop the head of a gigantic eagle statue overlooking the city in the Human Spider costume crying as he reflects upon the tragedy that has just entered his life.

Thus, I found that revisiting that moment in his life would be visually stimulating. Only, this time he sits atop the statue as Spider-Man.

I always related the plot of this story to the Bizarro version of the Spider-Man 2 plot. Instead of ‘Spider-Man: No More’ and working to get the girl, this is ‘Peter Parker: No More’ and working to keep the girl at bay.

Spider-Man’s leap off of the rooftop is another image that was very striking for me. The importance of this scene was to see Spider-Man’s suicidal tendencies. He dives for the ground head first and has a moment of hesitation between crashing to his death or swinging off. This moment also really helps to sell that Spider-Man feels helpless.

The way that Spider-Man takes out the thugs in the car also displays Peter’s loss of inhibition, it is here that I decided the best way to differentiate emotional Spider-Man from black suit Spider-Man was to act as though emotional Spider-Man is “drunk” and has no knowledge of the world going on about him. Thus, his lack of attention to what he was doing and the chaos that he was unintentionally causing.

FREE AS A BIRD

This scene further establishes the relationship between Jason Jerome and Mary Jane Watson, Jason offering Mary Jane a shoulder to lean on. The song ‘Free as a Bird’ was also picked specifically to reflect the irony of the whole situation of the Peter Parker story- his feeling that isolating himself from the world will allow him freedom when in fact it does the opposite.

BLACK CAT

The Black Cat and Spider-Man have been known to have a relationship from time to time in the comics, although I didn’t want to get fully into this dynamic between the two their flirting is hinted at throughout the various scenes that they share together.

Peter’s and Felicia’s interaction from the comics and cartoon is also hinted at in the one scene that they share together which helps to also further Felicia’s plot about saving her father.

I found this to be the perfect opportunity to introduce Black Cat to the film universe because of the important dynamic of family in the film, such as the relationship between Felicia Hardy and her father and how far she is willing to go for him.

As the Black Cat tells Spider-Man later in their second encounter, “You think you’re the only one whose life is in turmoil? I’ve got my own problems…”

REPAIRMEN IN THE SEWERS

This scene was highly inspired by a similar scene in ‘Night of the Lizard’ and contains some of the dialogue from that episode.

This was my way of keeping the Lizard present in the screenplay and to show that a change has taken place, as the Lizard has completely transformed from man to monster.

HARSH TRUTHS OF LIFE

The next section of the film establishes to the characters, especially Peter that life is not as bad as they make it out to be.

Peter discovers that the Daily Globe is just like the Daily Bugle, only it hides it’s “money hungry” motivation whereas the Daily Bugle, more nobly, wears it as a badge of honor for the public’s display. As Lance tells Peter, “It’s all about one thing. Showing people what they want… a good photograph is one that sells papers.”

Mary Jane, going to Jason for comfort, discovers that there is more than meets the eye as well. Inside Jason is a scumbag who just wanted a romantic fling with her rather than to be a supportive friend.

Peter’s and Mary Jane’s problems aren’t as bad as they both made them out to be. The only one whose problems mean something is that of the characters pushed aside, the Connors family who are currently dealing with the “loss” of Doctor Connors.

Peter finally comes to a terms of understanding of what he is becoming in his Daredevil-like scene with the Kingpin enforcer. The small boy in the scene, Timmy, for those of you who couldn’t pick it up is actually “The kid who collects Spider-Man.” Timothy Harrison!

So for those of you still thinking the kid in Batman Begins is Robin, well this kid is actually someone integral to the comic book mythos of Spider-Man and personally one of my favorite comic book stories.

AUNT MAY KNOWS

Spider-Man finally decides to face his life head on, to set things right. This starts where he loses his way and abandons his way, by facing Aunt May.

One major theory about May’s character is that she has known Peter is Spider-Man for a while now and thus has continued to give him motivational speeches to lead him on the right path. In this scene, that theory is proven to be true. The moving scene in Spider-Man 2, Aunt May did know that Peter was Spider-Man.

The second key moment of this scene is May telling Peter that he needs to let Mary Jane into his life, even though he still has trouble due to his fear that something might happen to her.

MAY
No one can live a life alone. You need Mary Jane as much as she needs you.

JAZZ CLUB 2

Okay, I admit- I can write screenplays… but, when it comes to lyrics for a song… I suck, horribly. So, sorry about probably the worst lyrics you’ve ever read- but, I’m just not a songwriter. Similar to Harry’s reaction to his play, all I can say in my defense is, “Oh, God, did I write that?”

The “break up” between Mary Jane and Jason was changed, but it’s essence remained intact. The ‘shrine of Peter’ may have worked in the comics, but I don’t really think it would have made for that great of a translation to screen. Thus, I had Mary Jane encounter Jason in the Jazz Club telling him that the previous night was a mistake and that she is in love with Peter- which eventually causes a scene and humiliates Jason. Thus, same tact- just a different way of going about it.

RETURNING TO THE BUGLE

Peter, now knowing that the life he had before “leaving his life” was actually better than he originally thought he returns to the Daily Bugle.

At the Bugle, he gets a job and a thousand dollar raise. The thousand dollars price is the number that was actually put on Peter getting a picture of the Lizard for the Bugle in The Amazing Spider-Man #6.

In an interview, I believe Ted Raimi related the character of Hoffman to a “whack-a-mole” in the way that he would naturally stick his head comically into a scene and I really agree with that interpretation of the character. He is just somebody who is comically always there. This was probably one of my favorite characters to write for, because Hoffman and his interaction with Jameson is just a hilarious dynamic if you play it up right. And at this point in the screenplay I knew that I seriously needed some comic relief after the overly gloomy tone of the film.

MARY JANE TURNS TO MAY FOR ADVICE

As stated before, one of the things that May is best known for is her “speeches” in a film. In Spider-Man 3 it was Ben’s proposal, this screenplay has May delivering a similar speech about Ben’s thoughts about marriage. In the end, May tells Mary Jane that Peter still needs her.

THE LIZARD

The second time Spider-Man encounters the Lizard we can no longer see Doctor Connors, because he is not there- the Lizard has completely taken over. He has spent a long time away from his family and thus he has lost a part of what made him human. This loss gives rise to the Lizard. Now, completely formed, he represents the monster that he has become. His goal of a master race of reptilian humanoids and the loss of a conscious-which is represented through how he responds to Spider-Man. During the first encounter the Lizard is ashamed of his actions, but on their second encounter the Lizard just wants to kill Spider-Man.

The lizard’s experiments are still present… but I really didn’t want to take this further than I did. It is an aspect of his character, but I really didn’t want the Lizard to have a form of henchmen because that would inevitably take away from part of the character. Thus, it is addressed but not in detail.

SETTING THINGS RIGHT

After the first encounter with the Lizard, Peter sets out to find a cure. This was perhaps the most challenging scene to develop, but after finding the means to bring to life in an exciting and visual way of Peter developing a cure it became a real fun and easy scene to write for.

The montage for the scene uses the song ‘Last Way Out of Here’ by Palo Alto, which is one of my favorite songs that I first heard in the film ‘Perfect Score’ and it fits very well thematically with where we are so far in the story.

The Lizard looking at a picture of his family reinforces to the audience that there is still a man somewhere inside of that reptilian hide.

Another key image during this montage that I am very fond of is the series of images of the drawing of a man losing his arm. Creating the ‘transformation’ in reverse to symbolize the cure.

DOCTOR CONNORS CAN SET THINGS RIGHT

For those who are not familiar with the character of Doctor Connors, I found it essential to have a brief scene between Peter and May during which Peter tells May that he thinks he knows someone who can “cure” her.

FELICIA SEES HER FATHER

This encounter between father and daughter was built up throughout the whole film and this is the key moment for Felicia’s character and her final scene in the film.

For the most part, this dialogue was taken straight from the Spider-Man TAS episode ‘The Black Cat.’

WAIT FOR HIM

Another encounter that was built up was that of the two women whose lives were the most effected by the overall plot of the film and that is Martha and Mary Jane.

In the end, Martha is the final person to lend Mary Jane a helping hand and gives her woman-to-woman advice about marriage with a man addicted to his work. For Doctor Connors it’s science, for Peter it’s being Spider-Man.

THE FINAL FIGHTS

Everything has led to this one point in time, the final fight between Spider-Man and the Lizard.

For me, the most enjoyable part of writing the Lizard’s fight sequences is mixing it with the ongoing drama. Placing the drama of the ongoing situation over the spectacle. I also wanted to find a way of incorporating Doctor Connor’s essence into the fights, which I accomplished through the flashback sequences- thus making the fight Doctor Connors and Spider-Man vs. the Lizard, rather than just Spider-Man vs. the Lizard. These fight sequences were actually extremely hard for me to develop because of the various intricacies involved and figuring out how the Lizard should react with his environment.

The first fight entailed the fight sequence that I always had imagined and that was a huge street fight between the Lizard and Spider-Man. One of the key comic book references during this fight was George almost dying in the process of saving a small boy from getting killed from the mayhem of the ongoing fight; in the comics this was actually George Stacy’s death scene, but this was never intended to follow that scene to the tragic end, but just be a nod to the fans without following through with it.

The final fight scene in the film is probably the scene most inspirited and captured from the essence of the final fight in ‘Night of the Lizard.’ This scene has remained my favorite fight scene for years and is one of the most cinematic fights I have ever seen in a cartoon. Thus, there was little to do to make the scene more cinematic for the screen. In essence, it is the same thing with little added to it.

THE END

Wrapping up the film, Doctor Connors tells Peter that he should listen to his own advice and ask for Mary Jane’s hand in marriage.

Peter proposing to MJ took me a while to write because I didn’t want it to be overly romantic. The Jazz Club, was the most romantic setting for this scene and best location that I could think of having the proposal take place in whereas Spider-Man 3 ended here leaving the audience asking, what happens next?

The final draft of that scene, I believe really works well in being romantic but not overly romantic. There is a reference to the poem Peter tried to memorize in Spider-Man 2 that lends some humor to the scene. But, in the end he just finds it easier to just ask MJ to marry him.

The film ends where it began, at a wedding, only it’s real this time and not a scene from a play. Fans have been clamoring to hear one line from Mary Jane and I believe that the best place to put that line in the franchise is where I put it and I hope that Raimi uses the line in a similar context. Because, personally, I can’t think of a better line for MJ to say to Peter when they get married than: “Face it Tiger, you’ve hit the jack pot!”

 

[Tempest19]

FINAL WORDS

In essence, what I set out to tell was the final chapter- and I think I accomplished that. I “freed” Peter from his “hero complex” and made him come to terms with it by teaching Peter the lesson that everyone is going to die but what matters is the time we spend with the ones we love. Peter Parker and MJ get married ending on the line- “face it tiger, you hit the jack pot.” There are other areas that this series could go, but personally for the life of me- I can’t think of a great story to tell after this one. For me, this is the perfect chapter to end on and I’m betting the actual Spider-Man 4 will have a similar story and end on the same beat. Freedom. This is a story about a girl, that girl- Mary Jane Watson.

I hope you guys have enjoyed Spider-Man 4 as much as I enjoyed writing it.

 

[Tempest19]

DELETION OF A HUNTER

The original set up for the story was to involve Kraven and the Lizard. But, as the writing process continued I didn’t think that taking time away from the Lizard to include another villain- Kraven- would be doing both characters the justice that they deserved. Thus, I left Kraven out of Spider-Man 4 to focus my time and attention towards the Lizard.

Throughout the first three acts, Kraven is more of a presence than physical bad guy- all we know is that someone is watching over Spider-Man with the intent to kill him. But, it was never clearly expressed who this figure in the darkness is.

The first time we come across this presence was during the fight with Shocker:

Shocker takes this time to yank off his mask, cough out the blood gurgling around in his mouth and reach for the thrusters.

STOMP! A FOOT lands onto Shultz’s hand reaching for the thrusters.

SPIDER-MAN
Looks like the fun and games are over Shultz. You’re heading back to the big house.

Shultz begins to laugh, blood dripping out of his mouth.

SPIDER-MAN
What’s so funny?

SHULTZ
It’s not over till the fat lady sings, and I don’t hear any singin’…

Spider-Man hears sirens approaching from a distance, he tilts his head as he looks down at Shultz still confused.

SHULTZ
It’s a trap. And you fell right into it like a moth to a flame.

SPIDER-MAN
What are you talking about?

SHULTZ
Let’s just say I’m working for someone higher up in the food chain… and he wants your head, on a silver platter.

Spider-Man bends down by Shultz and PULLS him up by his jacket.

SPIDER-MAN
Who do you work for?!

SHULTZ
Why do you think I’ll tell you web head?

The police cars arrive on the scene as Spider-Man PUNCHES Shultz, knocking him out. George steps out of the police car and approaches Spider-Man.

GEORGE
Thank you for all of your help.

SPIDER-MAN
Don’t worry about it captain, just do me one favor…

GEORGE
Sure, anything…

SPIDER-MAN
Try to find out who he’s working for.

GEORGE
How can I get in contact with you?

Spider-Man thinks it over…

SPIDER-MAN
Just call my unofficial photographer.

POV. BINOCULARS
George nods his head as Spider-Man glances up at the rooftops.

Spider-Man web slings onto the top of the rooftops and looks around. No sign of anyone around the premises.

The following scene was the hardest to cut, because it was my way of incorporating George Stacy to have a larger role in the film than he did in the final draft. This cut also weaves in and out of the scenes around the Diner. The following includes all of the scenes in their original context.

FADE TO:
EXT. CENTRAL PARK

Peter and Mary Jane walk through Central Park, the leaves blowing past them.

PETER
The experiment was a success. You should have seen the look on his face, this means so much to him. His dedication is phenomenal.

MARY JANE
We never finished the conversation from the other day.

Peter sighs.

PETER
I know. But, like I said- I’m not going to let her die. I always find a way.

MARY JANE
What happened yesterday?

PETER
You mean the crime?

Mary Jane nods.

PETER
Nothing really, Herman Shultz escaped from jail and said that he’s working for somebody who wants me dead. All in all, just your typical day for a super powered web swinger.

FADE TO:
INT. POLICE HEADQUARTERS- GEORGES’ OFFICE

George Stacy looks out his high tenth story window of his office.

MAN (O.S.)
Sir…

George turns around to see a young ROOKIE COP holding onto an ornate African dagger.

ROOKIE COP
We found this around the perimeter of the crime scene.
(beat)
I think someone wanted us to find it.

George takes the dagger from the rookie cop and looks it over with an intense curiosity.

FADE TO:
EXT. DINER- EVENING

Open to a small city street, at the corner is a small diner. By the looks of it, it’s been there for a while.

INT. DINER

Peter, Mary Jane, Curt and MARTHA Connors sit at a booth next to a window.

PETER
I was just telling MJ about the success of today’s test run.

MARTHA
Curtis couldn’t shut up about it since the moment he got home.

DOCTOR CONNORS
Can you blame me? My whole life’s work finally coming to fruition before my very eyes…

MARY
How long have you been working on it?

DOCTOR CONNORS
I… I actually can’t remember. It’s been a long time… a very long time.
(to Martha)
Were we even married when the idea first popped into my head?

Martha shakes her head no.

MARTHA
Long before that.

Doctor Connors smiles as he holds his wife’s hand in his.

DOCTOR CONNORS
You know what they say: behind the success of every good man lies a good woman.

Doctor Connors and his wife squeeze hands.

DOCTOR CONNORS
It’s what makes life just a little more bearable. Day in and day out, knowing that at the end of a hard day’s work- there is someone to go home to, someone who will always be there for you. And once you have that, you should never let it go.

Peter and Mary Jane look into each other’s eyes lovingly. Peter’s gaze breaks apart as he sighs and nods his head.

PETER
How long do you think it will be until we’re able to test a trail run on humans?

DOCTOR CONNORS
Patience, Peter. That’s not going to be for another couple of years probably. Patience is a virtue. And it’s something, especially as a scientist, you need to stay true to. This was just the first step of many. But we are close. I can feel it.

Peter’s phone rings.

PETER
I’m sorry.

Peter gets up and walks away from the booth.

PETER
Hello? Yes… I understand sir. I’ll let him know.

Peter walks back to the table.

PETER
Something came up, I’m sorry… I have to go.

Mary Jane nods her head as Peter walks off.

DOCTOR CONNORS
Where does he go all the time?

Mary Jane slightly blushes as she laughs it off…

MARY JANE
It’s complicated.

Doctor Connors narrows his eyes, not exactly believing her.

JUMP CUT TO:
EXT. POLICE HEADQUARTERS- ROOFTOPS

George Stacy waits atop the rooftops of the police headquarters. Spider-Man lands on the roof.

SPIDER-MAN
You said you have something to show me, cap?

George nods his head and hands Spider-Man the dagger.

SPIDER-MAN
What is it?

GEORGE
We found it on a rooftop near the scene of the mayhem the other day with Herman Shultz. I believe it might be a calling card of some kind.

SPIDER-MAN
What does it mean?

GEORGE
I don’t know… but, what I was able to find out is that this dagger belongs to a hunter. He might not exactly be from around here either…

SPIDER-MAN
What are you saying? That some crazed hunter from the heart of Africa might be after me?

George shrugs and nods, knowing how ridiculous it must sound. Spider-Man looks back down at the dagger.

SPIDER-MAN
Thanks for the tip.

Spider-Man approaches the edge of the rooftops, ready to take off.

GEORGE
One more thing…

Spider-Man turns around…

GEORGE
Please, be careful. This city needs you.

Spider-Man nods as he web swings away.

FADE TO:
INT. PETER’S APARTMENT COMPLEX

Peter walks up the stairs of the apartment complex, approaches his room, unlocks the door and enters.

INT. PETER’S APARTMENT

The lights are still on. He gently puts the dagger onto a nearby cabinet and sneaks into the room.

He glances over towards his bed to see MJ already fast asleep. Peter smiles as he begins to take off his shoes. Mary Jane wakes up and looks at Peter, smiling.

MARY JANE
Hey.

PETER
Hey.

MARY JANE
What was that about?

PETER
Just the usual. Nothing for you to worry about.

MARY JANE
I can’t help it.

PETER
(understanding)
I know.

Peter sits down on the bed, Mary Jane comforts him.

PETER
There are still times that I think to myself… maybe it’s best to call it quits? Then I remember what happened last time.
(beat)
My gift. My burden. I never asked for any of this to happen.

MARY JANE
But it did…

PETER
It did. And you’ve always been there for me. Always. Even when I wasn’t there for you. I…

Peter leans forward, sighs and looks around the apartment.

PETER
I don’t know if it’s safe around me any more. I don’t know if it ever was.

The next time Kraven was hinted to was after Peter’s nightmare sequence. But, this time we got more clues about who this presence might be and why he was attracted to the hunt. This was actually another hard cut to make, but reading the final draft I personally think that it works out better dramatically without this scene in it.

Aunt May’s reflection in the mirror disappears. Peter, reflexively, reaches out towards it afraid.

PETER
Aunt May!

The sound of THUNDER rumbles in the distant night sky.

FLASH CUT:
INT. ORNATE HUNTING ROOM

On the walls we see the heads of animals. Hundreds of photographs of Spider-Man hang from the ceiling by strands. TV sets mounted against the wall play footage of Spider-Man’s recent battles with Shocker and John Doe as well as the battle royal that took place not too long ago. An ornate chair faces the TV screens. A fireplace burns and crackles behind the TV screens.

We PAN IN as a figure comes into view, sitting on the chair. We can only see his silhouette and his hand, lit by the fire, resting on a remote control.

EXT. NEW YORK CITY- NIGHT

ANGLE DOWN to see Spider-Man, mask off resting on top of the head of a massive eagle statue on a building.

The first scene that Kraven is introduced, actually is very late in the film, during which we see Kraven running across the rooftops trailing Spider-Man:

FLASH CUT:
EXT. NEW YORK CITY- ROOFTOPS

CLOSE UP on Spider-Man’s lens eyes reflecting the city.

PULL BACK to see Spider-Man looking down towards the city from his perch high above.

We see a shadow of a figure watching him from afar.

FLASH CUT:
EXT. BROOKLYN- ALLEYWAY

CLOSE UP on a store CLERK pinned against a wall by a ENFORCER.

ENFORCER
The Kingpin gets angry when he doesn’t get his money… what am I supposed to tell him?

CLERK
I’m working on it. I’ll have the money.

ENFORCER
I gave you two weeks!!! Where the hell is it?!

CLERK
I have a family to feed… business has been slow.

ENFORCER
How’s that my problem? Now go get me everything you have. And I mean- EVERYTHING!

Spider-Man jumps down from above.

SPIDER-MAN
Let him go… now.

The enforcer lets go of the clerk and takes off running.

CLERK
Thanks.

Spider-Man chases the enforcer through the narrow alleyway.

CLOSE UP on black boots running across the rooftops above.

The enforcer continues to run, trying to catch his breath. Spider-Man webs him and YANKS him back… the enforcer cowers on the ground.

ENFORCER
Please… show mercy…

SPIDER-MAN
Why?

Spider-Man punches the enforcer over and over again. A small BOY walks out of hiding…

BOY
(scared)
Please, don’t hurt him…

Spider-Man looks at the kid, confused…

ENFORCER
(to BOY)
Go… now… go Timmy!

The boy looks at Spider-Man, stained tears running down his face.

BOY
Please… this isn’t you Spider-Man… this isn’t you.

Spider-Man looks at the boy, taken back and then back at the father seeing his fully bruised face… Spider-Man looks down at his hands and then at the father. He runs off.

ANGLE UP to see KRAVEN watching from above. The sky rages in the background. He grins and nods his head… he’s ready for the hunt.

If I had followed up with this draft of the film, Spider-Man would have cured Connors during the city fight which would then lead into a fight between Spider-Man and Kraven. But, as as you can probably see- Kraven seemed just tacked onto the film and in a way he was due to my hearing fans yelling for Kraven to be involved in the Lizard story. Thus, due to this undoubtably “flat” character I decided that it was best to delete his presence from the film entirely even though that led to some hard cuts to make, such as the further characterization of the relationship between Spider-Man and Captain George Stacy.

 

[Tempest19]

SOUNDTRACK LISTING:

1. Beautiful Day: U2

2. One Man Wrecking Machine: Guster

3. Ahead By a Century: Tragically Hip

4. Don't Panic: Coldplay

5. Where Do We Go From Here: Filter

6. Stay and Drown: Finger 11

7. Crawl: Sparta

8. Never too Late: Three Days Grace

9. You Could be Happy: Snow Patrol

10. Away: Breaking Benjamin

11. Life for Sale: Dishwalla
12. Open Your Eyes: 12 Stones

13. What I've Done: Linkin Park

14. Do you Realize?: Flaming Lips

15. Last Way Out Of Here: Paloalto

16. Welcome to the Jungle: Guns N' Roses

17. Long Way Down: Goo Goo Dolls

18. Best is Yet To Come: SR- 71

 

[Tempest19]

THE LIZARD

Curt Connors was a gifted surgeon who went into a war to help his country. He performed "meatball" surgery on wounded GIs, but his arm was injured in a blast and had to be amputated. He eventually became obsessed with uncovering the secrets of reptilian regeneration, and studied reptilian biology extensively. From his home in the Everglades, he finally determined a serum taken from the DNA of a reptile. He had successfully regrown the missing limb of a rabbit, and, despite the warnings of his wife, chose to test it on himself. Connors ingested it, and his arm did indeed grow back. Unfortunately, it had one side effect: Connors was subsequently transformed into a reptilian monster!

Spider-Man learned about this and travelled to Florida, helping the doctor by using Connors' notes to invent a serum to cure him. Later, Connors was able to repay Spider-Man by developing a formula to save May Parker's life after Peter Parker gave his aunt his radioactive blood during a transfusion that had put May in moral peril.


For a time, Peter Parker worked as a teaching assistant to Connors. The success of Connors apparent cure from the Lizard personae was short-lived. A repeating pattern occurred: stress or a chemical reaction turned Connors into the Lizard, Spider-Man would fight him, form some kind of temporary cure to revert the transformation, until the next transformation would begin the cycle again.


Over time, it became apparent that a second personality had formed with the Lizard, one with the nigh-impossible goal shared by many villains of taking over the world. Eventually his resorts to using an army of lizards stopped and he began working alone. When his wife and son separated from him (due to the marital strain transforming into a Lizard may cause), Connors tried unsuccessfully to straighten out his life. In despair, The Lizard took control, though it had a weak mental strength, causing the voodoo from Calypso to affect him for her own purposes. After a series of bloody battles, the Lizard and Calypso were defeated by Spider-Man, causing Connors to gain control of his bestial mind. Although it was very weak, the suppressed Connors persona carried out a plan and cured himself, but only temporarily.


For a time, a huge animalistic Lizard appeared, showing up in many issues, causing everyone to believe the Lizard persona was now permanent. However, when this second Lizard went after Connors, Curt drank the old serum to become the true Lizard once again, and save his son's life. The original Lizard returned and killed the second beast, though it also brought the Lizard persona back into action. Later, it was discovered that this new Lizard was an accident from Connors' latest attempt to cure himself. A new formula was tested on a piece of the Lizard's tail, which grew into a fully-formed second creature. Curt and his wife reunited.


One of the Lizard's latest scheme to take over the world had him affecting the water supply to turn everyone into his mindless slaves, though after Connors' son, Billy, almost became one of these zombies, Spider-Man lashed out and attacked the Lizard. After Martha got her share of words in, the Lizard became Connors once again, now begging for help for a cure.


Though reunited with his family, and his missing arm restored by Hammerhead, tragedy struck again in the Connors family - this time, for Martha and Billy. Both mother and son were diagnosed with cancer after years exposed to carcinogens from living near an industrial lab of the Monnano Corporation in Florida. Adding to the tragedy, Curt's new arm degenerated and became useless. Spider-Man assisted Curt, and successfully forced the Monnano Corp. to admit their environmental culpability. However, Martha succumbed to the cancer. Billy survived, and remains bitter towards his father.


With Billy under Curt's sister's care, a darker, mentally-unstable Connors recently revealed a horrible truth to Spider-Man. Curt had returned to New York in search of a research grant. But when the grant was awarded to another scientist named Eric Richardson, Connors blew up the laboratory, and left his rival badly injured. The Lizard was seen leaving the lab, but Connors convinced Spider-Man of his innocence. However, Curt allowed Spider-Man to lock him inside an abandoned vault in the sewers for everyone's safety. Meanwhile, the Daily Bugle obtained a videotape of the transformation, and publicly exposed the truth that the Lizard is the result of a transformation. Spider-Man went to discuss the latest news with Connors in the vault, but the Lizard persona broke free again. Now, Spider-Man learned the truth - Connors admitted he had been lying - he had been in control of the Lizard for some time, and was using his transformation as an escape mechanism to do horrible things. The Lizard escaped, battering Spider-Man into unconsciousness. After confronting Billy, the Lizard was shaken-up with internal conflict. As Connors, he allowed himself to be easily arrested for a bank robbery and locked up to protect those he loves.


The Green Goblin (Norman Osborn) recently freed the Lizard from prison, enhanced his powers to include violence-producing pheromone secretion, and brokered a deal for the creature to join the very short lived Sinister Twelve. The Twelve failed in an attack against Spider-Man and the Black Cat, after the two broke Osborn out of prison. They were defeated by the assistance of the Fantastic Four and other super-powered allies of Spidey.

Most recently, the Lizard has resurfaced to face Spidey with the aid of a pint-sized "twin" of himself--who was revealed to be none other than his son, Billy, finally transformed by his father into the new Lizard. Tragically, however, Billy Connors was shot by a resident of the apartment complex upon which Spider-Man and the Black Cat were fighting them. His condition remains grave, and Curtis himself has escaped to the relative safety of the sewers.

THE BLACK CAT

Black Cat is a reformed burglar who continues to walk on the wild side as a detective and adventurer. She's the former girlfriend of Spider-Man, Flash Thompson, and the mercenary known as the Foreigner.

Felicia Hardy grew up as "daddy's little girl," idolizing her father. When Walter Hardy suddenly disappeared, Felicia's mother, Lydia, told her that he had died in a plane crash; in reality, he had been incarcerated for his crimes as a notorious cat burglar. Upon discovering the truth about her father, Felicia became inspired to follow in his footsteps. However, another tragic event more strongly influenced a redirection in her life. As a college freshman at Empire State University, Felicia was date-raped by her boyfriend, Ryan. She turned her grief and shame into rage, channeling her feelings for revenge towards intensifying her training regime in martial arts and acrobatics. However, she was robbed of a chance for vengeance, as Ryan was killed in a drunk driving accident.

Learning safe cracking, lock picking, and other techniques of thieves, Felicia set out stealing from others to compensate psychologically for what was stolen from her. The first night she took on the persona of the Black Cat she tried to break her father, Walter Hardy out of prison before he died. In the process, she met Spider-Man. After her father's death, she set out to become New York's premier cat burglar. However, over time, flirtations led to romance with Spider-Man, as Felicia promised to abandon her criminal activities. Spider-Man and the Black Cat often patrolled the city together, with Felicia in love with Spider-Man, the hero. She was reluctant to see Spider-Man unmasked, for fear the excitement of the mysterious romance would be lost.

When Spider-Man finally revealed his face and his modest apartment, Felicia was disillusioned. But, she still cared for him and after almost being killed by Doctor Octopus and the Owl, she felt that she was a burden on her boyfriend and a liability when fighting crime. While Spider-Man was away during the Secret Wars, Felicia made a deal with the Kingpin to gain superpowers - an actual bad luck aura. But the deal soon proved to be a bad move, as she had been "jinxing" Spider-Man by being in his close proximity, just as the Kingpin planned. Spider-Man, frustrated with the relationship, angered that Felicia made the deal with the Kingpin, and tired of her loving Spider-Man more than Peter Parker, broke up with her, right before she was about to selflessly break up with him so that she wouldn't be hurting him anymore by her aura.

Spider-Man went to Doctor Strange to remove her "jinx". Strange eliminated the hex at the source, causing Felicia to lose her bad luck powers but and also gave her more cat-like powers and abilities. She eventually settled into a life of her own, while still trying to maintain a friendship with Spider-Man. Soon she found out that Peter Parker had married Mary Jane Watson, which had angered her to the point that she grabbed and threatened Mary Jane. To spite Peter, she dated Flash Thompson intent on breaking Peter's friend's heart. Over time, she developed genuine feelings for him, but the two broke up. The Black Cat came to Spider-Man's aid when the Chameleon tricked Spider-Man into losing his powers to lead a normal life. Attacked by the Femme Fatales, the Scorpion, and the Tarantula, the Black Cat enabled Spider-Man to reverse the machine that suppressed his powers - at the cost of losing her own.

She has now relies on equipment she purchased from the Tinkerer to replace her lost powers. During Carnage's mass slaughter through the streets of Manhattan (called "Maximum Carnage" by the press), the Black Cat teamed with Spider-Man again and other heroes to stop the killers. Recently she helped Spider-Man break Norman Osborn out of jail in order to rescue a kidnapped Aunt May. She remains one of Spider-Man's closest confidants and allies.

Recently, she and Spider-Man took on a drug dealer named Mr. Brownstone (Garrison Klum), a low-level mutant teleporter and persuader who used his talents to discreetly transfer illegal narcotics into the bloodstream of his clients. When the Black Cat attempted to confront Mr. Brownstone, he incapacitated her with a dose of heroin and attempted to rape her. Garrison's subservient brother and partner, Francis Klum, killed Garrison first. Felicia was arrested and imprisoned for a murder she didn't commit. Francis teleported her out from prison where her shared his story of abuse. His trust was shattered when Spider-Man and Daredevil attempted to apprehend Francis, making Francis believe Felicia had tricked him. Francis escaped, though severely injured and seeking revenge against Spider-Man.

Later, Felicia aided Spider-Man against the menace of Stegron the Dinosaur Man who attempted to de-evolve the city using the Rock of Life. After that adventure, Felicia and Thomas Fireheart Puma began a somewhat superficial romance.

With the passing of the Superhuman Registration Act, Felicia has opted to register as a federally recognized super-hero. She has joined forces with Misty Knight and Colleen Wing in the group Heroes for Hire working with federal authorities to apprehend unregistered heroes and villains without the need for bloodshed.


SHOCKER

Herman Schultz is a career criminal who, after several prison terms for robbery, built a battle suit that sent out shock waves to quickly open safes as well as give him a significant advantage over the New York police. During his first outing as the self-styled "Shocker" he ran into and defeated Spider-Man (Peter Parker), who became Schultz's nemesis.
Schultz was usually involved in theft or extortion; a typical day in the life of the Shocker would find him knocking over armored cars or trying to hawk items he previously stole. On one particularly ambitious day, the Shocker held New York City for ransom when he blacked out portions of the city to spell out his criminal moniker, then threatened to black out the entire city unless he was paid 1 million dollars. On another he terrified a stockbroker into playing the market, for substantial monetary gain.

The Shocker has been a member of the Masters Of Evil and has fought Spider-Man many times. He has proved to be one of Spider-Man's more difficult opponents. The Shocker, being very masterful in his equipment, makes changes accordingly to defeat his enemies.

The Shocker has severe confidence problems but came back to his original cocky, arrogant self, recently. He once had Spider-Man completely at his mercy but let him go. The Shocker's brief period of shakey confidence appears to be a thing of the past.

 

[Tempest19]

MEDIA:

THE LIZARD:

Night of the Lizard PRT. I

Night of the Lizard PRT. II

Where the Lizard Crawls. Spider-Man 60s cartoon.

The Lizard. Spider-Man 3 game trailer.

THE BLACK CAT:

The Black Cat PRT. I

The Black Cat PRT. II

 

[Tempest19]

MISC. MARKETING POSTERS

POSTERS

 

[Matt.S99]

i like the lizard poster!

 

[DigificWriter]

Hi. I've read about halfway through the script, and while I like what I've read so far, I have one major gripe: Conners studying the subject of regeneration doesn't feel like it belongs to the character as he's been portrayed in the movieverse so far. Biology isn't his subject (he says as much in SM3), which means that to have him experimenting with the subject and with the subject of regeneration feels 'off', even with the explanation that it's something he's been working on for a long time.

I'll keep reading, though, and let you know what I think about the rest of the script.

 

[darkseid26]

awesome!!

 

[Tempest19]

Thanks, glad you liked it.

 

[venomscurse2]

cewl and cewl

 

[Tempest19]

Currently working on a Spider-Man 5 concept which would include TWO villains!

Mysterio and Electro.

Kind of similar to Spider-Man 3 in that sense... neither will be a cameo.