ISSUE ONE: WITH GREAT POWER (PART ONE)
EXT. NEW YORK CITY SKYSCAPE – NIGHT.
It’s raining, the city is dark, but the bright, glossy lights make it almost appear like stars.
EXT. ALLEY - NIGHT.
The street, ground level, we can hear sirens. Two police cars zoom by.
LOOK UP
The side of the building, climbing higher and faster as we move along until we see a SILHOUETTE clinging to the side of the building.
A lot is still in shadow, but we can make out the glassy left eye of SPIDER-MAN’S mask.
Spider-man shoots out a web line and leaps from the building.
We follow along with THE POLICE as they speed toward their destination, as they drive we move in a circle until we are in front of the cars. There is a shape in the background.
SPIDER-MAN swings behind them, also on the prowl.
He shoots out another web to grab hold of. He is still a fairly darkened figure, though the passing lights help to reveal him to us in glimpses. Even when in darkness, his menacing eyes show through.
There are some characteristics we can notice. His suit is some form-fitting material, something that a man on his budget could have feasibly made. It is either red and black or red and dark blue.
The police cars below him take a sharp turn, Spider-man takes it with them, leaping from his web line to the roof of a building, then pouncing from one roof to the next, his gaze still focused on the cars below him.
Spider-man leaps into the air again, we follow along above him as he shoots out another web.
EXT. JULES’ JEWELERY – NIGHT.
We are looking down the barrel of a gun. There is a click. It is ready to fire.
The gun is pointed at a scared young woman. Her terrified eyes couldn’t be wider.
WOMAN
Okay… Okay. Just
Please, calm down.
Now we see the jewel thief. His gun is still pointed right at her, but he’s shaking. He's dressed in a padded yellow and brown outfit, something like a baclava on his face. There is something on his wrist as well, some metal contraption that’s fairly unsightly.
THIEF
Just… Just hurry, d-dammit!
WOMAN
Just take what you need and
Get out of here!
She hands him everything in the register and he helps himself to some of the display items. As she turns away, she almost gives a slight grin.
WOMAN
Spider-man is so going to
Kick your ass.
THIEF
Yeah. Sure. He can try.
The man rushes out of the store.
EXT. STREET – NEXT.
The man stands on the sidewalk and holds up his bag, triumphantly.
THIEF
Ha!
SUDDENLY something jerks him, he falls backward onto the sidewalk.
The man looks up to see…
SPIDER-MAN, visible for the first time, bathed in the glow of the street light. He’s looking down at the thief and holding his bag.
SPIDER-MAN
I understand not knowing what to
Get that special someone, but this
Is a little much. You don’t need
To take the whole store.
The thief rises to his feet, clanging his metal wristbands together. They seem to vibrate.
THIEF
You don’t know who you’re dealing
With.
SPIDER-MAN
Uh-huh. Yeah, I’m just gonna go.
I was under the impression there
Was a threat in the area.
THIEF
What? Yeah, uh, I mean, I’m
The threat… pal. So you
Best back off, cuz I’m comin’
Down to, uh, to spider town.
SPIDER-MAN
You just wait for the police.
They’ll be along shortly.
They will take you somewhere
Safe.
THIEF
Ain’t nobody taking me nowhere!
SPIDER-MAN
I can't believe I left Panda Express to
deal with your nonsense. You at least
have a name, Quilt Guy?
The thief strikes a pose, trying to give the illusion of power.
THIEF
(dramatic tone) Yeah, call me…
The Shocker.
SPIDER-MAN
That’s just grossly inappropriate.
SHOCKER throws out his hands as if he’s about to punch Spidey, instead sending a mass of vibrations through the street. It’s like he's firing earthquakes.
Spider-man jumps out of the way with ease, landing in a crouched position behind Shocker.
SPIDER-MAN
Um, this is embarrassing, but your
obvious weakness is showing.
Shocker raises his arms to fire another shot.
SPIDER-MAN
These are the source of your power,
right?
Shocker’s grip tightens.
SPIDER-MAN
What happens if I do this?
Spider-man FIRES WEBBING at Shocker’s HANDS. Shocker fires once more, but the shock is directed at HIMSELF. He begins to convulse as if having a seizure, his eyes roll back in his head and he falls to the ground.
SPIDER-MAN
Well, it's a good thing that wasn't an enormous
waste of my time.
The police cars approach. Spider-man shoots a web into the air, leaping up and taking off into the night.
EXT. MIDTOWN HIGH – DAY.
Establishing shot of the high school.
MARY JANE (OS)
Are you kidding me?
INT. HIGH SCHOOL (HALLWAY) – NEXT.
Peter stands against his locker talking to Mary Jane.
PETER
No, MJ. I am not kidding me.
MARY JANE
How could you not have told me about
This?
PETER
I… I…
MARY JANE
You’re taking a course at the University?
Peter! This is so awesome for you!
PETER
Um, thanks? It's Connors' class, by the way.
Think I'll be in there with that friend you keep
telling me about. Felicia something?
MARY JANE
How long has this been going on, Mr. Doesn’t
Tell his best friend anything ever.
PETER
It’s pronounced Parker. And this has been going
On for a week, or a week tomorrow, technically.
MARY JANE
Wow. How’s it going?
PETER
Pretty tough, actually. Well, obviously.
But I think I can keep up, so far. Connors
Seems like a pretty together guy.
MARY JANE
Oh, who is he? Feel like I know the name.
PETER
Before our time. Before his accident, he
Was one of the leading biologists in the
Country. I’ve read most of his stuff. My
Dad collected it, I guess. Kinda got left to
Me.
MARY JANE
Cool. He’s gotta be better than the teaching
Staff we got around here.
PETER
Well, yeah. For one, he’s stable.
INT. CONNORS’ HOUSE – NIGHT.
We are in a darkened room, there seems to be only one light source. We pass over a series of terrariums, making out the vague shapes inside. They are all reptiles, mostly lizards with a few snakes.
It’s a study, very messy, with one wall lined with cages filled with reptiles. In the center back wall there is a desk, a man sitting at it. This is DR. CURTIS CONNORS. He’s a silhouette, but from his dimly lit outline we can still see that his left arm is missing, he has messy brown hair, and he’s still wearing his lab coat.
The desk is very, very messy. There are dozens, maybe hundreds of notes.
Connors is scrawling away at the latest of his numerous notepads. He reaches out to take another drink.
The bottle is empty. He sets it back down next to an overfilled ashtray. We are not looking at the most stable of men.
There is a knock on the door.
INT. HALLWAY – NEXT.
Connors’ wife, MARTHA, knocks at the door, a vague look of concern on her face. For the most part, her face is blank.
MARTHA
Curt?
There is no answer from inside the room.
MARTHA
Curt, it’s late. Why don’t you
Come to bed?
Still no answer.
MARTHA
(softer)
Curt?
CURT
(mumbles)
Go away.
Martha closes her eyes, standing still, then nods. She steps away from the door.
INT. CONNORS' STUDY – NEXT.
Curt watches the door, perhaps seeing whether or not she will heed his warning, he turns back to his notes. After a moment, Curt runs a sweaty hand through his matted hair. He stands and moves toward the window, opening it. Curt looks out into the night, a look of complete hopelessness on his face.
He sees something out of the corner of his eye. A darting red object.
Spider-man, swinging casually, weaving his way between the skyscrapers. He checks his watch.
Connors, his brow furrowing. For a moment.
FLASHBACK
INT. EMPIRE STATE UNIVERSITY SCIENCE LAB – DAY.
A slightly cleaner, more well kept Connors teaches a fairly full lecture. He is giving some sort of demonstration.
A student, watching intently. His interest and glasses show him as a sciency type, but he is attractive, slender and muscular, tall and thin with dark brown hair. He is PETER PARKER.
Move to the student beside him, blonde, taking numerous notes where Peter takes none, and this student notices. From this one gesture we can clearly see that this young man, MAX DILLON, has a competitive streak.
Max’s eye goes wide as something EXPLODES.
The blast sends Connors back against the wall, the lab table quickly catches fire.
Max turns but Peter is GONE.
Much of the crowd is evacuating the room, it’s a mob as the fire spreads.
CONNORS
Sees his notes catching fire and rushes to save them, burning his remaining hand in the process. He growls in pain as SPIDER-MAN bursts in through the air vent in the ceiling.
He leaps through the fire and grabs hold of Connors, who smiles at him thinly.
He says something we can’t hear and Spider-man shrugs. Connors points, wide eyed as the fire spreads toward a group of beakers. A moment later, another explosion comes.
Spider-man shields Connors from the blast, but a piece of glass flies toward him, slicing at his elbow. He’s taken aback by the blow, but nonetheless he is able to escort Connors to safety.
He smashes out the window, allowing himself and Connors to escape to the street below. Spider-man leaves him on the street and swings away, his task done.
Connors looks down at a drop of blood on his arm that is not his.
END FLASHBACK
Connors smiles to himself and turns away from the window.
CONNORS
That’s it.
He quickly moves over to the freezer and pulls it open.
Inside is a blood sample. SPIDER-MAN’S blood.
Connors takes the sample to his microscope.
We see the cells moving under the microscope.
Connors sighs, then cleans his glasses on his lab coat.
CONNORS
Come on, you bastard. What
Are you? What makes you so special?
He pulls a tape recorder from his desk.
CONNORS
(into recorder)
March 13th. Another blood test today.
Am no closer to finding out what
Makes Spider-Man so... unique. There
Is a significant amount of radiation
In the blood, but I can’t see how it
Wouldn’t have just killed him. If I
Knew who this person was… But I suppose
Heroes have to have their secret identities.
Heroes. I think I knew some once. Um… Let’s
See here… the blood I’m looking at is a complete
Amalgamation of human and arachnid DNA.
It’s boggling, given that these are two
Extremes of genetics. But I suppose all life
Is connected, right? If I could figure out this last
Step of the experiment, I could combine my DNA
With that of a lizard, creating a natural healing
Process that could have unheard of potential. Immunity
To disease, uncharted regenerative capabilities.
But we're just not there. Not yet.
His voice trails off. He looks down at the stub of his left arm.
He turns the tape recorder off, then slams his hand down on the table.
INT. LECTURE HALL – DAY.
The students sit inside the large auditorium-style classroom. Peter may not be there, but there is another noticeable absence…
Everyone looks at the empty desk reading CONNORS.
MAX DILLON, Peter’s lab partner, smirking. He reclines back in his seat.
Peter rushes in and takes his seat next to Max.
MAX
You’re late.
PETER
I noticed.
MAX
It’s alright. He’s late too.
PETER
Who?
Max points to the desk.
PETER
Dr. Connors hasn’t shown up yet?
Max shakes his head.
MAX
Another five minutes and we can leave. Again.
PETER
It’s a shame.
Max looks around the classroom.
MAX
Good luck convincing them. I swear it’s like
They pretend they’re not even paying for this
Class. We’re here to learn, people.
PETER
Some of us a little too much.
Max raises an eyebrow.
MAX
What’s that supposed to mean?
Peter shrugs, taking out his notes.
MAX
No, seriously. What’s that supposed to mean?
But Peter’s distracted, something has caught his eye. Max notices, follows Peter’s gaze for a moment, then rolls his eyes.
He sees a beautiful young woman with platinum blonde hair. Clearly rich, but we can already tell there’s much more here than another preppy girl this city has far too many of. There’s a lot to this blonde girl, no doubt some mystery, and she’s already caught Peter’s eye. This is FELICIA HARDY.
She taps her pencil rhythmically against her knee. Peter’s gaze is frozen on her, but she doesn’t notice.
MAX
Seriously?
PETER
What?
MAX
We’re making preparations for the biggest
Day in our college careers and you’re busy
Looking at some girl.
PETER
No, I… have a… well, I’m not sure. It’s…
Max, chill out. Connors isn’t even here yet.
You really think I’d just let some girl stand
In the way of everything I believe is
Important and beneficial to… well, yeah. Okay.
Good point. Still, she’s cute.
MAX
So what? Are you actually going to do anything
about it or are you just going to sit here pining?
This is why this is no place for high school kids.
Seventeen-year-old hormone bucket thinking
He's gonna sweep every girl he sees off her feet.
Peter looks down at that.
PETER
I’m not… I don’t know.
MAX
Uh-huh.
PETER
It’s just not that simple, okay? I have…
Relationship issues.
Max laughs.
MAX
Parker, your relationship issues have relationship
Issues.
PETER
Woah, and what basis do you have to go calling
Me out on this?
Max shrugs.
MAX
You just look like the type.
PETER
What type?
MAX
The type that can’t look at the big picture
When there’s a pretty girl in front of it.
Who’ll let everything he’s worked on go for
Something he can’t even know the outcome of.
You ask me, it’s pathetic.
PETER
Good thing I didn’t. You saying you don’t like her?
Max eyes her over, then turns away.
MAX
Not my type.
The door swings open, slamming against the wall. Dr. Connors enters.
He looks strung out, kind of ragged, but does a good job of hiding it from the rest of the class.
CONNORS
Uh, good afternoon, class. I’m late again.
Let this be a lesson.
They look at him, expectantly.
CONNORS
I don't really have a follow-up to that.
Peter shrugs, some of the class laughs. Connors just laughs to himself, almost pathetically.
CONNORS
Well, no rest for the wicked. Sorry you
Guys didn’t get to leave early, but you
Are paying for the course. So we might
As well make the best of it, right?
MAX
(under his breath)
Right.
CONNORS
Parker. What were we scheduled to talk
About today?
Peter skims his notes.
PETER
We were going to get into… let me see
Here… Ah. We were looking closer at
Molecular biology with a focus on
Genetic abnormalities.
CONNORS
Ah. Yes. Right. Genetic abnormalities.
God knows this city has enough of those.
Thank you, Parker. I don’t know what
I’d do without you.
Peter smiles.
CONNORS (cont’d)
But. Before we get into this, there’s
One thing I’ve got to talk to you guys
About. Something important for the true
Geeks amongst you.
He starts writing on the board.
CONNORS
There is a team from the Smithonian that
Will be attending the university. We’ll
Be having a sort of, well, contest if you
Will. Think of it as the biggest damn
Invention fair you can imagine.
Some of the top
Scientists in the country will be
Judging your work. And, in case I
Forgot to mention it, a cash prize.
So don’t screw up, and I wish you
All the very best of luck.
We focus on Max, whose face seems lit up by the news.
INT. HALLWAY – LATER.
Connors locks up his office and steps out into the hall. Peter catches up with him.
PETER
Dr. Connors?
Connors turns.
CONNORS
Oh. Hi, Peter. You have a question?
PETER
Not really. And I’m… I’m sorry if I’m
Overstepping my boundaries, but…
Well, you haven’t really been here that
Often from what I've seen and when you are… I’m really
Sorry, but I was just wondering if
Everything was okay.
CONNORS
I appreciate your concern, Peter. Really.
But everything’s fine. And you should be
The last person to worry about this class.
You’re the best student I have. Which is
is very unfortunate, considering you're a high schooler.
But your father would be proud.
PETER
So would my mother. And my uncle. But yeah,
I’m sure he would. I hope so, at least.
Connors nods. He is silent, for a moment.
CONNORS
I knew him, by the way.
Peter is stunned, he says nothing.
CONNORS
Your father. I worked with him... over
Twenty years ago, now. During the Gulf
War. He was a great man.
PETER
How did you…
CONNORS
We were both working for Oscorp, research
Division. We were partners. Went off into
The field, the heat of battle, hoping to find
a treatment for wounded soldiers. Something that
would get them back on their feet immediately.
Repair broken bounds, burned flesh, maybe even
regrow limbs. As you can see, we never quite worked
it out. All of that war, that mess and he
Took his wife with him. Hell of a honeymoon.
PETER
But they died in a plane crash. If you were
Working there… it couldn’t have been that
Long, could it?
CONNORS
I remember the crash, Pete. I was supposed
To be on that flight. But then… this happened.
He gestures to his stump of an arm.
CONNORS
And they kept me in the hospital a little
Longer. I was supposed to be on that plane
When it went down. But trust me, I knew your
Father. Very well. While we were working together, he
Was one of the best friends I’d ever had.
One of the best men I’ve ever known. And he
Would be damn proud of you, trust me. If he
Can’t, I may have to be proud in his place.
Peter wipes at his eyes, trying to hide that they are misting over.
PETER
Well, sir, you have your own child to be
Proud of, right?
CONNORS
(almost bitter)
Right.
He checks his watch.
CONNORS
Well, Pete, I should get going. I’ll see
You in class.
He takes off.
Peter stands alone, awkwardly, for a moment before heading off in the other direction.
INT. CONNORS' STUDY – NIGHT.
Curt steps inside and closes the door. There's something pinned to it, but it takes him a moment to register what it is. It's a note. Connors tears it down and steps further into the room to look at it in the light.
It reads: CURT, I'VE TAKEN BILLY TO MY MOTHER'S. I DON'T KNOW WHAT THAT MEANS JUST YET, BUT HE CAN'T SEE YOU LIKE THIS. PLEASE, PLEASE SORT YOURSELF OUT.
-MARTHA
He looks at the empty bottle on his desk. In an instant he lunges for it and THROWS it against the wall, shouting in rage. It shatters, broken glass flying all over his paperwork.
A lizard tilts its head to look up at him.
INT. THE PARKER HOME – NEXT.
Aunt May and Peter step inside. There’s a couch in the middle of the room. She steps around it. Peter looks it over for a second.
PETER
How was work?
AUNT MAY
Oh, you know. Same as always. I don’t
Know. I’m just doing a little cleaning.
PETER
Sure thing.
He steps over to the couch and picks up one end… a little too high and a little too easily. Catching himself, he fakes the effort, trying to make it look at least a little strenuous.
AUNT MAY
I can’t get over what an able-bodied
Young man you’ve become.
Peter smiles and sets the couch down against the back wall.
PETER
Here okay?
AUNT MAY
That’s fine.
He breathes a pretend sigh of relief and steps away from the couch.
AUNT MAY
So. How was the university?
PETER
It’s been… well, things get a little
Crazy. You know how it is in the
City. It's tough to keep up with the college
workload, get there and back and balance that
course with high school classes. The professor's
kind of out of it, too.
AUNT MAY
You mean Connors?
Peter nods.
AUNT MAY
Go easy on him. He’s had it rough,
And he’s such a nice man.
PETER
You’ve met him?
AUNT MAY
Oh, now, I’ve been around forever.
I’ve seen just about everyone in
My time.
PETER
Come on now. You’re not that old.
AUNT MAY
(smiles)
Thanks. I think.
He takes a seat.
May shrugs, sitting down in a worn recliner. Probably what used to be Uncle Ben’s chair.
AUNT MAY
Everything’s fine, I suppose. It’s just…
I don’t know… it’s quiet, I guess.
I mean, well,I don’t really get out
as much as I used to.
PETER
I’m sorry I haven’t been around as much as
I’d like. I’ve just been really busy.
Things just keep piling up before I
Even have a chance to see them coming.
AUNT MAY
Nobody can see what’s coming, Peter.
Peter pauses. There's clearly something else on his mind..
PETER
Right.
AUNT MAY
But I remember, I remember high school,
You’ve had so much going on all of a sudden.
It was like after Ben’s death you just…
I don’t know… grew up overnight.
PETER
Something like that.
They hit an awkward silence.
AUNT MAY
Would you like some tea? I was just about
To make some for myself.
PETER
Thanks, that would be great.
He looks at her, suddenly and almost accusingly.
PETER
You knew Curt Connors.
AUNT MAY
I did, yes. I told you that.
PETER
Why didn’t you ever tell me that he
Worked with my dad?
Aunt May pauses, looking down, looking everywhere except for Peter.
AUNT MAY
I guess after a while I just… forgot.
A hint of anger flushes through Peter’s face.
PETER
Forgot?
AUNT MAY
I don’t know… it never occurred to me,
Really. And what difference would it
Have made if you had known, Peter?
Tell me. How would anything be
Different than it is now?
Peter takes a moment to come up with an answer.
PETER
(softly)
I’d know. And I wouldn’t be… I wouldn’t
Be alone. And right now I can’t think
Of anything more different than that.
AUNT MAY
Peter…
He goes upstairs. The bedroom door closes tightly behind him.
Aunt May stares at the door for awhile after he’s gone. In the kitchen, the teapot begins to whistle.
--END--