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by Seuzz Author IconMail Icon
Rated: ASR · Script/Play · Fanfiction · #2280499
A bank robbery gone wrong puts Aunt May in danger.
Previously: "S02E14 "A New Life for an Old"Open in new Window.

"OUTSIDE THE BOX"


FADE IN:

EXT. NEW YORK SKYLINE -- ROOFTOPS -- DAY

Spider-Man swings on webs from building to building.

                             SPIDER-MAN (V.O.)
                   My name is Peter Parker, and I can
                   tell that today is going to be the
                   best. Day. Ever. But every day is the
                   best day ever, when you're the
                   amazing Spider-Man. Web-swinging.
                   Wall-crawling.

As he speaks, he demonstrates with his actions -- sticking to
building faces, running perpendicular to the ground, leaping,
diving, and somersaulting from position to position before
coming to rest atop a traffic light.

                             SPIDER-MAN (V.O.)
                   All of New York your personal
                   playground.

                             STOREOWNER (O.S.)
                   Help! Spider-Man!

                             SPIDER-MAN
                   Uh-oh. Now what?

ANGLE ON STREET

A storeowner stands on the sidewalk, cowering in front of his
store. A tall, burly figure in high-tech purple armor strides
out. This is DESTRUCTOR, and he is carrying a cash register.
Electricity SIZZLES out of his gloves.

                             DESTRUCTOR
                   Stay back! Or I, Destructor, will fry
                   you where you stand!

POV SHOT -- DESTRUCTOR

The above as seen by Spider-Man through his lenses. Graphs and
formula play over the readouts.

                             SPIDER-MAN
                   This would be where I usually
                   calculate trajectories, angles,
                   velocity and mass to arrive at a
                   precisely calibrated mode of attack.
                   But in this case--

Spider-Man leaps feet-first into Destructor, catching him in the
back. He sends Destructor flying face-first into a wall.
Destructor hits with a sickening crunch, and crumples to the
ground.

                             SPIDER-MAN
                        (over scene)
                   --let's just try some plain old
                   supervillain butt-kicking!

CLOSE ON THE CASH REGISTER

The display flashes garbage symbols, ending in NO SALE, and the
drawer opens, spilling coins.

BACK TO SCENE

                             SPIDER-MAN
                        (chortles)
                   Oh! Classic takedown!

WIPE TO:

EXT. NEW YORK CITY -- STREET -- IN FRONT OF STORE

Spider-Man with two policemen as Destructor is carried into an
ambulance by EMTs. Spider-Man protests wildly.

                             SPIDER-MAN
                   Oh, come on! How was I supposed to
                   know his armor was only plastic? Look
                   at him, he's built like a purple
                   tank!

                             POLICEMAN #1
                   It was a bluff. He's been pretending
                   to be a supervillain, robbing people
                   in the neighborhood.

                             SPIDER-MAN
                   So I'm not the only one he fooled!

                             POLICEMAN #1
                   Sir, if you'd just come with us to
                   the station, give a statement--

                             SPIDER-MAN
                   Oh, no way! I'm late for school as it
                   is!

Spider-Man webs. O.S., leaving the cops bemused.

                             POLICEMAN #1
                        (to Policeman #2)
                   Did he just say he's late for school?

END OF TEASER

MAIN TITLES: MARVEL'S SUPERIOR SPIDER-MAN

FADE IN:

EXT. HORIZON HIGH -- DAY -- ESTABLISHING

Spider-Man swoops down onto the roof of the building and runs
behind a protuberance.

                             SPIDER-MAN (V.O.)
                   As I was saying, my name is Peter
                   Parker, and I'm the amazing Spider-
                   Man.

He reappears on the other side, now as PETER PARKER, in street
clothes and a backpack. He leaps off the roof to the ground
below, and enters the front door.

                             PETER(V.O.)
                   But when I'm not being the amazing
                   Spider-Man, I'm a student at -- ugh
                   --

Slowly, though his voice doesn't change, his tone shifts into
the arrogant manner of Otto Octavius

                             PETER (V.O.)
                        (continuing)
                   -- Horizon High, a remedial community
                   college for the kind of slow-witted,
                   fumble-brained, so-called gifted
                   wannabes who --

INT. HORIZON HIGH -- LAB -- DAY

Peter enters, an ugly sneer creasing his face. He quickly
recomposes it into a bright and friendly look.

Reminder: When speaking aloud, Peter Parker always uses Peter
Parker's voice, but it alters subtly between the arch and
arrogant manner of Otto Octavius and the more boyish tones of
Peter Parker. These respective modes, when it is necessary to
indicate them, will be marked as (otto) and (peter)
respectively.

                             PETER
                        (peter)
                   Miles! I was just thinking of you,
                   buddy!

ANGLE ON MILES MORALES

who is stimulating a hunk of something like living clay, which
quivers and pulses as he touches it with an electrical probe. He
concentrates on his work while talking.

                             MILES
                   You catch up on your sleep yet, Pete?

                             PETER
                   I'm a hundred percent me again!

                             MILES
                   Good. Because I've been having to do
                   the work of both of us. Here, check
                   this out.

Peter peers over his shoulder.

                             MILES
                   You remember that sample the
                   Chameleon left behind? That the chief
                   gave you to look at?

                             PETER
                   The metamorphic silicate? Sure. But
                   why are you still worrying about
                   that? Chameleon's in the Raft!

                             MILES
                   Check your updates, Pete. Chameleon
                   escaped.

                             PETER
                   What?

EXTREME CLOSE UP ON PETER

The lighting darkens, and over his face, in brief vignettes, we
see the Chameleon in his cell. A screen comes on, showing the
Living Brain. Beneath the screen, the Chameleon's cell door
opens, and he runs out of it. The door closes, and a hologram of
the Chameleon flickers on where he had been standing. The
flashback fades. Peter's tone and expression darken.

                             PETER
                   Where'd you hear that?

ANOTHER ANGLE

                             MILES
                   I get updates. I think I got a lead
                   on this silicate stuff--

                             PETER
                   We know where it came from. The
                   Jackal left it behind.

                             MILES
                   Bzzzt! That's what The Living Brain
                   told us, and if he was really Doc
                   Ock--

                             PETER
                   Alright, alright!

                             MILES
                   Nothing's what it appears to be,
                   Peter! Whatever was going on, it's
                   not done yet!

                             PETER
                   Okay, that is bad news.

An electronic bell CHIMES (O.S.). Peter reacts.

                             PETER
                   And that's worse news. Come on, we'll
                   be late for class.

                             MILES
                   I'll catch up with you in a minute.

Peter exits. Miles waits till he's gone, then turns to open his
laptop. He leans forward to frown intently at a box of text.
There's an avatar with the text: The Master Planner.

INT. MASTER PLANNER'S LAIR -- NIGHT

A bare warehouse, dark, with crude benches as the only place to
sit. A giant telescreen looms over the figures seated facing it.
The telescreen flickers to life, and THE MASTER PLANNER appears.
His voice booms, even if the phrasing is a little tentative.

                             MASTER PLANNER
                   Attention, uh, minions! It is I, the
                   Master Planner, returning with
                   another, uh, master plan for you to,
                   um, do for me!

ANGLE ON HIPPO AND PANDA

who gaze up at the screen. Panda turns to Hippo.

                             PANDA
                   Did he just call us "minions"?

                             MASTER PLANNER (O.S.)
                   My latest master plan is for you to
                   rob the First National Bank of New
                   York City.

INT. MINDSCAPE -- DAY

Peter Parker, floating against an abstract background, speaks
into a giant microphone while tapping at a computer console.
Both the mike and the console are pale, ghostly, translucent,
unreal.

                             PETER PARKER
                   I am printing out the schematics for
                   you now.
                        (aside)
                   Okay, where'd the mute button go? Oh,
                   there it is.

A giant button with "MUTE" on it materializes at hand, and he
pushes it, then resumes typing.

                             PETER PARKER
                        (aside)
                   Of course, the police will be waiting
                   for you after I tip them off! Because
                   if Doc Ock can ruin my life by
                   pretending to be me, the least I can
                   do is return the favor!

He turns ninety degrees, and a new keyboard materializes in front of him.

                             PETER PARKER
                   Now I just need to clue in Miles
                   about what'll be going down at the
                   bank, so he'll know I was on the
                   level with those texts I sent him
                   earlier.

                             PANDA (O.S.)
                        (screaming)
                   Hey!

Peter, startled, pushes the "MUTE" button again.

                             PETER PARKER
                   What?

                             PANDA (O.S.)
                   I said--!

INT. MASTER PLANNER'S LAIR -- NIGHT

Panda, on her feet, is screaming at the telescreen.

                             PANDA
                        (continuing)
                   --how much are we gonna be taking
                   out?

                             MASTER PLANNER
                   Uh, why do you need to know?

                             PANDA
                   Because I ain't no man's "minion" for
                   less than a million!

EXT. HORIZON HIGH -- DAY -- ESTABLISHING

INT. HORIZON HIGH -- CLASSROOM -- DAY

Angle on students, including Peter, MILES, ANYA CORAZON, and GWEN STACY.

                             MAX MODELL (O.S.)
                   --pages four-sixty-two to four-
                   seventy for tomorrow.

GROANS sound O.S., and all but Peter react with seeming torment.

                             ANYA
                   Perdicion! Does he think this is the
                   only class we have?

                             PETER
                   Chill out, Anya. So you'll have to
                   cram a little harder--

                             ANYA
                   Cram it in your backpack, Parker!

She stalks O.S. Peter rolls his eyes.

                             GWEN
                   You could show a little sympathy,
                   Peter.

Peter reacts, startled, as she walks O.S., and stares after her
with his mouth hanging open.

                             MILES
                   Pop your eyeballs back in their
                   sockets, Pete.

                             PETER
                   What?

                             MILES
                   You're drooling.

Miles exits O.S. Peter recomposes his features with a gulp. Then
he raises his hand and shouts.

                             PETER
                   Max! I mean-- Mr. Modell? You got a
                   minute?

INT. HORIZON HIGH -- HALLWAY

Anya and Gwen stalk along. Miles catches up.

                             MILES
                   So, hey, guys, is it just me, or does
                   it seem like Pete's been a little ...
                   um ...

                             ANYA
                   More of a jerk than usual?

                             MILES
                   When was Peter ever a jerk?!

                             GWEN
                   What's on your mind, Miles?

He pulls them aside, into a corner of the hallway.

                             MILES
                   Listen, I can't tell you how come I'm
                   worried about Pete. But doesn't it
                   seem like he's acting a little ...
                   strange?

                             GWEN
                   We're at a school for the gifted,
                   Miles. Everyone here is a little
                   strange.

                             ANYA
                   Is there something about me you want
                   to say, Gwen?

                             MILES
                   Okay, lemme put it this way. Does
                   Pete seem a lot ... smarter?
                   Suddenly?

                             ANYA
                   No, he seems a lot dumber. It's not
                   smart, the way he's going around
                   bragging all the time.

                             MILES
                   Well, that's another thing. Pete
                   doesn't brag. But you're right, ever
                   since--

His phone BUZZES, and pauses to pull it out. His eyes widen as
he reads the text.

                             MILES
                   Oh, man! Uh, can we talk about this
                   later?

He runs off. Anya calls after him.

                             ANYA
                   Hey! Morales! You're the one who--!

She is interrupted by the sound of a distant RUMBLE, like
thunder. She and Gwen exchange frowns, and take out their
phones.

INT. HORIZON HIGH -- MAX MODELL'S OFFICE -- DAY

MAX MODELL sits at his desk, talking in a fatherly way to Peter.

                             MAX MODELL
                   I really don't think it's a good
                   idea, Peter. Firstly, you're not
                   going to pass any tests I could set
                   you--

                             PETER
                        (otto)
                   Why don't we confirm that hypothesis,
                   Max, instead of assuming it? You know
                   what they say about assuming, that it
                   makes a --

                             MAX
                   Secondly, what would you do if you
                   did challenge out and graduated
                   early?

                             PETER
                   Enroll at the university. Or skip
                   straight to getting employment. A
                   diploma from Horizon --

                             MAX
                   Thirdly... Have you talked about this
                   with your aunt?

                             PETER
                        (surprised)
                   Mrs. Par--? I mean, Aunt May? What
                   does she--?

                             MAX
                   Your scholarship pays for more than
                   just your education, Peter. It also
                   pays her a pretty hefty stipend on
                   your behalf.

ANGLE ON PETER

He listens with surprise.

                             MAX
                        (continuing)
                   If you graduate early, she stops
                   getting that money. Could she afford
                   that?

INT. HORIZON HIGH -- HALLWAY -- DAY

Peter walks along, musing to himself. As he talks, there's the
RUMBLE of distant explosions, which he ignores.

                             PETER
                        (otto)
                   Mrs. Parker? That dear, sweet woman?
                   Getting paid so her nephew can attend
                   Horizon? That certainly puts a new
                   complexion on things. If I graduated
                   early ... Well, I could certainly
                   find a job, one that pays much more
                   than--

Miles runs in, and grabs Peter as the RUMBLES intensify.

                             MILES
                   Hey, Petey! Snap out of it!

                             PETER
                   Huh?

                             MILES
                   Don't you hear those blasts? I think
                   we're needed!

He unbuttons the top of his shirt, to expose the top of his
Spider suit. Then he scampers off.

Peter watches him, then turns away with a snort and a roll of
the eyes.

                             PETER
                        (otto)
                   Pfft! Only if there's money in it,
                   Mister Morales. Only if there's money
                   in it.

END OF ACT ONE

FADE IN:

EXT. NEW YORK CITY -- STREET -- BANK FRONT -- DAY

The bank is surrounded by police cars, their sirens flashing.
Policemen, commanded by CHIEF WATANABE, shelter behind the cars
with their pistols trained on the bank doors.

A flash, like lightning, slashes through the scene, hitting the
pistols in fast sequence. After the flash fades, the muzzles of
the guns -- severed from their stocks -- slide off and fall to
the ground.

ANGLE ON BANK ROOF

BOOMERANG -- decked out in his trademark armor -- catches the
glinting boomerang as it returns. He turns to shout over his
shoulder.

                             BOOMERANG
                   Are you in yet?

Behind him, PANDA-MANIA and HIPPO are pounding at the roof with
their fists.

                             PANDA
                   It's a thick roof!

Boomerang ducks some GUNSHOTS, then with a GROWL he throws a
quick succession of boomerangs at the spot the other two are
banging at. Smoke bursts from the EXPLOSION and Panda flies back
to hit a wall with a GRUNT. Hippo, blackened with soot, stands
blinking as the smoke clears. Then with a CRY he plunges down
O.S. through the roof as a hole opens beneath his feet.

INT. BANK -- DAY

Hippo, sprawling on the floor, looks up at the hole in the roof.
Boomerang and Panda peer down at him through it.

                             HIPPO
                   I think I loosened it for you!

                             BOOMERANG
                        (to Panda)
                   Why does it seem like I'm doing all
                   the work?

                             PANDA
                   Because we're working to a dumb plan,
                   that's why!

She jumps through the hole to the floor. Boomerang follows. The
camera pans around the bank lobby, taking in the cowering
tellers, until it comes to rest on --

CLOSE ON BOOMERANG

He flashes some boomerangs, which glint.

                             BOOMERANG
                   Before you ask, these are my
                   withdrawal slips.

He hurls the boomerangs, which fly in a circle around the lobby,
spraying opaque clouds of gas. The tellers CHOKE and COUGH.
Boomerang, Hippo, and Panda run into the clouds. But a spider
line shoots into a cloud, and with a CRY Panda is hauled up and
out and O.S.

EXT. BANK -- ROOF -- DAY

SPIDER-MILES hauls Panda up by the line, then catches her by the
front of her costume.

                             SPIDER-MILES
                   Who are you supposed to be?

With a GRUNT she punches him, and he drops her with a CRY. She
flies at him with a YELL, and clocks him in the face repeatedly.

                             PANDA
                   You think I'm punching you in the
                   face, don't you? Well, I'm not! I'm
                   punching this dumb plan in the face,
                   that's what I'm punching! "Master
                   plan," ha! No tools! The cops waiting
                   for us! And now you show up!

With one final blow she knocks Spider-Miles off the roof.

EXT. STREET -- BANK FRONT -- DAY

With an OOF, Spider-Miles lands on one of the cop cars. He
GROANS as Chief Watanabe runs up.

                             CHIEF WATANABE
                   Spider-Man! ... You're not Spider-
                   Man!

                             SPIDER-MILES
                   No, but Panda Girl gave me a message
                   I'd love to pass on to him. Yah!

He jumps away as O.S. sounds a BOOM. A giant steel vault door
crashes onto a police car where Spider-Miles had been sprawling,
crushing it.

ANGLE ON THE BANK DOORS

Hippo peers out, tapping his hand-paws together apologetically.

                             PANDA
                   Sorry!

He ducks back inside as bullets spray around him.

THE COP CARS

Chief Watanabe glowers. She calls O.S.

                             CHIEF WATANABE
                   That's it! Bring the tanks up!

                             SPIDER-MILES
                   Tanks?!

ANGLE ON STREET

Tanks, with battering rams in place of cannons, come lumbering
up, aiming themselves at the front of the bank.

BACK TO SCENE

                             SPIDER-MILES
                   Chief! You can't send tanks in!
                   There's people in there!

                             CHIEF WATANABE
                   Yes, and they're trapped with someone
                   who just tore a seven-foot steel door
                   off its hinges.

                             SPIDER-MILES
                   Chief, give me five minutes -- just
                   five minutes! -- in there! I promise,
                   I'll get 'em out!

Chief Watanabe SIGHS and gives Spider-Miles a look. He springs
O.S.

INT. BANK -- LOBBY -- DAY

Hippo enters from the vault, luggage bags in his arms. Panda is
furiously typing on her cell phone while Boomerang crouches,
boomerangs at the ready, looking warily about.

                             PANDA
                   I got the stuff! Where's our ride?

                             PANDA
                   We don't got one! Override says he
                   doesn't know what I'm talking about!
                   No one clued him in on the heist!

A spider-web shoots in and yanks the phone from her hand.

ANGLE ON SPIDER-MILES

He is perched on the wall as he catches the phone.

                             SPIDER-MILES
                   Here's a clue! You'll wanna give up
                   now!

The bad guys glower at him.

                             PANDA
                   And that ain't part of our plan
                   either!

She throws herself at Spider-Miles, but he hops away and she
bounces off the wall where he'd been.

                             SPIDER-MILES
                   Guys! Trust me! You
                   wanna -- !

He dodges as a boomerang flies at him, but it nicks his arm.

                             SPIDER-MILES
                   Ow! Dude! Watch where you're throwing
                   those things!

ANGLE ON BOOMERANG

as he catches the returning boomerang.

                             BOOMERANG
                   Oh, trust me, I am. Now hold still.

He throws the boomerang again.

ANGLE ON SPIDER-MILES

He stands, paralyzed, but Panda knocks him out of the way with a
flying kick. A boomerang hits the wall behind where Spider-Miles
had been standing, and explodes, cratering the wall.

ANOTHER ANGLE

Spider-Miles and Panda land on their feet, but Spider-Miles with
a leg-sweep knocks Panda onto her ass.

ANGLE ON HIPPO

He is standing uselessly, still holding the bags of money. But
now his brow lowers, he GROWLS, drops the bags, and charges.

ANGLE ON SPIDER-MILES AND PANDA

She leaps up and starts swinging at Spider-Miles. He blocks her
while talking.

                             SPIDER-MILES
                   You gotta listen! If you don't give
                   up, Chief Watanabe's gonna send in --

A shrill ALARM sounds, almost drowning everything else out.

                             SPIDER-MILES
                        (continuing)
                   -- tanks!

Panda pulls back her fists, and frowns. She shouts to be heard
over the alarm.

                             PANDA
                   What?

                             SPIDER-MILES
                   I said, Tanks!

Hippo charges in from O.S., like a locomotive, hitting Spider-
Miles and carrying him O.S. Panda watches them disappear, and
shouts after them.

                             PANDA
                   You're welcome!

ANGLE ON WALL

Hippo crashes belly-first into it. When he steps back, Spider-
Miles is to be seen, flattened and plastered to the wall. Dazed
and MOANING, he slides down it and falls to the ground. Hippo
picks him up by his foot and slams him back and forth against
the ground. Each blow to the ground punctuates each word as he
yells at Spider-Miles.

                             PANDA
                   You! Don't! Get! To hit! My friend!
                        (beat)
                   Ever!

A shrill WHISTLE sounds over the still-ringing BELL. Hippo still
holding Spider-Miles up by a foot, looks O.S.

ANGLE ON BOOMERANG

He holds up a couple of the dropped money bags.

                             BOOMERANG
                   We don't want him, dum-dum! We want
                   these!

BACK TO SCENE

Hippo drops the limp Spider-Miles.

EXT. STREET -- BANK FRONT -- DAY

Chief Watanabe glowers at the bank. Then she turns and gestures
at one of the tanks. It lumbers forward. As it moves, the camera
PUSHES IN to take in the spectators lined up on the other side
of the street. In front, prominently, is AUNT MAY.

EXT. PARKER HOUSE -- DAY

Peter, head down as he studies his phone, is walking up to it.
He pauses before entering the house.

CLOSE ON THE PHONE

As he thumbs at the screen, it wavers and goes black. The text
"ENCRYPTED MODE" appears, then is replaced by a new, darker
color scheme.

BACK TO SCENE

Peter raises it to his ear.

                             PETER
                        (otto; into phone)
                   It's me. They know you broke out of
                   the Raft, so I need you to stay out
                   of sight.
                        (listens)
                   Yes, you can go to the store. Just
                   use a face no one recognizes.

He puts the phone in his hip pocket, then quickly pulls it back
out to tap frantically at it with both thumbs.

                             PETER
                        (peter)
                   Oh, man! It would be really bad if I
                   butt-dialed Parker's phone while it
                   was running my app! Whew! Uh ... Hmm.

CLOSE ON THE PHONE

The screen is back to its normal color scheme. GWEN STACY'S visage and number appears.

INT. PARKER HOUSE -- KITCHEN -- DAY

Peter wanders through, raiding the refrigerator and looking in
the cabinets while he talks on the phone. His dialogue is
INTERCUT with Gwen, sitting in her lab at Horizon, as she talks
to him.

                             PETER
                   So, hey, Miss-- Uh, Gwen. It's Peter.
                   I was wondering if you wanted to get
                   together tonight to study.
                        (listens)
                   No, I don't think you need tutoring!
                   Why do you think I--?

                             GWEN
                   Because that's been your whole
                   attitude lately, Parker. Like
                   everyone is suddenly dumber than you.
                        (listens)
                   Oh! Gee, thanks!

INT. PARKER HOUSE -- LIVING ROOM

Peter wanders in, phone still to ear, and distractedly punches
the TV on. But he turns his back to it as it (silently) shows
images of the bank siege over a DAILY BUGLE chyron.

                             PETER
                   I didn't mean it that way, Gwen, it
                   came out wrong! So, um, if you don't
                   want to study together, what about
                   going to see a movie?
                        (listens)
                   Yes, with you!

                             GWEN
                   What makes you think I've got time to
                   see a movie? Maybe you've got nothing
                   but free time, but --
                        (listens)
                   Do you have another call?

CLOSE ON PETER

His hair seems to be sticking up, and his phone is making a soft
BUZZ as he talks.

                             PETER
                   Yeah, but I'm ignoring it. I want to
                   talk to you, Gwen. I've got so much I
                   want to tell you.
                        (listens)
                   No, not like a class lecture on
                   electro-magnetism! I-- Gwen? Gwen?

He looks down at his phone. As he frowns at it, it slips from
his hand and falls ... up!

ANOTHER ANGLE

Peter is upside down, standing on the ceiling. The phone falls
from his hand and hits the floor with a CLATTER. Peter SIGHS,
slumps, and -- still on the ceiling -- walks from the room. As
he goes --

                             PETER
                        (otto)
                   You might have acquired Peter
                   Parker's face and spider powers,
                   Otto, but it looks like you've still
                   got your old luck when it comes to
                   girls.

The camera PANS down to the TV. The scene of the smoky siege
cuts away to a photo (posed, like a driver's license) of Aunt
May. Superimposed text reads: "Hostage taken by robbers."

END OF ACT TWO FADE IN:

INT. PARKER HOUSE -- DAY

Peter, dressed in street clothes but barefoot, enters, walking
on the wall. He is shuffling through papers and envelopes,
musing aloud to himself.

                             PETER
                        (otto)
                   So many bills, so many-- Oh, that
                   dear woman. If I'd known how thin her
                   income was, I'd have insisted on
                   paying triple when I rented that room
                   from her! Even with a university
                   scholarship, there is no way-- And it
                   would take months before "Peter
                   Parker" could get a job that could
                   replace the money that Horizon is
                   paying her.

He is disturbed by an O.S. TAPPING at a windowpane. He looks
around with a distracted frown. The TAPPING grows louder.

ANGLE ON WINDOW

Spider-Miles (mask off) is at the window, knocking frantically. Peter drops to the floor and runs over to open the window.

                             PETER
                   Miles! What are you doing out there?

                             MILES
                   I'm in costume, Pete, I can't go to
                   the front door like this!

                             PETER
                   Well, if Aunt May walks in and finds
                   you, it would be just as bad!

                             MILES
                   Peter, your Aunt May walking in would
                   be the best thing that could happen!
                   Haven't you seen the news?

                             PETER
                   What news? I--

He's cut off as Miles thrusts a cell phone at his face. He
stares, then reacts.

INSERT POV

The screen shows Aunt May's photo over the chyron "Hostage taken."

INT. MINDSCAPE -- DAY

Peter Parker, wearing a headset, his face a mask of horror,
types furiously at the ghostly computer console that hovers in
front of him in the abstract spaces. He yells as he types.

                             PETER PARKER
                   What were you thinking?! You have to
                   let her go! No, you take her to the
                   police! Right now!

He pauses, as though listening, then resumes typing and yelling.

                             PETER PARKER
                   What do you mean you won't? Who's in
                   charge around here? Who's the Master
                   Planner?

Pauses, listens, resumes typing and yelling.

                             PETER PARKER
                   Oh, now you're just begging to have
                   your mouth washed out with soap!

INT. MASTER PLANNER'S LAIR -- NIGHT

ANGLE ON THE TELESCREEN

It shows the fuzzy outline of THE MASTER PLANNER. A bench flies
at it, shattering it. Sparks FIZZLE.

THE LAIR

The bare warehouse, dark. Panda glares at the screen. The camera
PANS over to show Hippo (nervous) and Boomerang (grimacing)
flanking Aunt May (terrified).

                             PANDA
                   Panda? What are we going to do?

                             PANDA
                   We call the police.

Hippo sighs with relief.

                             PANDA
                   And we tell them we'll give them the
                   old lady when they give us the money
                   you dropped back at the bank!

Hippo's face falls.

EXT. NEW YORK CITY -- DUSK

Spider-Man and Spider-Miles swing along over the dusky rooftops.
When they pause, it's only long enough for Miles to ask a
question. Spider-Man answers as he runs and swings and leaps.

                             SPIDER-MILES
                   So, how do you know where these guys
                   are keeping your aunt?

                             SPIDER-MAN
                   It's a gang I've been watching for
                   awhile now. I know where they've got
                   their headquarters.

                             SPIDER-MILES
                   You've been "watching" them?

                             SPIDER-MAN
                   Keeping an eye on them, yes. So I'd
                   know where to find them if they ever
                   made trouble.

                             SPIDER-MILES
                   So why didn't you just bust them?

                             SPIDER-MAN
                   They hadn't done anything yet!

Spider-Miles pauses as Spider-Man races ahead.

                             SPIDER-MILES
                   Okay. If that's your story, uh,
                   "Pete."

He runs after to catch up to Spider-Man.

EXT. NEW YORK CITY -- WAREHOUSE -- NIGHT

Spider-Man and Spider-Miles perch on a wall high above, spying
down on it.

                             SPIDER-MAN
                   You go in through one of the windows,
                   keep them distracted and looking up.
                   I'll sneak in at ground level, try to
                   get to Aunt May.

                             SPIDER-MILES
                   Is that your master plan?

                             SPIDER-MAN
                   The hippopotamid is the strongest,
                   but you'll be okay so long as you
                   stay up high and out of reach. Watch
                   out for the girl in the Panda suit,
                   though. She's a lot stronger than she
                   looks.

                             SPIDER-MILES
                   I already had a run-in with these
                   guys, Pete. You know. At the bank.
                   While you were still hanging out at
                   school, talking to Max.

                             SPIDER-MAN
                   That was important, I--! Look, you
                   just keep those clowns distracted
                   while I get Aunt May out!

Spider-Man webs off.

                             SPIDER-MILES
                   Okay, okay, jeez! Someone needs to
                   switch to decaf.

EXT. WAREHOUSE -- ALLEY

Spider-Man drops into an alley between two warehouses. He
crouches as he runs along. The shadows deepen, and he pauses.

                             SPIDER-MAN
                   What was that? Spider sense not
                   tingling, but--

He leaps away and sticks to a wall, watchful.

ANGLE ON ALLEY

A smaller shadow detaches itself from a larger shadow and
resolves itself into a shadowy THUG. He slides along the wall.

Spider-Man, wary, hops to the ground and watches the figure
slide past. The thug seems not to notice Spider-Man, who in turn
makes no attempt to stop him.

                             SPIDER-MAN
                   That face! I know that--!

He digs his fists into his eyes.

                             SPIDER-MAN
                        (otto)
                   Control yourself, Otto. There's no
                   one there. It's only a stress-induced
                   hallucination brought on by--

He sees something O.S., and flinches.

ANGLE ON THE ALLEY'S END

A darks shadow, as of a body, slumped on the ground.

Spider-Man, in quick, darting spurts, runs up. The face and form
on the ground never clarify, even after Spider-Man is standing
over it.

                             SPIDER-MAN
                        (peter)
                   Uncle Ben. No! That fugitive-- If
                   only I'd stopped him earlier!

Spider-Man writhes on his feet and grabs his head.

                             SPIDER-MAN
                        (otto)
                   No! I'm not Peter Parker, and that
                   isn't my "Uncle Ben"! It's all in
                   your mind, Otto, it's just Parker's
                   memories! You--

From O.S., crash of BREAKING GLASS and hoarse, muffled shouts.
Spider-Man reacts. Then a THIN SCREAM from a woman.

                             SPIDER-MAN
                        (peter)
                   Aunt May!

CLOSE ON SPIDER-MAN'S HAND

It clenches into a fist.

BACK TO SCENE

                             SPIDER-MAN
                        (otto)
                   That dear, sweet Mrs. Parker. If you
                   let anything happen to her, Mr.
                   Morales, I'll--

He runs O.S.

INT. WAREHOUSE -- NIGHT

CLOSE ON AUNT MAY

She cowers, and CRIES out.

ANOTHER ANGLE

Spider-Miles leaps from wall to wall to wall as benches, chairs,
and trash cans are hurled at him.

                             PANDA (O.S.)
                   Come down here and fight fair, you
                   dumb spider!

ANGLE ON HIPPO

He shakes his fist at the ceiling.

                             PANDA
                   Don't make me come up there and get
                   you!

A harsh WHISTLE sounds O.S., and he turns

Panda Girl runs at him. He makes a stirrup with his feet, and
throws her into the air.

Panda Girl misses Spider-Miles with a flying kick, but catches a
support beam and swings around to catch him from behind,
knocking him to the ground. Spider-Miles YELPS and leaps away as
Hippo charges in from O.S. and charges away O.S.

                             SPIDER-MILES
                   Peter! Where are you?

INT. MINDSCAPE -- NIGHT

Peter, standing in front of a telescreen. The ends of thick
electrical cords dangle, like vines, from O.S. One by one he
takes two and plugs them in, then hurls them away. Each
discarded pairing dematerializes after he's thrust them away.
Each time he plugs two cords in, the image on the telescreen
changes to a different scene, some interior and some exterior,
of different locations.

                             PETER PARKER
                   Come on, come on! I know there's
                   another surveillance camera in there.
                   Just a matter of finding the right
                   path.

Peter CATCHES HIS BREATH as the telescreen locks onto the fight
in the warehouse.

                             PETER PARKER
                   Miles!

INT. WAREHOUSE -- NIGHT

                             SPIDER-MILES
                   Gotta get up high, gotta get up high!

He shoots a web at the ceiling, but it's cut by a slashing boomerang.

ANGLE ON BOOMERANG

                             BOOMERANG
                   Returning like a bad penny, are you?

He catches the returning boomerang.

                             BOOMERANG
                   Or a good boomerang.

ANGLE ON SPIDER-MILES

He crouches, but his back is to her as Panda Girl hits him from
behind with a flying kick. It knocks him into the arms of Hippo,
who in turn hurls him at a wall.

INTERCUT

Aunt May, CRYING OUT, and Spider-Miles, flying backwards at her.

ANOTHER ANGLE

A spider-web shoots down, and Aunt May is plucked up and O.S.
just before Spider-Miles crashes into the spot where she'd been
cowering.

ANOTHER ANGLE

Spider-Man hauls Aunt May up. She SHRIEKS as they come face to
face.

                             SPIDER-MAN
                        (otto)
                   Fear not, Mrs. Parker, I've got you.
                   And though this may seem a trifle
                   brazen --

He webs her to a support beam under the ceiling.

                             SPIDER-MAN
                        (continuing)
                   --this will keep you safely out of
                   their reach --

CLOSE ON SPIDERMAN

His eye patches twist into an angry scowl.

                             SPIDER-MAN
                        (continuing)
                   -- while I deal with the miscreants
                   who have so thoughtlessly
                   inconvenienced you!

INT. WAREHOUSE -- THE FLOOR

The trio of Hippo, Panda Girl, and Boomerang stare up at the ceiling with horror-stricken expressions. Spider-Man swoops in, knocking Boomerang O.S. with a flying kick.

INTERCUT

There follows a series of quick scenes of Spider-Man, using a
variety of blows and techniques -- kicks, punches, webbings,
even open-palmed slappings -- goes sick-medieval on them. The
shots and blows are delivered quick enough that his blow-
punctuated dialogue is easily comprehensible.

                             SPIDER-MAN
                   You! Should! Never! Have! Touched!
                   That! Dear! Sweet! Woman!

ANGLE ON SPIDER-MAN

He holds a bloodied Boomerang up by the neck and winds up to
punch him in the face. Spider-Miles rushes up to him.

                             SPIDER-MILES
                        (horrified)
                   Peter! Pete!

He tries to grab Spider-Man, and is knocked backwards by an
elbow to the face.

Spider-Man leans in close to hiss at Boomerang.

                             SPIDER-MAN
                   And you will pass a message along to
                   every other thug and creep that you
                   know, that Mrs. May Parker is --

CLOSE ON BOOMERANG'S HAND

A boomerang flashes in his hand.

BACK TO SCENE

In slow motion, Spider-Man dodges the boomerang as it slashes
past his face. He turns to watch its path.

ANGLE ON AUNT MAY

Dangling still from the support beam, wrapped about the torso by
a line of webbing. Still in slow motion: Her expression, already
fearful, turns terrified as the boomerang flies at her. It hits
the web and explodes. She SCREAMS as she falls.

SPLIT SCREEN

Spider-Man and Peter Parker both lean in, horror-struck.

                             SPIDER-MAN/PETER PARKER
                        (unison)
                   No! Aunt May!

HIGH ANGLE

A puddle of light on the floor. In the midst of it sprawls a
crumpled figure. The camera PUSHES IN close, resolving it into
the limp, rag-doll form of Aunt May. She doesn't move.

FADE TO WHITE

DISSOLVE TO BLACK

TEXT ON SCREEN: TO BE CONTINUED ...

FADE OUT.


Next: "S02E16 "The Hero or the Menace"Open in new Window.

"Spider-Man Commentary: Outside the BoxOpen in new Window.
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