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Peter fights to regain his life while Otto tries to save Aunt May's. |
Previously: "S02E15 "Outside the Box""  "THE HERO OR THE MENACE" FADE IN: INT. THE RAFT -- NIGHT Sterile corridors illuminated by emergency lighting. Alarms SHRIEK. COPS in armor with pistols drawn race up and down the corridors. They are ambushed at every turn by masked intruders in tight, full-body stockings. One, a GIANT, catches two cops by the throats, lifts them, and knocks them out by conking them together. Three more cops are caught in exploding columns of gas; they COUGH and collapse; a MIDGET with a gas mask over his face mask steps over them and runs off. Four cops are caught in a lariat and quickly hogtied by a tall, lanky figure sporting a cowboy hat (COWBOY). Another guard, running in panic, rounds a corner and bounces off the belly of a masked FAT MAN. As he gazes up, slack-jawed, at the intruder, a python slithers up and wraps itself around him. He SHRIEKS and faints. Another figure -- voluptuous and obviously FEMALE -- steps in, and with a gesture calls the python to wrap itself around her before she walks off. INT. THE RAFT -- CELL -- NIGHT A bare cell furnished only with a fold-out cot. Lighting and sounds as before, but the sour-faced figure slumped on the cot -- OVERDRIVE -- pays no heed until-- The door slides open and COWBOY and FEMALE step in. Then Overdrive looks up. OVERDRIVE Who are you supposed to be? Female answers by raising a silencing forefinger to her lips. Cowboy raises a pistol and shoots it at Overdrive. Overdrive GASPS as a dart hits him in the neck, then slumps and faints with a SIGH. FEMALE (to Cowboy) Did you really have to do that? Cowboy answers by raising a silencing forefinger to his lips. Cowboy and Female exit the cell with Overdrive slumped over Cowboy's shoulder. END OF TEASER MAIN TITLES: MARVEL'S SUPERIOR SPIDER-MAN FADE IN: INT. MINDSCAPE -- DAY Peter Parker talks while tapping away at a virtual keyboard. As he works, virtual buttons and levers fade into existence long enough for him to manipulate them, then fade out again. PETER PARKER (V.O.) My name is Peter Parker, and I'm the amazing Spider-Man. Or, at least, I used to be. ANGLE ON TELESCREEN It shows SPIDER-MAN swinging from building to building across the cityscape of New York. PETER PARKER (V.O.) (continuing) Until one of my former professors, Dr. Otto Octavius, stole my body and shoved my consciousness inside a computer. So until I get my body and identity back, well ... I guess you'd better call me-- INT. HIDEOUT -- DAY OVERDRIVE The Master Planner?! A sparsely furnished room, populated by Overdrive and the core members of the Crime Circus: BRUTO (the giant), GOLIATH (the dwarf), MAVERICK (the cowboy), FIFI (the snake charmer), TEENA (the fat man). They are unmasked but still in their body stockings. MAVERICK He's got a job for you. OVERDRIVE Oh, no! Not that loser! Half my cellmates were in there because of him! MAVERICK He got you out. OVERDRIVE You got me out! FIFI And we've got a job for you. OVERDRIVE (suspicious) For you or for him? MAVERICK Same difference. We need your help stealing something. OVERDRIVE What? Fifi crosses to a window, and draws open a curtain. FIFI What do you care, as long as you get to drive? Overdrive crosses to the window. He presses palms and face to it as he stares out. His eyes pop with greed and wonder, but we don't get to see what he sees. EXT. NEW YORK CITY -- HOSPITAL -- DAY -- ESTABLISHING NEWSREADER (V.O.) -- in a daring nighttime breakout. INT. HOSPITAL CORRIDOR -- DAY PETER PARKER sits in the corridor, looking at his cell phone with a muted expression. On the screen is news footage of masked figures in body-stockings, flitting about the exterior of the Raft as helicopters hover and searchlights swivel. NEWSREADER (V.O.) (continuing) Authorities have not confirmed the identity of the super-criminal who escaped, but the Bugle has learned it was James Beverley, a.k.a., Overdrive -- MILES MORALES drops next to Peter, who doesn't react. The report continues (unintelligible) beneath their dialogue. MILES Have you been here all night, Pete? PETER Yes. MILES And? PETER She's got some broken bones. Bruises. MILES So that's good! PETER And something else they won't tell me about. MILES What do you mean? PETER Did you bring my homework like I asked you to? MILES Max says you don't have to worry about schoolwork while your Aunt May is in the hospital. PETER I can handle both! MILES Not without sleep! Not if you're going to spend all night and all day outside her hospital door. PETER I can't just leave her! MILES Pete! You're not a doctor. What can you do? A white-coated DOCTOR steps into the corridor. DOCTOR Peter Parker? May I talk with you a moment? Peter rises and follows him O.S. Miles watches him go, then takes out his cell phone. He starts tapping a text into it. INT. MINDSCAPE -- DAY Peter Parker, at his virtual work station, types and talks as Miles's dialogue appears on the giant telescreen that floats in front of him. PETER PARKER I've already hacked into the hospital records, Miles. Aunt May has some broken bones, that's all. If he says there's something else wrong, it's because he's up to something! MILES (V.O.) Yeah, he's acting like a good nephew. PETER PARKER It's all a lie, Miles! I told you, I'm Peter and he's Otto Octavius! MILES If he is, he's doing a bang-up impression. PETER PARKER Just keep an eye on Aunt May for me! MILES I was going to anyway. Bee-Tee- Double-You, did "The Master Planner" have anything to do with that jailbreak last night? Peter grits his teeth. PETER PARKER I'm working on a way of getting out of here, Miles. You gotta trust me, buddy. INT. HOSPITAL CORRIDOR -- DAY Miles reads the last text, then turns off his phone. MILES Right. INT. hospital room -- DAY Aunt May, her arm in a sling, is propped up in bed. The room is bright and there are flowers on a nearby table -- a cheerful scene. Aunt May herself keeps an upbeat demeanor. Peter, though, when he enters, looks fearful and haggard. PETER Aunt May? AUNT MAY Peter! Why aren't you in school? PETER I'm here because you're here. Anyway, Max says-- AUNT MAY I won't have you falling behind in your studies, young man. I'm not paying them so you can goof off here with-- PETER You're not paying Horizon anything, Aunt May! They're paying you. I talked to Max, he told me all about the stipend. AUNT MAY Well, all the more reason you should be in school. They expect you-- PETER And I talked to the doctor, Aunt May. He told me about-- He breaks off, and swallows. AUNT MAY (brittle cheer) Just a couple of broken bones! I'll be out of here before-- PETER He told me about the radiation poisoning. That warehouse, the dust was full of-- AUNT MAY (firmly) I'll be fine, Peter. They're not even keeping me in the hospital. PETER Because there's no point, he said. There's nothing they can do for you. There's a long pause as the two regard each other. AUNT MAY I'll be fine, Peter. It will all work out. PETER It won't "work out," Aunt May, not unless someone makes it work out. He turns to leave. AUNT MAY (O.S.) Peter! He exits, closing the door on her. INT. HOSPITAL HALLWAY -- DAY Peter glowers to himself, then with a grimace grabs his head with both hands. PETER (otto) What did Parker's uncle use to say? "With great power comes great responsibility?" Peter masters himself, and sets his jaw. PETER You may have got Parker's spider- powers, Otto, but they aren't going to save that dear woman. You're going to have to use your own superpower. Your brains. EXT. STREET -- DAY A glass-paneled office building. Alarm bells SHRILL. CLOSE ANGLE ON OVERDRIVE. He sits behind a driver's wheel, arm hanging outside the car window. He GROWLS impatiently to himself. OVERDRIVE Come on, come on! I'm double-parked here! ANGLE ON THE BUILDING A glass window EXPLODES outward, and the body-stockinged Crime Circus (all characters) leap and tumble and fly out. With acrobatic grace they hit the ground and spring out of frame. CLOSE ON THE CAR CAB The members of the circus pile into the back seat of Overdrive's car as the engine REVS furiously. OVERDRIVE Hands and feet inside? Good! Let's roll! The camera PULLS BACK to show the whole vehicle. It is a giant wheel -- The Big Wheel, twenty-five feet tall, at least -- with the cabin suspended in the middle where the axle would go. The rims spin, and The Big Wheel shoots away. Sirens SCREAM O.S. after it's gone. EXT. STREETS OF NEW YORK -- DAY INTERCUT Variety of shots from a variety of angles -- high, wide, low, close, cantered, traveling -- as the Big Wheel roars through the canyons of the city. Cars, horns BLARING, steer out of its way, as do pedestrians. Police vehicles begin to show up during the chase, and Overdrive shoots off down side streets to avoid them. CLOSE ON BIG WHEEL DASHBOARD There's a monitor there, and it pops on to show The Master Planner's blank visage. MASTER PLANNER (V.O.) Careful there. I don't want anybody hurt. OVERDRIVE Backseat driver! BACK TO THE STREETS The chase continues, and helicopters close in overhead. The chase threatens to come to an end when The Big Wheel turns onto a street, and faces a phalanx of squad cars -- lights swirling -- charging at it down a wide thoroughfare. Overdrive slams on the brakes, and The Big Wheel peels to a stop. Behind it, charges up another phalanx of cop cars. A helicopter hovers overhead. Overdrive chews his lip and GUNS the motor. OVERDRIVE Okay everyone, hang on. We're going through them. MAVERICK Don't go through. Try going up. Overdrive looks at him, then looks to the side. ANGLE ON THE STREET. It's in a canyon formed by two tall skyscrapers. BACK TO SCENE OVERDRIVE I love this thing so much I think I want to marry it. He REVS the motor to the max. ANGLE ON THE STREET As the cop cars charge up, The Big Wheel spins ninety degrees and charges at one of the skyscrapers. It hits the stone front and runs up the face. TOP OF THE SKYSCRAPER The Big Wheel bursts up over the parapet, flying so high it hits the nose of a hovering helicopter, which spins away out of control. As it tumbles and falls -- CLOSE SHOT OF BAY The helicopter hits the water with a great splash. ROOFS OF NEW YORK -- The Big Wheel races away, leaping from rooftop to rooftop as it roars off. INT. MINDSCAPE -- DAY A glitchy, de-rezzed version of The Big Wheel roars over the roofs of a de-rezzed, desaturated representation of New York as Peter Parker races and jumps, like Spider-Man, alongside and ahead of it. PETER Just follow my directions, guys. He comes to the edge of a building and points down to a dockside warehouse. PETER Drop the stuff off in there. The Big Wheel appears behind and above him, jumping him to land with a hard CRUNCH on the street below. It vanishes through the open doors of the warehouse. OVERDRIVE (V.O.) And when do we get paid? The cityscape fades to blankness. In front of Peter materializes a schematic outline of a mainframe computer. Parts it are already filled in with solid-looking blocks, and from a pile of such solid blocks he wafts more blocks and fills them into the schematic. PETER Soon as you get the rest of what I need. OVERDRIVE (V.O.) And how many more trips will that take? CLOSE ON THE SCHEMATIC At the very front is a circle, representing an Energy Focus Device like The Living Brain used on him. PETER (O.S.) A visit to Oscorp should do it. END OF ACT ONE FADE IN: INT. HORIZON -- LAB -- NIGHT Peter Parker hunches in front of his computer. He peers near- sightedly at the monitor as he types. So consumed is he with his work that he doesn't notice when GWEN STACY appears behind him. GWEN Hi Peter. PETER (distracted) Hey Gwen (double take) Gwen! He flies back and falls out of his chair. Gwen kneels to help him. GWEN Are you alright? I didn't mean to scare you. PETER S-scare me? No! I was just, y'know, into my work. Uh, you're up here late. GWEN So are you. (beat) I heard about your aunt, Peter. I'm so sorry. Peter's attitude hardens as he settles back in his chair. PETER Thanks. GWEN What are you working on? PETER Nothing, yet. Medicine isn't my strong suit, and the doctors won't tell me-- GWEN Are you trying to work on a cure? PETER (bridling) Well, what would you do? GWEN It's some kind of radiation poisoning, isn't it? PETER Yes. GWEN You know, I've got some notes I could share with you. My uncle, before he-- Peter wheels on her, excitedly. PETER Raymond Warren's research! That's right! You've got his original notes, don't you! GWEN Copies, yes. Of a lot of them. She crosses to a cupboard, out of which she takes a large box. GWEN Now, if we split these up between us-- PETER Oh, Gwen, how can I thank you? Will you stay and keep me company while I go through them? Gwen freezes, and her voice turns icy. GWEN "Keep you company"? Oh, I'm sorry, Peter. I'm expected at home. Those cookies won't bake themselves! She wheels and exits. Peter hurries after. PETER Gwen! I didn't mean-- I'm sorry, every time I try talking to you, it comes out wrong. I just really want you to stay. GWEN Why? Peter shows obvious signs of panic. PETER Well, um, for your help, obviously! Your aid would be inestimable. Dr. Octavius could never stop talking about how gifted you are, and you know how hard it was to impress him. So, um ... stay? Gwen gives him a very steady look. GWEN I'll say this, Parker, when you put your back into it, you really know how to sweep a girl off her feet. She turns and stalks away. Peter sighs and returns to the lab. EXT. NEW YORK CITY -- ROOFTOPS -- NIGHT Spider-Miles swings through the glass-and-steel canyons, talking as he goes. SPIDER-MILES Pete, it's not that I don't trust you, but, um-- I don't know how to finish that sentence. THE MASTER PLANNER (V.O.) That's why I'm giving this job to you. I'm putting myself in your hands, Miles. SPIDER-MILES Then why didn't you give me that other job? You didn't even tell me about that other job, I had to watch it on the news! As he speaks, he lands on a rooftop and passes a giant telescreen, with a Daily Bugle chyron, showing the earlier pursuit of The Big Wheel. Spider-Miles pauses to watch it. SPIDER-MILES (continuing) Where did you even find those guys to hire them? THE MASTER PLANNER (V.O.) Otto's files. He's got a contact list of baddies a mile long. SPIDER-MILES Yeah, so why don't you pass that list on to the police instead of hiring them to steal--? What is it I'm after again? INT. MINDSCAPE -- DAY Peter Parker at his virtual work station. PETER Parker An Energy Focal Device. It's the thing that Otto used to switch places with me. There should still be at prototype at Oscorp, and I need it if I'm going to get my body back. SPIDER-MILES (V.O.) Which is exactly what Doc Ock would say if he was asking me to help him steal my buddy's identity. PETER Parker Miles! It's me! EXT. NEW YORK CITY -- ROOFTOP -- NIGHT Spider-Miles perches on a parapet, looking off toward a building emblazoned with the Oscorp logo and name. SPIDER-MILES Yeah, yeah. You're Peter Parker, and you're asking me to break into your best friend's company to steal a priceless piece of technology. THE MASTER PLANNER (V.O.) That's another reason I'm asking you to do it! Because it's Harry's company. I don't want those other goons trashing the place. (beat) Do you believe me? Spider-Miles sighs. SPIDER-MILES I must be crazy, but I actually do. It's all just messed up enough to make sense. EXT. HORIZON ACADEMY -- NIGHT -- ESTABLISHING INT. HORIZON ACADEMY -- LAB -- NIGHT Peter Parker hunches at his computer, looking between the screen and some papers while sipping from a cup through a straw. His expression is concentrated and intense. On the screen, a telephone app pops up, and RINGS. The name "Harry Osborn" is displayed beneath it. Peter cocks an eyebrow, and taps a button. His tone is impatient and emotionless. PETER Hi Harry, how's Europe? EXT. PARIS -- DAY HARRY OSBORN, on a balcony, with the Eiffel Tower in the background, frowns, discomfited. During the ensuing conversation, the scene INTERCUT between Paris and New York. HARRY Uh, it's great, Pete. I'm standing here looking at the Eiffel Tower, and-- PETER That's great, Harry, take lots of pictures, but I'm kind of busy here-- HARRY It's your aunt, isn't it? (beat) Anya called me and told me. PETER Yes, it's Aunt May, and I-- HARRY Why didn't you call me, Pete? PETER I thought we weren't talking, Harry. HARRY If we're not talking, what are we doing now? (beat) What can I do to help you, Peter? INT. OSCORP -- HALLWAY -- NIGHT Spider-Miles tiptoes down a darkened hallway, flashing a light beam about as he goes. SPIDER-MILES I'm getting bad deja vu here, Pete. Last time I was here, I got attacked by Spider Slayers and had to be rescued by The Living Brain THE MASTER PLANNER (V.O.) The last time you were in here, it was a trap. SPIDER-MILES Not exactly making me feel better about this, Pete. DISSOLVE TO: INT. MINDSCAPE -- NIGHT The exact same shot, but with Peter occupying the place where Spider-Miles had been. He's wearing a headset, and wherever the beam of his flashlight hits, the walls or ceiling resolves into streams of numbers. PETER PARKER I'm right here with you, buddy. We'll start in Otto's old lab. SPIDER-MILES (V.O.) "Start"? You mean you don't know where the thingummy is? PETER PARKER It might have got moved. So you start looking in the labs while I try to track its movements through the system files. O.S., a KLAXON starts to sound. SPIDER-MILES (V.O.) "System files"? Uh, Pete, are you inside the Oscorp computer system? PETER PARKER Yeah. INT. OSCORP -- HALLWAY -- NIGHT Spider-Miles stands in the hallway, which is bathed in red light as the KLAXON sounds. SPIDER-MILES So was it you who tripped the alarm? INT. HORIZON ACADEMY -- LAB -- NIGHT Peter paces back and forth on the ceiling as he studies a sheaf of papers. They flutter to the floor as he tosses each one away. HARRY (V.O.) But that's got to be the solution, Peter. A high-energy bath of particles-- PETER (otto) It's only a theory, Mr. Osborn. Purely speculative. HARRY It was Professor Warren's theory. PETER (otto) That nitwit! If there was any merit to the idea he would have engineered a practical application! As it is, he only came up with doodles and scribbles! INT. PARIS -- HOTEL ROOM -- DAY Harry pecks at the keyboard of a laptop as he talks on the cell phone. The conversation INTERCUT between the two locations as necessary. HARRY But he must have come up with something, Peter. Those monsters he was making. He infected them with an agent, then activated it with high- energy beams. Peter pauses in mid-stride. PETER You do have a point there, Mr. Osborn. I hadn't considered that. HARRY Why do you keep calling me that, Peter? PETER What? HARRY "Mr. Osborn." That was my dad. Peter's eyes dart. PETER Well, you are the head of Oscorp, now. HARRY Maybe. But-- PETER Oh my goodness! I just realized! HARRY What? PETER The Energy Focus Device that I-- That Doctor Octavius was working on when he was at Oscorp. HARRY What are you talking about? Peter leaps to the floor and rummages through desk drawers. PETER I'm talking about a device that can precision-focus immense amounts of high energy exactly where it is needed. From the drawer he takes the Energy Focus Device. CLOSE ON DEVICE It is cracked and dented. PETER And I smashed it with a hammer when I thought I'd never need it again. HARRY You're not making any sense, Peter. PETER Just answer me one question, Harry. All of the prototypes that Doctor Octavius was working on when he was at Oscorp. Where would they be stored now? INT. OSCORP -- HALLWAY -- NIGHT Spider-Miles leaps around, dodging security octo-bots. These are spider-like things with small bodies and four long, telescoping arms that are trying to grab and grapple with Spider-Miles. SPIDER-MILES Pete! I'd really like it if you killed the security system before the security system kills me! THE MASTER PLANNER (V.O.) I'm trying, Miles, but it's on a different network! INT. MINDSCAPE -- NIGHT Peter is running through a mindscape made up of coiled wires and tubes that run off in every possible direction. He ignores gravity as he leaps from one cable to another. INTERCUT Peter in his world and Spider-Miles in his as they talk and run and battle. PETER It looks like something that Otto set up, and Oscorp never turned it off. He leaps away as some of the coils come to life, turning into the twins of the four-legged octo-bots that Spider-Miles is battling. PETER And he set up his own computer security system to go with it! There are no energy bolts or blasts, but Spider-Miles and Peter both use webs to try trapping and disabling the attacking 'bots, which respond with blows and grasping claws and coils. SPIDER-MILES If this is Otto's security system, does this mean his lab is around here close? PETER That's a negative. It looks like someone or something tripped an alarm somewhere. SPIDER-MILES So it's not my fault. I'll take that, at least. But then who--? An octo-bot knocks Spider-Miles over the railing of a balcony high over a large, dark lobby. Spider-Miles catches himself with a spider-line and hits the floor on his feet. But when he straightens up-- SPIDER-MILES Uh-oh. ANGLE ON THE CIRCUS OF CRIME The members of the CIRCUS OF CRIME are standing in the lobby, along with OVERDRIVE. The front of The Big Wheel has crashed through the front windows and is resting halfway inside the lobby. OVERDRIVE (to the others) What did I tell you? Master Planner is selling us out behind our backs. END OF ACT TWO FADE IN: EXT. NEW YORK CITY -- HARBOR -- NIGHT -- ESTABLISHING Moonlight plays on the water as a police harbor patrol craft plies the harbor near the water's edge. This is a fairly large boat with an enclosed cabin at the front. INT. PATROL CRAFT CABIN -- NIGHT PATROL CAPTAIN and MATE are at the wheel. The New York skyline reflects in the front glass of the cabin. MATE Quiet night, for once. An explosion SOUNDS, and the reflection of a fireball blooms on the glass. The two men react. CAPTAIN Did you have to say something? The captain turns the sirens on and wheels toward the explosion. INT. OSCORP -- LOBBY -- NIGHT Spider-Miles dodges octo-bots, the flying and plunging acrobatics of the Crime Circus (in their body stockings), and energy bolts from Overdrive. For their part, the Crime Circus and Overdrive have to dodge and fight the octo-bots. SPIDER-MILES Pete! Where did these guys come from? PETER (V.O.) What guys? SPIDER-MILES Whaddaya mean, what guys? Your goon squad! INT. MINDSCAPE -- NIGHT Peter is still fighting the virtual octo-bots. PETER I'm kind of busy here, Miles, but-- He leaps to a high spot on a wall, and opens up a virtual screen that shows the fight in the outside world. He gapes. PETER Overdrive! INT. OSCORP LOBBY -- NIGHT Overdrive, fighting the octo-bots. THE MASTER PLANNER (V.O.) What do you think you're doing? OVERDRIVE Looking for loot, what does it look like? THE MASTER PLANNER (V.O.) That's not part of the plan! OVERDRIVE Maybe not your plan. He blows a hole in a wall, WHISTLES, and points at it. Members of the Circus swarm through it while he covers their exit with more fire power. INT. MINDSCAPE -- NIGHT Peter races down a corridor swaddled on all sides by massive coils of silvery wire. As he runs, screens open up on the sides of the wires, showing the Crime Circus as they run down a corridor. Their running mirror's Peter's own. PETER Miles! You gotta cut those guys off! If they get to Doc's lab-- SPIDER-MILES (V.O.) Pete! Hello! I've only got two arms and two legs. INT. OSCORP LOBBY -- NIGHT Spider-Miles is being swarmed by octo-bots. SPIDER-MILES (continuing) And these things got me outnumbered every which way! INT. OSCORP LAB -- NIGHT A darkened work place. The door bursts open and the Crime Circus swarms in. Maverick touches his wrist and projects a hologram of the Energy Focus Device into the air. The other members stare at it, then fan out and begin overturning desks and equipments as they search for it. INT. MINDSCAPE -- NIGHT The camera PULLS BACK to reveal the above scene is being watched on a screen by Peter, who presses his face and hands to the virtual glass, as to a window. PETER When you find the Energy Focus Device, take it to-- Maverick touches a spot on his wrist, and the screen turns to static. PETER Hey. Hey! He bangs the screen. Then he is swarmed from the side by virtual octo-bots. SPLIT-SCREEN: CLOSE ON PETER AND SPIDER-MILES Both thrash as they are being smothered by octo-bots. They both grunt, strain, push, and throw off their attackers. INT. MINDSCAPE -- NIGHT An octo-bot leaps on him, pushing its robotic eye (which dominates the front of its body) into his face. Peter stares at it as he tries pushing it away. The eye glows and changes color and shape, so that it comes to resemble the Energy Focus Device. Peter's eyes widen. His hand slides over to cover the eye. His hand, then his arm slide into the eye. Sparks fly off the octo- bot. Peter grimaces, and pushes his other arm, and then his head into the eye. The octo-bot thrashes as spasms and Peter slides headfirst through the eye, his feet being the last to vanish into it. INT. OSCORP -- LOBBY -- NIGHT Spider-Miles is being swarmed by octo-bots, but with a series of fast, hard spins and thrusts he tosses most of them off, then uses his hands to pluck up and throw away more. As they regroup and leap at him, he catches them out of the air and smashes them against the wall. CLOSE ON An octobot, crouching to spring. But its electronic eye shifts colors from red to blue. It springs away as Spider-Miles grabs for it, then runs off down a hallway. angle on octobot It scuttles along the wall, then pauses to look about. SPLIT SCREEN The octobot, clinging to the wall, and Peter, clinging to the same wall, like a crab. The octobot shifts on its feet to look about, and Peter shifts on his feet the same way. PETER Okay, this isn't my old body, but at least I'm back in the real world. He and the octobot both crouch into a huddle as a small swarm of octobots run past. Both turn to watch as the 'bots disappear down the hallway. PETER And nobody seems to be paying attention to me. This could work! The split screen disappears, leaving only the screen showing the octobot. It scuttles off. PETER (V.O.) Now if I can just find Otto's old lab without getting lost. INT. OSCORP LAB -- NIGHT The Crime Circus is turning the lab upside down, hurling machinery and tools about. Fifi stands up. FIFI Maverick! Lemme see that picture again! Maverick taps his wrist, and the hologram springs into the air. Fifi holds up an object alongside it. CLOSE ON HOLOGRAM The hologram of the Energy Focus Device spins on an axis, as Fifi holds a slightly different version of the Device next to it for comparison. FIFI (O.S.) Works for me. A web shoots in, covering the Device and jerking it from her hand. FIFI (O.S.) Hey! ANGLE ON CORNER OF ROOM Spider-Man clings there, and he catches the Device as he flies back to him. SPIDER-MAN Works for you, but it works better for me. ANGLE ON THE CRIME CIRCUS They crouch, then leap for Spider-Man. Spider-Man is handicapped as he clutches the Device to his chest, but he leaps about from wall to wall, dodging the Circus. When he has a moment, he shoots webbing at them while working his way for the door. He is about to leap through it when the doorway is covered by the immense Bruto. He pauses. Then he delivers a haymaker to the stomach that bends Bruto double. He grabs Bruto by the ankle with one hand and sweeps him off his feet, then swings him around and hurls him into the charging Circus, knocking them over like ninepins. He leaps atop Bruto, crouching over him and grabbing his veiled face with a claw-like hand. Rage distorts his voice. SPIDER-MAN I told Boomerang and I'm telling you! Get in my way again, and I'll-- His fingertips dig into Bruto's face. Bruto's mask puckers and bubbles as he sucks in a breath and SCREAMS. A web shoots in, pulling the Device from the crook of Spider- Man's arm. ANGLE ON SPIDER-MILES as he catches it. SPIDER-MILES Spidey! What are--? With a SNARL, Spider-Man makes a flying kick at him, knocking him into the hallway and bouncing his head off the wall. Spider- Miles slumps to the floor. Spider-Man scoops the Device off the floor and turns to run. SPIDER-MAN I don't have time to discuss this, Mister Morales, not when-- DISSOLVE TO: INT. HOSPITAL -- NIGHT Aunt May, her face a mask of pain, sleeps. She is attended by two DOCTORS, who exchange a look of concern. INT. OSCORP -- HALLWAY -- NIGHT Spider-Man runs along. An octobot leaps in to hit him on the back of the head with an electrical bolt. Spider-Man cries out and falls. The Device rolls away and the octobot runs for it, scooping it up and scuttling back up onto the wall and hurrying down the hallway. Spider-Man, his mask distorted by rage, leaps up and runs after. ANGLE ON OCTOBOT It races along the wall. PETER PARKER (V.O.) Gotta lose him, gotta lose him! The octobot dodges webbing shot from O.S. It comes to a stop at a dead end, standing on a window. It looks around, and cringes as Spider-Man, with a flying kick, leaps at it. EXT. OSCORP -- BUILDING FACE -- NIGHT Spider-Man and the octobot (the latter still clutching the Device) flying into the air, surrounded by shattered glass. Spider-Man shoots a web at the building face, and the octobot grabs hold of his foot as he swings back toward the building. They both land on the glass face, and Spider-Man chases the 'bot up the face. In the B.G., far below, the police launch with flashing lights approaches. EXT. OSCORP -- ROOFTOP -- NIGHT The octobot, then Spider-Man leap onto the roof. The octobot runs off, but a shot of webbing jerks the Device from the octobot. Spider-Man hauls it back and catches it. The octobot stops, turns, and leaps for the webslinger. CLOSE UP, IN PROFILE Spider-Man and the octobot, nose to nose as the octobot clings to Spider-Man's face. They stare at each other, ignoring a growing RUMBLE and ROAR. ANGLE ON THE ROOFTOP The roof explodes outward as The Big Wheel bursts onto the roof. CLOSE ON OVERDRIVE as he pilots The Big Wheel. EXT. OSCORP -- NIGHT The Big Wheel, the octobot, Spider-Man, and the Device plummet groundward. The octobot overtakes the Device and is reaching for it when webbing pulls it away. Spider-Man clutches it to his chest. EXT. POLICE LAUNCH -- NIGHT The crew of the launch looking up. They point, yell, and dive off the boat. Spider-Man lands on the deck, the springs away as The Big Wheel hits. HIGH ANGLE The launch, with The Big Wheel atop it, plunges prow-first into the water, and sinks. ANGLE ON THE WATER The octobot as it hits the water and surfaces. SPLIT SCREEN The octobot and Peter Parker. They turn in unison as they splash and look about. PETER The Focal Device! Otto! My body! EXT. NEW YORK HARBOR -- UNDERWATER -- NIGHT The launch and The Big Wheel, sinking to the bottom. INT. POLICE LAUNCH -- NIGHT Darkness, but not so dark that Spider-Man's face is invisible. He looks around. POV -- SPIDER-MAN The interior of the launch. The pilot house, scanned side- to-side as Spider-Man looks around. The front windows are cracked, and water seeps in through the seams of the windows. The launch shudders as it hits bottom. The Big Wheel settles over the window, covering it. SPIDER-MAN (V.O.) No. EXT. NEW YORK HARBOR -- UNDERWATER -- NIGHT The launch, with The Big Wheel atop it. SPIDER-MAN (O.S.) No! FADE TO WHITE DISSOLVE TO BLACK TEXT ON SCREEN: TO BE CONTINUED ... FADE OUT Next: "S02E17 "If This Be My Destiny"" "Spider-Man Commentary: The Hero or the Menace" |
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