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A bank robbery gone wrong puts Aunt May in danger. |
Previously: "S02E14 "A New Life for an Old""  "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"" "Spider-Man Commentary: Outside the Box" |
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