Spider-Man (2002) SHOOTING SCRIPT Scan
Spider-Man (2002) SHOOTING SCRIPT Scan
Spider-Man (2002) SHOOTING SCRIPT Scan
screenplay by
David Koepp
revisions by
Alvin Sargent 4/18/2001
David Koepp 11/14/2000
Scott Rosenberg 8/14/2000
and on a treatment by
Jam.es Cameron
SHOOTING SCRIPT
White - 10/11/00
Blue - 10/26/00
Pin.k - 11/14/00
Yellow - 12/4/00
Green - 12/18/00
Goldenr.od - 12/22/00
Buff - 1/9/01
Salmon - 1/15/01
Cherry - 1/22/01
Tan - 1/29/01
White - 2/5/01
Blue - 2/12/01
Pink - 2/15/0~
Yellow - 2/23/01
Green - 3/2/01
Goldenrod - 3/9/01
Buff - 3/22/01
Salmon - 3/28/01
Cherry - 4/11/01
Tan - 4/3.2/01.
White - 4/17/01
Blue - 4/18/01
April- 18, 2001
--~-:
·.•.:··*
.~
.:'.->
..·~:
,. i . . .• .~ ~ ..·~ \:;
; .~•~ ~ ......
,.•
··.• ~r •''it,•
..·.~.
2. Rev.-Green 12/18/2000
AT 'l'BE FRONT,
3. Rev.-Goldenrod 12/22/2000
3 CONTINUED: 3
0 Don't even
GEEKYGIRL
think about it.
Peter moves on. As he makes his way down the aisle, M. J. • si ta .
down next to Flash again, next to the window this time. When
she's not looking, Flash slides his foot out in front of
Peter's beat up sneakers. Peter trips and falls, hard, face
down in the aisle. More l~ughter. M. J. looks shaJ:ply at
Flash -- did you do that?
FLASH
(outraged innocence)
What?
On the floor, Peter lifts his head, looks up at Flash and M.J.
Flash is grinning, M.J. is staring down at him with pity.
Peter looks up at her, helpless, glasses dangling from one *
ear.
SPIDER-lGN (V. 0. )
That's ma. Peter Parker.
•.
4 EX'l'. QUEENSBORO
BRIDGE - DAY 4. .••,
··. ...
(~ BARRY
~ Dad, could you drive around the .. .or-:-··
corner.
\,i)\r~~. r_-.:f:,;
{~:-
4. Rev.-Buff 1/9/2001
6 CON'i'INUED: 6
0 OSBORN
Why? The door's right here.
BAIUtY
These are public school kids. I'm not *
showing up to school in a Bentley. *
OSBORN
What? You want me to trade in my car
for a Jetta because you flunked out of
every private school I sent you to?
BAIUtY
They were not for me. I told you
that. It wasn't me.
OSBORN
Of course it
was!
(reaches for Barry's door)
Don't ever be ashamed of who you are.
BAIUtY
Dad, I'm not ashamed, I'm just not
what you ...
OSBORN
0 What, Barry?
BAIUtY
Forget it, dad.
Barry gets out of the Bentley.
7 Erl'. COLOMBIA UNIVERSITY DAY 7
PE'l'ER
(big lovely grin)
Bi ya, Barry.
BAIUtY
Bey, Peter.
Behind them the car door opens. Norman emerges holding
Barry's book bag.
OSBORN
Won't you be needing this?
Osborn hands Barry the bag.
- --::
5. Rev.-Goldenrod 12/22/2000
7 CONTINUED: 7
0 HARRY
(moving around car to sidewalk)
Peter, this is my father, No%man *
Osborn.
· PETER
Great honor to meet you. *
Barry is looking off at M.J. who is making conversation with
her girlfriends about the arrival of the Bentley.
OSBORN
I've heard a lot about you. Barry *
tells me you're quite the science *
whiz.
PE'l'ER
Well, I don't know about that.
HARRY
Be's being modest. I told you, he's *
won all the prizes.
OSBORN
Anyone who can get Barry to pass
Chemistry shouldn't be modest.
PETER
Barry's really smart. Be didn't
really need my help.
HARRY
We have to go, Dad.
NoJ:man lays his paternal hand on Barry's shoulder, squeezes : ..
I•,.
::i ::•:..,
too hard.
OSBORN
I'm something of a scientist myself, ··)\{ff-'.
·you know.
PE'l'ER
.::ffi :·.:..:~·--
.:.•·;:
I know. I know all about OsC02:p. You -~-
·.-.::
::/>.,·
..
guys are designing the guidance and re- ,:·*
. . ·: :·_....:::·J
--\f,_;r:}i:~t.;.
:'~
0 Impressive.
OSBORN
Your parents must be *
proud. *
PETER
I live with my aunt and uncle, they're
proud. *
OSBORN *
What about your folks? *
PETER *
~ parents died when I was little. *
OSBORN *
I lost my parents as a young boy as *
well. *
"" BARRY
Which no doubt strengthened your iron
will to succeed, huh, dad? ··-*
BEY, *
.. -: ' ··-...
PETER
Nice
(moving away)
to meet you, Mr. Osborn. }:~~ ·-.•,- .
OSBORN
See you again.
BARRY .•·if:,t;
(moving fast up steps, passes
M. J. , smiles)
Bi. .C:;;
... ..;-· -·
_,
'.'•
..)·:~:;it;
.....
........
. f' ..
7. Rev.-Buff 1/9/2001
7 CONTINUED: (3) 7
0 Barry discretely
to say something.
calls Peter's attention to M.J., primes him *
*
BARRY (cont'd) *
Bey. *
(nods to M.J.) *
Say something. *
'l'hey approach. M. J. waits, feels the energy. Nothing comes. *
Barry steps in to fill the awkward moment. *
BARRY (cont'd) *
Bi. Bow ya doing? *
M. J. smiles. *
M.J. *
Bey. *
Peter does nothing, they continue on. *
BARRY *
Why didn't you say something? *
PETER *
I was about to. It wasn't the right *
moment. *
Pater manages to.look back.over his shoulder to where Barry's *
father still stands beside his car.
CLOSER SBO'l' 01' NOMGN
1111:,_.
..
WI;:-: .
19
8. Rev.-Goldenrod 12/22/2000
8 CONTINUED: 8
TOURGUIDE
The genus Salticus can leap up to
forty times its body length, thanks to
a proportionate muscular strength
vastly greater than that of a human
being.
Peter catches the eye of the Tour Guide and gestures to his
camera -- okay to take a few pictures?
PETER
For the school paper?
The Tour Guide nods. A few STODEN'l'Saround Peter roll their
eyes, one or two mutter "geek." Peter ignores them, raises
the camera. Behind him, one of Flash's CRONIESbumps Peter's
elbow on pw:pose, ruins the picture. Other kids laugh.
TOOR GUIDE
The funnel web spider -- family
Bexathelidae, genus Atrax -- one of
the deadliest spiders in the world,
spins an intricate, funnel-shaped web
whose strands have a tensile strength
proportionately equal to the type of
high-tension wire used.in bridge
building.
Peter raises the camera again, gets bumped again. Be turns.
Flash's Crony steps forward, threatening. A VOICE mutters
from nearby. . ~
• : • !•••
.
·.,· ~ • . : :
.:>.·•.·.;t"._
..·
··· ..·._;._, ,,
BARRY ..--~
·.·..•
Leave him alone.
Flash's Crony turns, sees Barry Osborn staring at him. .. ..,: - ,··-
. ... . .:_,:·. }""~ .:,~
FLASH'S CRONY.
Or what? .···~/(:<
·.. ·:~-~)~~:-ft••
BOY BURY (ALT. ) :. ·.~-.·~~. ·..•.- :· •·~
or his father will fire your Or my father will fire yo~ ·;~:
../: :-~ ·t
:i__.·:t~i\i
.~:
Laughter. ··...··-··.'W·.,
...:/(:-/~··:·r··
TEACBEP -.::
·.-..-.~~
(loud & clear) i-1\~Iif~;;
·:.. ! ~··;~~--t·.
;_~-.
The next person who talks is going to ._..·'/\\}{'t?,,~
·fail this course. I kid you not.
. ..,. E
·•-. '
.::if'?
• ; +:-
,• • .,!",:
; --~
..·. ·. ~.:·
9. Rev.-Green 12/18/2000.
8 CONTINUED
: (2) 8
0 TOORGUIDE
The crab spider -- family Thomisidae,
genus Misumena -- spins no web to
catch its prey, but hunts instead,
using a set of reflexes with nerve
conduction velocities so fast some
researchers believe it almost borders
on precognition, an early awareness of
danger, a "spider sense. "
WXDER SHOT
0 Batefu1 little
HARRY
thing.
M.J.
I love it.
HARRY
Really? Me, too. *
'l'OORGUIDE
Just imagine -- if one day we can
isolate the strengths, powers, and
immunities in human beings and
transfer that DD code among
ourselves. All known disease cou1d be
wiped out. Of course, we' re nowhere
near ready to start experimenting with
humans, so for the moment we're
concentrating on these fifteen
spiders. Any questions?
PETER
(whispering)
Fourteen.
HARRY
Fourteen?
'l'0tJR GUIDE
I beg your pardon?
PETER
There's only fourteen spiders.
'l'OORGUIDE
No, there' s fifteen. Aren't there?
As he and the others turn their attention to the tank and
start counting the spiders, we drift up to the ceiling.
UP IN 'l'BZ RO'l'UNDA ARCH, * .
A spider' s web. The mutant spider is on the move, fingering *
its way across its web. It begins to drop.
DONNBELOW,
the tour group has given up on the mystery of the missing
spider and is following the Tour Guide. M.J. lingers for a *
moment, to check out her reflection in the glass of one of the
(~ ~~1 tanks. By herself, looking particularly beautifu1 in h~
~ light. Peter stares, mesmerized, snaps up the OJ'POrtunity. *
11. Rev.-Buff 1/9/2001
8 : ( 5)
CONTINUED 8
0 PETER
Can I take your picture?
(she turns, surprised)
I need one with a student in it.
She hides a smi.le. Poses, having fun. She loves the camera.
M.J.
Don't make me ugly!
PETER
Impossible. Right there. Good!
Above him the spider descends. Be snaps the picture of M.J.
PETER (cont'd)
And one more.
Be snaps again but she has turned away moving to her waiting
friends.
PETER (cont'd)
Thanks.
""··
■.f.::.•
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..-
.~_:.<
.....'.i ~ •
.... ~ :.·...
.;~;ff~i~;¥ 0
·"
/
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.,.
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.:~Jt~:;:\)~6&1i,fJ:'_
::ilPff
14. Rev.-Buff 1/9/2001
10 CON'l'INUED
: (2) 10
0 OSBORN
Back to foz:mula?!
Back to Stromm. Be could kill him with his bare hands.
GENERALSLOCtJM
Mr. Osborn, this department has missed
seven consecutive delivery dates.
After five and a half years of R&D the
United States government has a right
to expect the super-soldier you were *
contracted to deliver. *
OSBORN
These are quantum leaps in science, *
gentlemen. We are unlocking the *
secrets of human evolution. I never *
said it would be cheap or fast, only
groundbreaking.
GENERALSLOCtJM
I'll be frank with you, I never
supported your program. We have my *
predecessor to thank for that. *
u The General
BALKAN
has given the go-ahead to
Quest Aerospace to build a prototype
of their exoskeleton design. They
*
*
*
*
test in two weeks. *
GENERALSLOCtJM *
If your so-called PerfoJ:mance *
Enhancers haven't had a successful
human trial by that time, I will pull
your funding and give it to them.
l'ARGAS *
Noz:man, we are not going to lose this *
contract. *
All eyes turn to Osborn. So what are you going to do about
that?
11 EXT PARKER BOUSE LA'l'E DAY 11
'•
II i:~•..
.. .,..,
19
14A. Rev.-Buff 1/9/2001
-- ,J;
(~ia:l
~
.. - ....,
1o
\
15. Rav.-Buff 1/9/2001
12 CONTINUED: 12
0 UNCLEBEN
(the light bulb in, the light
comes on)
"God said let there be light." Voila, *
80 soft glowin' watts of it. *
Starts getting down, still holding burned out bulb. *
AtJN'1' lGY
Good boy~ God'll be thrilled, just *
don't fall on your ass. *
UNCLEBEN
I'm already on my ass. When the plant *
senior electrician is laid off after *
35 years, what else would you call *
it •.. Of course I'm on my ass. *
AtJN'r lGY
Band me that bowl. 'l'he green one. *
Ban hands her a pot, looks at classified page open on the
tabla.
UNCLEBEN
Corporations, ~irin' people left and
right so they can have a few billion
more. What do they know about
standing on a stool, screwin' in a
light bulb?
lGY
AtJN'r
Ban, you'll get another job somewhere. *
UNCLEBEN
(gesturing to paper - moves to *
dining room, sits) *
Well, lats sea. *
(reading from paper) *
Computer analyst, computer designer, *
computer engineer, computer ... *
(he sighs) .*
I'm 68 damn years old. I have to *
provide for my family. *
AUNT lGY
(moves to him, embraces him, *
kisses his cheek)
I love you. And Peter loves you.
You're the most responsible man I've
ever known. W.' ve been down and out
before but somehow we survive. Where *
is Peter, anyway? Be's late. ....., *
11.
.../::-·
.J
_;.
19
16. Rev.-Buff 1/9/2001
12 CONTINUED : ( 2) 12
Aunt May starts for the kitchen as the front door opens. *
Uncle Ben quickly flips the paper away from the want ads.
UNCLEBEN
Bere he is.
AUNT 1'aY
Just in time for dinner.
UNCLEBEN.
Bow was the field trip?
PETER
.•. don't feel well •.• gonna go to
sleep ...
AUNT 1'aY
(moves to table) *
You won't have a bite?
Peter looks at her, surprised, is she psychic?
PETER
(staggering upstairs)
. • • no thanks • . • had a bite. *
UNCLEBEN
Did you get soma good pictures Peter? *
PE'I'ER
. . • qotta crash. . • everything' s
fine ...
Bis bedroom door SLAMS.
UNCLEBEN
What's that all about? *
AUNT 1'aY
(moving toward the base of the *
stairs) *
Be's a teenager. *
UNCLEBEN
Be's depressed. *
AUNT 1'aY
Be's a teenager. *
. UNCLE BEN *
I better go up. *
...,
. 16A. Rev.-Buff 1/9/2001
12 CONTINUED : ( 3) 12.
0 Stay put.
AUNT lG.Y
He'll let us know if he
*
*
needs help. *
. _,
7,-..
17. Rev.-Green 12/18/2000
PETER
(gasping)
Help ...
Be falls to the floor, writhing in agony. Be looks at the
spot the spider bit, which is now completely red and swollen. *
Drenched in sweat, he starts to shake uncontrollably with *
chills, trembling violently, face pale, eyes black and sunken,
teeth chattering. Bis eyes roll up into the back of his head
and he passes out. Under the lids, his eyes flicker crazil .
A14 EXT PARDR BOOSE DAY A14
0 Peter?
AON'l' !G.Y
Are you alright?
(0. S • )
PE'l'ER.
Fine! I'm fine. Just fine!
AON'l' !G.Y (0. S • )
Any better this morning? Any change?
Peter tosses his glasses in the trash can.
PE'l'ER.
Change! Yes ! Yes . . . big change!
Be turns to grab his clothes. Through the window sees M. J. ·in
her bedroom finishing brushing her hair. She picks up a purse
and darts out of view.
Peter throws on his shirt and moves quickly out his door.
15 15
16 DAY 16
Peter comas bounding down the stairs and leaps over the
bannister, landing with acrobatic grace behind Uncle Ben. Ba
sees the breakfast Aunt May has prepared on the table, goes
for it, eats what he can get as he grabs his backpack. *
PE'l'ER.
Bi. Gotta go. *
UNCLEBEN *
We thought you were sick. *
PE'l'ER. *
(mouthful of food) *
I was. I got better. *
AUNT !G.Y
Sit down dear. *
PETER *
can•t. See you later. *
UNCLEBEN
Don't forget, we're painting the *
kitchen today. Home right after *
school, right? *
PETER
Sure thing, Uncle Ben, don't start
without. me . · _., *
18A. Rev.-Buff 1/9/2001
16 CONTINUED: 16
Be's out the door, full of energy, hoping to meet up with M.J. *
AUNT MAY *
What was that about? *
UNCLEBEN *
Be ate my bacon. *
17 M.J. Is BOUSE DAY 17 *
Peter comes out his front door just as M.J. leaves hers. Ber
father, MR. WA'l'SON,a hungover guy of forty or so, SBOtJ'l'S
after her. Mrs. Watson behind him.
19
19. Rev.-Tan 4/12/2001
17 CONTINUED: 17
0 MR. WATSON
I don't care what your mother said.
It' s not okay with me. You' re trash.
You' 11 always be trash. Just like
her.
M.J.
I have to go to school.
MR. WATSON
Who'.s stopping ya?
MRS. WATSON
Leave her alone.
M.J. runs to the sidewalk, holding back tears.
Peter hurries after M.J.
18 EX'l' ANOTHER STREET DAY 18
Peter paces her, on the opposite side of the street. She
doesn't see him.
PETER
Talk to her ... talk to her ...
But he doesn't, because he notices M.J. is wiping away tears.
A BO:RNhonks and a car full of her girlfriends pulls up next
to her. Peter watches as M.J. 's face transfoJ:mS, she puts on
a mask of happiness and jumps in. ·
Peter watches as the car ROARSaway. She eludes him again.
Peter runs, top speed, chasing the bus again. Be reaches out,
to the side of it, to pound on it, get them to stop.
Bis hand touches a "GO WXLDCATS!"school banner that's pinned
on the side of the bus. But as the bus accelerates, his hand
sticlcs, tears the banner right.off the bus.
What the hell? Be tries to unstick his hand from the banner,
but every time he frees one hand it sticks to the other. Be *
tries everything. Wrestles with it, wads it into a ball to *
throw it. Nothing doing. Frustrated, he bends down, puts a *
foot on the banner and stands, thus freeing his hands. *
·Be looks at his hands, confused but happy to be free of the *
banner. Be takes a step and quickly learns otherwise. The *
banner is stuck to his foot. Be tries to shake it free, but *
his feet get tangled in the banner and he crashes to the *
ground. ·'"' *
-20. Rev.-Tan 4/12/2001
18 CONTINUED: 18
() *
~'
-.r:
21. Rev.-Goldenrod 12/22/2000
24 CON'l'INUED : ( 2) 24
0 Be tries
strand
to pull it free with the other hand, but a long
stretches from his hand to the fork. It dangles.
gooey *
Peter tries to separate fork from strand. Nothing doing.
FLASH . ,• . .....;:,:.:.:;
Parker?!
(have you gone insane?) ;--.,·:...
...::...';{({~;?::
.... ..
Horrified, Pater turns and hurries out of the cafeteria. : -, ~
'•~:;f
! 25
Just outside
HALLWAY
*~Z!~;~=t!!'"c1a
PETER'S SPmER.-SENSE :
. :. ~'.~-~
i ., .:,:;. •
·:<·'
.' ...
-~··t;,.:r,
..q_
~
,.,
' ..- . ,
""',;.··
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.. . . ~..,~-..
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....:.:.;f-{.-~--'.;.~·-
__
-
....··.·:·:.
:,:~?/:-~,;:-:··
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...:-:::
. ::_
..~--
::··:.;t--~-:
.
)·,':.\:.
..
..}t:~!t
._·, : ...· ·:_,.-;::;·_
.:ill
..;.· ..
24. Rev.-Green 12/18/2000
27 ROOF'l'OP DAY 27
Be pu1ls up short at one rooftop. It is too far to the next
one. Be looks down at his wrist, sees the narrow slits. Gets
an idea. Be turns, points his wrist at a taller building
across the alley.
Be wiggles his wrist, tries to get the goop to spray out. But
it doesn't come. Be makes a fist. Nothing. Be closes his
thumb and litt1e finger together. Nothing. Be rotates his
hand so the palm faces up, extends all five fingers, and
brings his ring and middle fingers toward his palm, together.
'l'JIIIIP!
Be clings
Be sails through the air, comas in
for a landing on the side of the other building
there with his hands·and
-- SPLA'l'!
feet, face crushed against
the brick. Learning hurts.
28 NJ:GB'l' 28
Pater comas into the kitchen at home, late, exhausted,
confused. Be sniffs the air, smalls something funny.
Ba touches the wall, comas up with paint on his fingers, and
notices the buckets and drop cloth folded in the corner of the
room. Be sees a note on the ladder:
''Meatloaf and vegetables in the oven.
Charry pie on the shelf. We've gone ~-19
to play bridge at the Anderson's."
PETER
Ah, shoot ...
A SHOUTfrom next door distracts him. Be goes to the window.
TBROtJGB'l'BE WINDOW,
ha can see M.J. 's house, just across the narrow driveway. Be
can see silhouettes moving in their windows, a man, a woman,
and a teenager, SBOU'l'INGat one another. ·.,..,
25. Rev.-Green 12/18/2000
PE'l'ER
I thought I'd go into the city, get a
job as a photographer, work my way
through college. What about you?
. -. ...
26. Rev.-Green 12/18/2000
29 CONTINUED: 29
M.J.
Beaded for the city, too. I can't
wait to get out of here. I thought *
I ' d. . . Oh, I don ' t know ... *
PETER·
Try me.
M.J.
I want to .•. act •.. on stage. Be an
actress.
PETER
Bey, that's great, you were really
awesome in all the school plays, Mary
Jane.
M.J.
Really? *
PETER
Yeah. I cried like a baby when you *
played Cinderella.
M.J.
Peter, that was in first grade.
PETER
Well, even so, you know how sometimes ~- ls
you can know something, like what's
going to be. Like feel what's around
you, what's coming?
M.J.
Sometimes.
PETER I
And you can just see things coming
that aren't exactly there, but you
just believe.
M.J.
What do you see coming for you?
PETER
I'm not sure, but it feels like
something I never felt before,
whatever it is.
M.J.
And what for ma?
-..-.:
· 27. Rev.-Goldenrod 12/22/2000
29 CONTINUED: (2) 29
PETER
You? You're ... why, you're gonna ... *
light up Broadway. *
Silence between them.
M.J.
Y'know, you're. taller than you look.
PETER
I hunch.
She reaches out, puts her hands on his biceps. Wow! She
straightens him up.
M.J.
Don it. Bunch.
In the driveway, Flash in his new car. M.J. peers around the
corner of the house. - .
,,·
\ ·.·•
FLASH
Bey M. J. Come take a ride in m.y
birthday present?
.
... ., ' ...
. ~ . .; ..:. :-.·.,
30. Rev.-Buff 1/9/2001
37 CONTINUED: 37
. -=
-~- 19
31. Rev.-Green 12/18/2000
37 CON'l'INUED: (2) 37
-- giant vacuum vents in the ceiling ROAR ·to life, sucking the
green gas up and out of the room. *
Stromm races to the door, as soon as the gas is gone the
security latches CLONKopen, he shoves his way inside, goes to
Osborn, unstraps him, rips open his shirt and frantically *
begins emergency procedures. *
Suddenly, behind him, he hears a SHRIEKING sound. Stromm *
turns as
32. Rev.-Green 12/18/2000
37 CONTINOED: (3) 37
But not just across the chamber, he hurls him through the
glass wall of the chamber, which explodes in a shower of glass
as Stromm's body hits it. Stromm keeps flying, sailing across
the lab and SMASHINGinto a pillar on the far side, some fifty
feet away.
Be sags to the floor, blood pooling under his head.
~
Osborn staggers through the broken wall of the tank, steps~· l1
across the rubble, and towers over Stromm's lifeless body. --
FAR AWAYACROSS'rBE LAB,
BARRY
Dad? What is it, Dad?
OSBORN
(blurry)
Barry.
BARRY
You look sick. What' s happened?
OSBORN
(sincere)
I don't know ...
BARRY
(kneels before him)
Where were you last night, I didn't
hear you come in.
OSBORN
I was ... last night I was ...
What?
OSBORN
I don't remember.
Voices come from the hallway. *
AA39 INT. HALLWAY DAY AA39 *
Simkins briskly walks down the hallway, argues with Osborn's *
BOUSDmN. *
SIMKINS *
I have to see him.
BOUSDGN *
Be can't be disturbed now.
AB39 INT. OSBORN'S DEN - DAY AB39 *
OSBORN *
Who's there? *
SIMKINS (0. S.)
This can't wait.
(calls)
Mr. Osborn!
I ~.. 19
~ ..
33A. Rav.-Buff 1/9/2001
AB39 CONTINUED: AB39
BARRY
My father's not well, Mr. Simkins.
SIMKINS
Mr. Osborn. Dr. Stromm is dead.
34. Rev.-Green 12/18/2000
38 CONTINUED: (2) 38-.
0 What?
OSBORN
snacms
Bis body was found this morning in the
laboratory. Be was murdered, sir.
BARRY
Murdered?
OSBORN
(on his feet)
What are you talking about?
SnaaNS
And the flying wing prototype, sir ...
~
OSBORN '... 19 ......
What about it? --
snacms
It's missing. It's been stolen.
Silence. Osborn shocked. Be moves quickly out of the room. *
OSBORN
11 Take ma there.
~ Be exits. Barry remains behind for a moment, then after them.
I A39
We' re in the empty room.
INT. PARKER BOUSE
Camara lands on one of the masks.
A39
*
*
Peter moves quickly down the stairs into
I
!
LIVING R0CM
Uncle Ben and Awlt May are there. Peter holds his shoulder
bag, moves quickly to the door. Starts to open it.
PE'l'ER
(fast)
Goingtothedowntownlibraryseeyoulater.
UNCLE BEN
Bold on! I'll drive you.
PE'l'ER
It's OK. I'll take the train.
As Uncle .Ben grabs a jacket and his keys.
,. _....,
35. Rev. -White 4/ 1·11~uu1
A39 CONTINUED: A39
UNCLE BEN
I said I'll drive you .. Get in the
car.
Peter moves out. Ben follows, turning to wink at Aunt May.
39 EXT. NEWYORKPUBLIC LIBRARY DUSK 39 "'
PETER
Yeah, yeah, I know all that, it's not
what I'm talking about. You wouldn't *
understand. *
UNCLE BEN
Wanna bet? When I was your age I went *
through exact1y the same things. *
PE'l'ER
No you didn't, that's my whole point. *
It's just possible that something *
unique is happening to me, isn't it? *
UNCLE BEN
Believe it or not, it passes. You *
grow out of it. *
PETER
I'm not gonna grow ... just drop it, *
I'll figure it out myself. *
UNCLE BEN
Look, if you won't give me so much as *
a clue, I can't help you. *
PETER
I didn't ask for help. *
UNCLE BEN
I know I'm not your father, l?eter ...
PETER
Then stop pretending to be. *
'!'here are some things you say that you wish you could pluck *
right back out of the air. This is one of them. And it's too *
late. *
Uncle Ben's feelings are deeply hurt. He looks away. *
UNCLE BEN
I'll pick you up on this corner at *
nine o'clock. *
Peter wants to say something. But can't. *
ON THE STREET, *
36A. Rev.-White 4/~,,~uu~
40 CONTINUED : ( 2) 40
Peter climbs out of the car, holding a brown paper bag, and
..
0 closes
watches
the door. Be starts
as the Oldsmobile
up the steps
pulls out into
of the library
traffic.
and
PETER
(to the disappearing car) *
I'm sorry. *
Be turns around, goes back down the steps _of the library and *
heads off in the other direction. A deafening ROAR comes over *
and -- *
A41 CMI'l' A41
u
. i . :~
Yes.
~- CBBCK-IN LADY
Down.the hall and up the ramp. Mar:_
..
God be with you.
. •-.
38A. Rav.-Salmon 1/15/2001
A42 CON'l'INUED: A42
::::.::~:-~j-~
~~=,
corner. Bis. bikini clad ring maidens, '1'BE BONE'l'TES, are qaick · ..·,·,·• ,..
to sponge -
.. "I said, are we ready for more? ! " ·1~:
CROWD
!C>RB, K>RZ, K>RE! ! ! ! ! --
, a,:
39. Rav.-Salmon 1/15/2001
B42 CONTINUED: B42
..... ·~--.\.
CROWD
CAGEI CAGE! CAGE!
,··:·.·
40A. Rev.-Salmon 1/15/2001
842 CONTINUED: ( 3) B42
BONESAW (O.S.) *
Freak show! *
Spider-Man turns around, sees Bonesaw standing center ring. *
BONESAW (CONT'Dl *
You' re going 110where! I've got you *
for three minutes ... three minutes of *
playtime with Bonesaw. *
Spider-Man flattens himself against the bars. *
SPIDER-MIN *
What am I doing here? *
Bonesaw rushes Spider-Man, lunges at him. Spider-Man leaps *
out of frame. Bonesaw crashes into the cage wall, bounces *·
off, crumples to the ground. Be looks up, sees Spider-Man *
clinging to the top of the cage. *
The Beckler, bloody faced and back in his chair, is shocked. *
Bonesaw gets up, looks at Spider-Man. *
BONESAW '' *
What do you think you're doing? ., .-*·'
-:-•:·:.·
SPIDER-MIN ·:<t:
.._··.,
Staying away from you for three . '*
minutes. .'.·.·*
Bonesaw's furious, leaps--
:·.. - :::::
'"·'
--but so does Spider-Man, across the cage, somersaulting to *· ,,
the opposite sida. Be clings there, drops to the ground. *
. ·, ·· ....
CROND
Yeahhhhbhh ! ! ! Go Spider-Man! !!! *
·..: ,,:--· ...~, ... -
Go Spider-Man? Ba looks around, scans the cheering crowd. _} *---_.
Turns back in time to see Bonesaw about to grab him. Be leaps-- · .: * .. .
• ..,.(~. • • r
0 BONESAW *
I got you now insect! *
Bonesaw thrashes him about, pitches him against the cage. *
.. Spider-Man falls to the ground. *
SPIDER-MAN *
Olnnnr. *
Bonesaw drags him out of frame. *
SPIDER-MAN (CONT'D) *
You know, technically it's arachnid. *
A shadow falls upon Spider-Man. Ba looks up, seas Bonesaw *
flying at him, prostrate, with a flying elbow. Spider-Man's *
eyes go wida. Ba flips his feet up, just in time to place *
them on Bonesaw's chest, kicking him into the cage. .. *
Bonesaw slumps to the mat, knocked cold. The crowd freaks .. *
out. ~lashbulbs pop. *
. ·.. :,,*
CROND
Spider-Man! Spider-Man! Spider-Man!
Spider-Man, looks around the arena, raises his az:ms,
triumphant.
SPIDER-MAN
.Ahhhh •.. show biz.
42 AltENA OFFICES Nl:GBT
•·-·-
.....
~ 1B
..' ·.·V(;tt{f
41. Rev.-Green 12/18/2000
42 CONTINUED: 42
0 Enraged,
closer.
Spider-Man grabs the guy by the shirt and pulls
A side of Peter Parker we've never seen before.
him
SPIDER-MAN
I need that money!
PRa«>'l'ER
I missed the part where this is .my
problem.
Spider-Man stares at him for a long moment, burning with rage,
he wants to bust this guy right in the nose --
:---
-- but he turns and leaves instead, passing a squirrelly- I1
:......._
looking GOY on the way in, his hair dyed platinum blonde.
43 INT HALLWAY NIGB'l' 43
PRCH>TER (cont'd)
Balp! 'I'hat guy stole the gate, be 's
got .my money! ·
A SECURITYGOARD approaches from one end of the corridor. 'I'ha
elevator behind Spider-Man DINGS, its doors start to open, and
the Thief takes off down the hallway toward it.
SECtJRI'l'YGOARD
Bay, you! Stop that guy!
Spider-Man looks up, at the Thief racing straight at him, at
the Security Guard giving chase, at the opening elevator
behind him. Ba thinks, debates~-
-- and takes a step back. 'I'ha Thief races right past him and
into the elevator.
'l'BIEF
!'hanks, pal.
'1'ha doors. close and he gets away. 'I'ha Security Guard arrives,
SLAMShis fist on the elevator doors.
42. Rev.-Green 12/18/2000
43 CONTINUED: 43
SECURITY GUAIU)
What the hell's the matter with you?!
You just let him go!
The Promoter comes rushing up out of the office, a large red
welt growing on his cheek.
PRQoD'l'ER
You coulda taken that guy apart! Now
he's gonna get away with my money!
SPIDER-!GN
I missed the.part where this is my els
problem.
Ba turns and walks away, down the corridor.
44 NEWYORKPtJBLIC LIBRARY NIGB'l' 44
COP 2
That's not gonna help him! . --
43. Rev.-Green 12/18/2000
44 CONTINUED: 44
() PETER
What happened?!
COP 1
Carjacker. Be's been shot.
Frantic, Peter tries to reach his uncle.
COP ·2
Bold on, kid! You can't help the guy.
PETER
The guy? Be's not the guy! Be's my
uncle.
Be pushes in, moves to Ben, kneels, takes his head into his
lap.
PETER (CONT'D) ~-1,
Uncle Ben! Uncle Ben! It's ma,
Peter!
Ban opens his eyes, his mouth forms a smile, then the word
"Pate." Ba dies. Pater cries, holding him. Sirens continua
in the BG.
Behind him, a THIRD COP turns around suddenly, radio in hand. *
COP 3
They got the shooter! Be's headed
south on Fifth Avenue!
Very close on Peter -- listens intently, stoney-faced. *
45 A DARK ALLEY NIGHT · 45
. .r-;
44. Rev.-Green 12/18/2000
() 49 IN TBE STREET, 49
the Cops hear the shots. Weapons are drawn, rifles steadied.
They can see figures moving inside the building.
so IN TBE lGRINE BATTERYBUILDING, so
Spider-Man does an acrobatic leap and lands on the Carjacker's
a.J:m,kicking the gun free. It SKITTERS across the cement
floor as Spidey holds.the guy up, curls a fist
SPmER-:w.N
This is for the man you killed.
and punches the Carjacker in the jaw. The blow lifts the
man right off his feet, knocks his stocking cap off, and sends
him sailing·into one of the unbroken windows, which SHATTERS.
Spider-Man leaps into the window frame, grabs the Carjacker,
pulls him to his feet.
Spotlights from outside swing around to frame the pair of
combatants in the. window.
CARJACKER
Don' t hurt ma! Give me a chance, man,
give me a chance!
PETER
Dm YOUGIVE HIM A CHANCE?! TBE :w.N
YOU KILLED?! DID YOO?! ANSWERME!
Suddenly, the Carjacker' s face is revealed, brightly lit. Bis
squirrelly face. And his platinura blonde hair.
It is, God help him, the Thief who stole the money at the
arena. The one Spider-Man stepped aside for.
PE'l'ER (cont'd)
No! No, not YOO!
Yes. Yes, him. Peter hurls him aside, the Thief CRASHES
against a wall and falls to the floor. Peter starts to
hyperventilate, trembling in horror, realizes the ghastly
truth:
·-••·
,,-:- ........
47. Rev.-Tan 4/12/2001
51 CONTINUED: 51
SECURITYGUARD
Stop that guy!
52 IN'l' ELEVA'rOR NIGHT (FLASHBACK) 52
Back in the building, the 'l'hief stands up, not ten feet away
from Peter. 'l'he 'l'hief aims the gun at him. Blind with raga,
Peter walks toward him. 'l'he 'l'hief backs up. Peter advances.
'l'he 'l'hief pulls the trigger and --
CLICK. Empty. 'l'he 'l'hief backs . up even further, trips --
and CRASHESthrough a window. Peter lunges forward, tries
to grab him but misses, and the 'l'hief falls fifty feet,
mmBBING into a wooden dock below. Dead. 'l'he money flutters
down around the body from the canvas bag.
55 OUT ON THE.RIVER, 55
a police patrol boat CHUGSinto view, swings a spotlight
around toward Peter. They get just a glimpse of him.
COP
YOU, FREEZE! DON'T NJVE! WE'VE GO'l' *
THE PLACE Ca,.fPLETELYSURROUNDED! *
'l'he Cops raise their guns to fire, but Peter disappears from
the window, headed up --
56 IN TD MARINEBA'l"l'ERYBUILDING, 56
-- and by the time the rest of the lights hit the window Peter
is gone. Across the building floor, a DOZENCOPS mass
through the door, shine flashlights everywhere.
'l'he building is empty.
57 EXT A ROOFTOP NIGB'l' 57
Peter, still wearing the suit but not the mask,. drops his head
in his hands on top of a building nearby, alone. All sound
drains away, all sound except Peter's soft voice --
. .,...,
47A. R.ev.-Tan 4/12/2001
57 CON'!'INUED: 57
. .....
48. Rav.-Buff 1/9/2001
57 CONTINUED : ( 2) 57 _
0 Still with his mask off, tears run down his face.
PE'l'ER (CONT'D)
Oh God, I'm so sorry ...
Pulling away, we see he's sitting on a stone gargoyle, jutting
out from the roof of a lonely building, silhouetted by the
full moon of the night he will never forget.
58-60CMIT 58-60
A61 INT. PARRERBOOSE .NIGHT A61
-.
--·
---· 19
49. Rev.-Buff 1/9/2001
C62 CONTINUED: C62
0 It's
GENERAL SLOCOM
got firepower, but what about
aJ:mOr?
PROJECT COORDINATOR..
It's vastly exceeded all external *
stress tests. It gives as well as it
takes, General.
GENERALSLOCUM
I want to see the figures, but if it
does what you say it can, I'll sign
the contract tomorrow.
PROJECT COORDINATOR
And what about your commitment to
OsCoJ:p?
GENERALSLOCUM
Norman Osborn has continuously risked *
our time and money to satisfy his *
outrageous dreams. Nothing would *
please me more than to put him out of *
business. *
0. S. A l'AIN'1' WHINE
YOUNG EMPLOYEE
What's that? *
PROJECT COORDINATOR *
Something's headed for the BADGER. *
062 Err. BONKER- SAME 062
A figure flashes past. 'l'he Badger's blown to smithereens.
'l'he SECURITYPERSONNELraise their machine guns and fire *
bursts into the sky at the unseen object. 'l'hey are mowed down *
from a hail of rockets that streak from the sky. *
E62 INT. BtJNDR - SAME E62
'l'ha military brass are shocked.
GENERALSLOCUM
What the hell was that? *
'l'hey hear a faint WHINE. It grows louder, the sound of a *
turbine engine, working hard. *
'l'ha WHINING SOUNDcrescendos, ZoaaNG right at them. *
. -.
~ 49A. Rev.-Buff 1/9/2001
E62 CONTINUED: E62
GENERALSLOCUM(cont'd) *
Oh, my God. *
The interior of the bunker is lit up with a bright flash. *
_....,
- -•· 19
~ ~•·
. ... . ..
. .- :. .~
50 • Bev.-Salmon 3/28/2001
F62 EX'l'
.
BUNKER NIGHT F62
There is a massive explosion in the bunker. Fire and debris
shoot through the observation slits.
A hideous CACKLEis heard disappearing into the night.
G62 CMC'l' G62 *
&62 EX'l' OtJ'l'OOOR
AMPBI'l'BEA'l'ER DAY &62
Hundreds of mortarboards fly into the air and a great
rises up from the bare-headed BIG& SCHOOLS'l'tJDEN'l'S.
Grad1iation day.
IN 'l'BE caoND, .·
•
ti :·.t/:':.
• ·..-;
...:~:...7.;;···:
Favor1=
searching for their kids.
Be 8-8
..··,
Barry··:}:;~.
BURY
Good news. My :father owns a building
downtown with an empty loft he said we
could have. Why not move in 'lfi th ma
when you get to the city.
PE'l'ER
I'm not sure I can afford the rent.
BURY
We' 11 work something out •.
·.,:,.. ·.. ;
• .,;z .
. .... ::r
51. Rev.-Goldenrod 12/22/2000
B62 CONTINUED: B62
PETER *
(crossing his fingers) *
Gotta·· get a job first. *
ANOTHER ANGLE *
Favor Aunt May and Norman Osborn still searching. Aunt May *
spots Norman. *
AtJN'1'lG.Y
Mr. Osborn. • • I 'm May Parker, Peter' s *
aunt. I've heard about you. *
OSBORN
Aunt May. Bow do you do? Can't find *
my boy. *
AtJNT lG.Y
(spotting him) *·
There's Barry. *
Barry appears with his diploma. Norman looks at him, a tight *
smile. "*
BARRY *
Bay, dad.
OSBORN
You made it. It's not the first time
I' va been proven wrong. .;
Congratu1ations.
..:\.>t1~·:i
-..r.:.
_.,.. ],.
.. ,:.,;,;,:;""1.:,/.
., ·'~. .
. .;. /.
51. Rev.-Goldenrod 12/22/2000
B62 CONTINUED: B62
PETER *
(crossing his fingers) *
Gotta-get a job first. *
ANO'?BER ANGLE *
Favor Aunt May and Norman Osborn still searching. Aunt May . *
spots Norman. *
AUNT !G.Y
Mr. Osborn. . . I 'm May Parker, Peter' s *
aunt. I've heard about you. *
OSBORN
Aunt May. Bow do you do? Can't find *
my boy. *
AON'l' !G.Y
(spotting him) *
There's Barry. *
Barry appears with his diploma. Norman looks at him, a tight *·
smile. *
, .,
BARRY "*
Bey, dad.
OSBORN
You made it. It's not the first time
I've been proven wrong. .. ,_:_}·:
*
Congratulations.
-..r::
52. Rev. -Goldenrod 12/22/2000·
B62 CONTINUED: (2) B62
0 Be holds
handshake.
out a hand. Barry takes it, accepts the firm
BARRY
'l'hanks.
AtJN'l' M11.Y
(hugging him)
Congratulations, Barry.
Osborn's face suddenly lights up, noticing something over
Barry's shoulder. ·
OSBORN
Ah hah ! 'l'he winner of the science *
award. *
Peter appears, carries hi.a diploma and science award. *
AUNT M11.Y
Here's our graduate
(she hugs him)
You two looked so handsome up th~e. '*
-·.. ..;~.:.~;:
·_.
;.:~::;
:! ::
;t!-;_;~;;:;.;:;~~-:~
1;i~9!~
:n.::fl
1:9c!!~o a:a:tlk:1:;:. is s:!:;.r1~s an~:
. ~ .
.;; .:.,,.-.,.
/·}\~i:~~
. .
J62
== ~~~:nex=
!:::!•!: father.
Bar~,_!
Aunt May and Peter have just come in. Peter carrying
1
his ·· ::"·
::-':"'.} '.~i
gown, moves slowly to the stairs. ·Aunt. May holds- ..his diploma;'.~;?;~ r:i
and his science prize. She watches him start up. - ·· · :,·-/\t-;tif,/;.;
.:,0~
52A. Rev.-Goldenrod 12/22/2000
J62 CONTINUED: J62
0 May I fix
AUNT lG.Y
you something?
No thanks.
~-,.:
'
I
.:
-.rt _....
'
I
53. Rev.-Goldenrod 12/22/2000
PETER
I can't help thinking about the last ; .. _!.·;.•.·
- .. ... ,
...
Stop·it.
AtJN'l'MAY ·1ii~ ··:-·...··
PETER
:'fit;;
·:~i:.~.:~
- .. .
.
.
.,.~;:".
..~[. ·
Ba triad to.tell me something
important and I threw it in his face. }\.)'i•i,~\
. .•. ' .:-: ·,·.:-,7:-"'
.. ·/?'-;.-.-.-.:-·
AtJN'l'MAY
You loved him. And ha loved you. Ba
never doubted the man you would grow
into. Bow you were meant for great
things. You won't disappoint him. Or
ma.
Sha waits another moment, then squeezes his hand and gets up.
Moves to the door.
Sha leaves quietly closing the door all the way. Peter gets
up, opens a dresser drawer, moves some sweaters out of the . __:';,_:-:,-:• ·
way, digs all the way to the bottom of the drawer. • • .·..:.:...; e:'.:.,.
1
62 :;.:.,...···.·
62·.,.•:· ......
63 l)BLI - DAY '. .. 63"· . ..
64 - ·JaY
,9;?~It\}{:.
.54. Rev.-Tan 4/12/2001
K62 CON'l'INUED: K62
0 Remember.
UNCLE BEN (V .0.)
• • with great power comes
great responsibility.
We BEAR the approach of what will become a GREATROAR.
DISSOLVE TO:
L62 EXT IGNBA'l"l'AN DAY L62
A train ROARS out of a tunnel. *
62 INT. TRAIN DAY 62 *
Peter sits in the train, staring at the skyline, a pile of *
college textbooks in his lap. *
A63 EX'l'. !GNBATTAN DAY A63 *
Manhattan is in the background as the train heads into the *
heart of the city. *
63 EXT DELI DAY 63
A ROBBER races out of a Korean deli, gun in one hand, sack of
money in the other. The GROCER chases him out, carrying a
baseball bat, the Robber turns, to shoot him, when suddenly --
-- ff/NIP! A web-strand wraps around the gun and yanks it
sharply out of the Robber's hand. Stunned, both Robber and
Grocer turn. ·
A shadow disappears into the night, barely seen.
64 STREET DAY 64
A CABBIE leans against his cab, talking to a couple other
CABBIES.
CABBIE
accent)
(heavy
This is not a man. My brother saw it
building a nest in the Lincoln Center
fountain.
65 EXT .JEWELRY S'l'ORE NIGHT 65
0 The Cops suddenly look up, over the door, where they see THREE
JEWELRYTHIEVES and their bag of_loot caught in a web-net,
dangling from a lamppost, tied up neatly for them.
'1WO CONSTRUCTION
WORICERS
dangle their feet off a beam while
eating lunch.
-.r-: .
,r
55. Rav.-Buff 1/9/2001
A66 CON'l'INOED: A66
CONSTRUCTION WORKER
Have you ever seen hi.s face? Neither *
have I. Wait until his wife figures *
out he's running around 1n tights. *
B66 EX'1' DARK STREET NIGHT B66
--•.
--
. 19,
~ SSA. Rev.-Buff 1/9/2001
D66 CON'l'INUED: D66
0 J»!ESON
We have a page 1 problem.. Shut up!
*
*
ROBBIE
Be's news. *
HOFFMAN *
They're a major account, it can't *
wait. *
J»!ESON *
It's about to. *
ROBBIE *
(ignoring Hoffman) *
Ba saved six people from burning to *
death. *
J»!ESON *
- in a fire he probably started!
Something goes wrong and this creepy
crawler's there, what's that tell ya?
---
56. Rev.-Buff 1/9/2001
D66 CONTINUED: (2) D66 -
ROBBIE
Boss, he's a hero.
tDMl!:SON
Then why does he wear a mask? What's
he got to hide? *
BOl'!lGN *
We double sold page 6. Both Conway *
and Macy·• s bought three quarters of *
it. *
ROBBIE
We sold out all four printings, Jonah.
JAMESON
Sold out?!
ROBBIE
Every copy.
tDMl!:SON
Spider-Man, page one, tomorrow! With
.a decent picture this time!
Jamason turns to Hoffman. *
JAMESON(cont'd) *
Move Conway to page 7. *
BOl'!lGN *
There's a problem ··with page 7. *
J:IMESON *
Then move them to page 8 and tell 'em *
we'll give 'em an extra column inch. *
Get out of hara! *
ROBBIE
Can't get a picture. I've had Eddie
on it for weeks, nobody ever gets more
than a glimpse of him.
J»ESON
What is ha, shy?! If_ we can get a
picture of Julia Roberts in a thong,
we can certainly get a picture of this
nut. Put an ad on the front page!
"C&ah money for a picture of Spider-
Man!" Doesn't want to be famous?!
. .-.
56A. Rev.-Tan 4/12/2001
66 CMIT 66
n
"~
B67
*
B67 CMIT
C67 EXT CHELSEASTREET DAY C67
We're looking through the glass doors of M)()NI)ANCE,a seedy-
looking diner downtown. Inside, we see Mary Jane Watson,
wearing a hideous orange waitress uniform, being berated by a
SURLYCOOK. She punches a time clock, grabs a raincoat, and
stalks out of there.
As the doors open, a blast of NOISE and grease washes out
after her. She makes her way down the street. The guy
passing her stops, checks her out. It turns out to be Peter.
I
57. Rev.-Green 12/18/2000
A67 CONTINUED: A67
OR. CONNORS
I like you, Pater. ·comasea ma when
you grow up a. little.
Or. Connors walks away leaving Pater with hi.a thoughts.
B67 Cldl'? B67
C67 EX'l' CDLSBA S'l'RD'? DAY C67
We're looking through the glass doors of MX>NDANCB, a seedy- *
looking diner downtown. Inside, we sea Mary Jana Watson,
wearing a hideous or~ga waitress unifol:Dl, :being :berated by a
SURLYCOOK. Sha punches a time clock, grabs a raincoat, and
stalks out of there.
As the doors open, a :blast of NOISE and grease washes out
after her. Sha makes her way down the street. '?ha guy *
passing her stops, checks her out. It turns ou~-.to :be Pater. *
58. Rev.-Blue 4/18/2001
C67 CONTINUED: C6'7
PETER
Hey!
M.J.
(doesn't look up)
Buzz off! *
(keeps walking)
PE·l·ER
Mary Jane Watson?
'~-~
/•·-~-'
~
-59. Rev.-Blue 4/18/2001
C67 CONTINUED: (3) C67
SURLY COOK (cont'd)
Next time I take it out of your check,
y'get me?
(she ignores him)
Excuse me, Miss Watson, I am speaking
words to you. You get me?
M.J.
Yes, Enrique, okay? I "get ~ou,"
Enrique.
Be goes back inside, BANGING the door shut behind him. M. J.
1ooks down, can't 1ook Peter in the face. By way of an
exp1anation, she opens her raincoat, f1ashes him the unifoz:m.
M.J. (cont'd)
Some dream, huh? But it's just *
temporary. Few extra do11ars.
PETER
We11 that's nothing to be embarrassed
about. (You think they need a *
waiter?) *
M.J.
Don't te11 Barry.
PETER
... Barry?
M.J. *
(sees his 1ook)
Aren't you guys 1iving together? *
We've been going out. Didn't he tell *
you?
PETER
(recovering)
Oh, yeah. . . right.
M.J.
I think he'd hate the idea of my
waiting on tables. Be' d think it was
1ow.
PETER
We11, Barry never has 1ived on a *
1itt1e planet I like to call earth . *
. M.J. 1aughs.
PETER (cont'd)
Probab1y ha1f the peop1e starring on *
Broadway were waiters or even
dishwashers.
59A. Rev.-Blue 4/18/2001
C67
C61 CONTINUED : ( 4)
0 M.J.
Bow come you always make me feel
better? *
0 PETER
(ca1ls after her)
Maybe I'll come down and have a cup of
your Moondance coffee some day.
(quickly)
And I won't tell Barry.
M.J.
(looks back)
No, don't tell Barry.
PETER
(to himself)
No, I won't. I won't tall Barry.
HARRY (cont'd)
I need your help, I'm hopelessly lost.
What's wrong with you? Somebody run
over your dog?.
PETER
No. I , uh. . • I was late and Dr.
Connors fired me.
HARRY
Late again? What is it with you?
Where d'you go all the time?
Around.
HARRY
For a -completely responsible guy,
you're completely irresponsible.
Osborn hangs up his phone.
OSBORN
Peter Parker.
Be turns. Nor.man Osborn is walking toward him, all smiles.
OSBORN(cont'd)
Maybe you can tell me who she is.
PETER.
Who?
OSBORN
This mystery girl Bar~•• been dating.
Dad •..
OSBORN
I think he wants me to meet this one, *
and believe me, it's the first time
1:ba.t ,s hap-
BARRY
(sharply)
Dad.
. -.: 19.
62. Rev.-Green 3/5/2001
E67 CON'l'INUED: (2) E67
0 Sorry.
PE'l'ER
Barry hasn't mentioned her.
BARRY
(to change the subject)
Bey, Pete you're probably looking for *
work now. Dad, maybe you can help him *
find a job? *
Peter shakes his head, makes his way toward the kitchen. *
PE'l'ER *
Oh, no. I appreciate it, but I'll be *
fine. *
OSBORN *
It's no problem. I' 11 make soma phone *
calls. *
PE'l'ER *
No. I couldn't accept it. I like to *
earn what I get. I can find work. *
OSBORN
I respect that. *
(making his way over to Barry) *
You want to make it on your own steam. *
'I'hat's great. *
(to Barry)
Interesting, isn't it, Peter is
*
looking for work. As in, actively
*
seeking, as opposed to strenuously *
avoiding.
BARRY
What do you want from ma? I'm trying
to keep my grades up.
Peter notices a copy of the Daily Bugle on the kitchen *
counter. Be picks it up, looks at the front page. *
OSBORN
What other skills do you have Parker?
Peter looks up from the front page of the Daily Bugle, which
he's been studying intently.
PETER
I'm thinking of something in
photography.
==:r
62A. Rev.-Green 3/5/2001
CONTINUED: (3)
E67
E67
*
A Be tosses the Bugle back on the counter,
front page.
where we see the
There's a crude sketch of Spider-Man's
under the headline:
face,
NIGB'l' 67
67
A 35le! camera is suspended in the cornice on the third floor
of a building. Peering in through the lens, we see a red
light flashing.
'l'IIR.OUGB'1'BE CAMERA LENS,
the words "Auto Shutter" flash in red in the lower right
corner of the frame.
...-.
•- 19:
61. Rev.-Goldenrod 12/22/2000
E67 CONTINUED: E67
0 BARRY (cont'd) *
I need your help, I '·m hopelessly lost. *
What's wrong with you? Somebody run *
over your dog? *
PETER
No. I, uh ••• I was late and Dr.
Connors fired ma.
BARRY
Late again? What is it with you?
Where d'you go all the time? *
Around.
BARRY
For a completely responsible guy,
you're completely irresponsible.
Osborn hangs up his phone. *
OSBORN *
Peter Parker.
~
\_) Be turns. NoJ:man Osborn is walking toward him, all smiles.
OSBORN(cont'd)
Maybe you can tell ma who she is. . .... .
..... ·. '
Who?
OSBORN
This mystery girl Barry's been dating.
BARRY
Dad •••
OSBORN
Be wants ma to meet this one, and
be1ieva ma, it' s the first time that 's
hap-
BARRY
(sharply)
Dad.
...,~:
•.~ ";-~·:.~
..,. : ·
. -~. ---~---
62. Rev.-Goldenrod 12/22/2000
- E67 CONTINUED: (2) E67
0 Sorry.
PE'l'ER
Barry hasn't mentioned her. ', .
BARRY
(to change the subject)
Dad, Pete's looking for work. Give
him a job, why don't you?
PETER
No, don't do it, sir. I cou1dn't ·
accept it. I can find work.
OSBORN
I know you can. Interesting, isn't
it, Peter is looking for work. As in,
actively seeking, rather than
strenuously avoiding •
.~ BARRY
What do you want from ma? I'm trying
to keep my grades up.
Peter notices a copy of the Daily Bugle on the coffee tabla.
Ba picks it up, looks at the front page.
OSBORN
What other skills do you have Parker?·
Pater looks up from the front page of the Daily Bugle, which
he's been studying intently.
PE'l'ER
I'm thinking of something in
photography.
Ba tosses the Bugle back on the coffee table, where we sea
front page. There's
under the headline,:
a crude sketch of Spider-Man' a face,
67 NIGB'l'
ROBBIE
·..,.
It's not up to ma. Mr. Jameson hires
all staff personally.
'l'hey hear SBOU'l'Sfrom the office across the hall.
JAMESON(O.S.)
IS 'l'BA'l' WBA'l' I SAID?! IS 'l'BA'l' WBA'l' I
ASKED?!. I SAID A PIC'l'URE, EDDIE, NO'l'
AN INK BLO'l' ! WBY 'l'BE BELL CAN' 'l' ·
AN'fBODY BRING MB DECEN'l'AR'l' ON 'l'BA'l'
FIU!:AK? ! GE'l' 'l'BE BELL 00'1' OF HERE ! *
ROBBIE *
Ba fires 'em that way, too.
EDDIE BROCK, another young photographer, comes out of *
Jameson's office. Brock is shabbily dressed. *
EDDIE *
(locks eyes with Peter) *
What're you looking at greenhorn? *
Brock walks away. Jonah Jamason appears in the doorway, *
shouts after him. *
. -- .
63A. Rev.-Pink 2/15/20_01
A70 CON'l'INUED: A70
0 AND BR0CJ.IC
JAMESON
! WOULD I'l' KILL
A DECEN'l' SUI'l'? !
YOU 'l'O GE'l'
·..,.
. 64. Rev.-Buff 1/9/2001
A70 CON'l'INOED: A70
0 WHA'l'?!
J»!ESON (cont' d)
0 JAMESON
Tell you what, Atticus, you take the
pictures, I make up the headlines,
okay, that alright with you? *
PETER
Yes, sir. I would like a job, sir. *
*
*
*
.-,
jl.:;.. _. C 9
••
65. Rev.-Buff 1/9/2001
70 CONTINUED
: {2) 70
JAMESON
No jobs! Free lance. Best thing in *
0 the world for a kid your age.
me more shots of that newspaper
Bring *
*
selling clown and I might take 'em off *
your hands. Come on, get out of here, *
I got deadlines. *·
NJNTAGE:
A71 EX'l'. NONDESCRIPTBUILDING - NIGB'1' A71 *
We see a web. A camera flashes. *
71 IN'l'. BUGLE- DAY (LATE Ar.rERNOON) 71
Jameson, Robbie and Peter in Jameson's office. Robbie hands
Jameson a front page mock-up with a photo of Spider-Man in
action. 'l'he Headline reads:
NY CHEERS COS%'UNE BERO
..... =- .19
66. Rev.-Buff 1/9/2001
73 CONTINUED: 73
74-75CMIT 74-75
A76 EXT. BEADQUAR'l'ERS DAY
OSCORPCORPORATE A76
A sprawling high-rise adorning the Manhattan skyline.
76 INT OSCORPBOARDROQ,I DAY 76
Norman Osborn sits at the head of a long table in the OsCorp
board room, concluding a meeting. The cat who ate the canary •
. ..-:
. 66A. Rav.-Tan 1/29/2001
76 CONTINUED: 76
Q In addition,
OSBORN
we've secured three major
new government contracts and I'm
pleased to announce·that as of today,
OsCorp Industries has surpassed Quest
Aerospace as the principal supplier to
the Uni tecl States military. In short,
ladies and gentleman of the board,
costs are down, revenue is up, and our
stock has never been higher.
Simultaneously, they all close the leather-bound folders that
ware open in front of them. Balkan sits forward.
BALKIN
That's wonderful news, Norman.
(clears his throat)
In fact, it's the reason we're selling
the company.
OSBORN
Nbat?!
BALKIN *
It took us ALL by s11%prise, but Quest *
Aerospace.is recapitalizing in the
wake of the bombing.
·, .-... ,~
. ~:·~· .
.,. ·: ..
· ........
, .
. -·..-~~---:
...: :.·«
,i·.·-: ...
1: . : ,.· .: .
..:..~-:-.,;·f:'
:;/:.-,':,
..
, .·:..·:~~~-.x
:~:-._
··:.
.· ,·r ·-.
.. ; ::-·';\ : ~
•"':,•' ~ ....
- ..,,.._ .•.
.. / : .,.' ..: \ .
~.,
. ·~,.
OSBORN
Fargaa, what the hall's going on hara?
Fargas doasn·• t respond.
BALKAN
Quest is expanding and they've made a
tancler offer we can't ignore.
OSBORN
Why wasn't I told about this?
BALKAN
The last thinq they want is a power
struggle with antranchacl management ..•
l'ARGAS
Thay want you out, NoJ:m&n. 'l'he daal !,:· •.
.. ·.·
··- .
• ✓ ••
• ',. . • •.. 1; ,:
77 DAY
. '
0 nt THE S'.mEET
Peter Parker works his way through the crowd taking pictures.
Through the lens ha spots a YOUNGM1'N reading the Daily Bugle.
Peter focuses on the headline which reads--
"Big Apple Dreads Spider· Bite I"
.~..,;·,. ,_ .
. <.~:o·.
·:-·
-~ ~--
~ .·:_
;,.;._~-~;i)
.,.··:;.;:-.-
-:,~ ..
,:·
:itg!·
I
-
,
.
,,:.
'•"''
'11~\i
~ ........
68. Rav.-Buff 1/9/2001
77 CONTINUED: 77
0 Giant
here,
balloons
the vibe
float in the air.
is sweetness
Thousands
and light.
are in attendance
A M.rl'liER buys her seven year old boy, BILLY, some cotton
candy. Five stories up, a balcony on one building has been
converted into
A REVIEWINGSTAND,
buttressed by two Hercules statues, one at each corner, which
appear to be holding the reviewing stand aloft.
All this under a large banner which reads "OSBORN INDUSffUES
NBLCOMES YOU !l'O !!.'HE 3RD ANNUAL World Unity Festival."
URRY
Of course I do. You' re beautiful.
ANGLEON PE'l'ER IN 'l'BI: S'l'REE'r,
Peter raises his camera, squeezes off a few shots.
'rHROUGBBIS LENS,
Pater scans the balloons, the floating streamers, comes to a
Hercules statue. Be tilts his camera up the statue's torso,
rising up, to the balcony's edge, up past Barry and M. J. , up
further... *
Ba sees Barry put his arm around M.J., leans in for a kiss.
'rime slows down, Barry's mouth approaches M.J.'s, the worst is
about to happen, but at the last second --
-- M.J. turns, giving Barry cheek when he wanted lips.
_....,
69. Rev.-Yellow 2/23/2001
77 CONTINUED
: (3) 77
0 · ON '1'BE STREET,
Peter whips the camera down, pumps a fist in the air. Hope!
Barry, his cheek turned, is looking down at the street. Be
sees Peter, who looks back up and sees Barry. 'l'hey each see
each other seeing each other. Barry, caught in the act~
ON '1'BE REVIEWXNG STAND *
Barry averts his gaze from Peter, puts his axm around M.J., *
ushers her away. *
ON THE STREET *
Pater's expression suddenly changes, completely, his eyes
widen. We leap outside him as --
BIS SPIDER-SENSE
909s off, slowing everything to a crawl. Spidey P.O.V. races
all around him, searching the crowd for any sign of danger,
but finding nothing.
BACK ON '1'BE STREET,
Barry leads M.J. through the balcony crowd, spots Balkan and *
l'argas, walks up to them. *
BARRY (cont'd) *
Bava you seen my father? *
'l'he two board members share an.uncomfortable look. *
FAR.GAS *
I'm not sure he'll be joining us. *
Balkan and Fargas turn, hear something. So do the others *
around them. It's a high-pitched WHININGsound. Barry and *
M.J. look for the noise, make their way to the balcony edge. *
•.
ON '1'BE STIU!:ET,
0 something darts
very, vezy fast.
in and out of the clouds, something small and
ON THE REVIEWINGSTAND,
Fargas is squinting up into the sky, at the source of the
whining.
FARGAS (CONT'D) *
What is that?
Balkan joins him.
I~
--
70. Rav.-Goldenrod 3/9/2001.
77 CONTINUED: (5) 77
IN MID-AIR,
Balkan and Fargas look troubled. But the crowd APPLAtJDS, all
smiles. Thay 13.ka this bit. ....:.•·;, ..·:
:-
=: =-~~~
=7~~• and havers, ;,ii
From behind it, we see that it's a figure atop a flying thinq, ?:·"~i<.··:: ..
and the figure reaches down to his bal t and detaches soma kind : ;.;L?\V
of device, the size .of a softball, with vertical bulges like ..';::;.:}tt~:;.
those on a pumpkin. Aa ha raisea the device, we get our first.·•·.·,'.:~;::?.::~~
. , ·',;;·:.:~·ic,; ..
,)!~
1oo k at... . ...;,/•,;;,.'f!,•fr.·
- _, gJBLIN/
Be's clad in a fozm-fitting dark green suit densely layered ..:::::?•;{;~'!,,
with complicated ci.rcui.uy, a amt we have seen before, in tha::-::: t~'.'.:-;
...
·Osco--r lab.· 09ar hi.ii face ha wears a grotesque, green demonic
..... -~:·>>!:\\;>
....._
mask, and ha has both lags astride a small. flat flying wing, · \~ 1~tJJ~
big enough for one -- also the one we saw 111 the lab. .. .. -.:.· '"'/:;'"'·::~
:-·•, .
·--
~··.
·•·}~,,";;
'· 70A. Rav.-Goldanrod 3/9/2001
77 CONTINUED: (6) 77
()
C
'
.-1•
,...
. ·--:~:
. ·•. ~: ~- ....
,...,
__..
. _
•
71. Rav.-Goldanrod 3/9/2001
77 CON'l'INOED: (7) 77
Pater elbows his way through the crowd and takes off toward
tha mouth of an allay.
. I'. : •. \:• .. .
• • • .• ~· f~~-. .... .•
-
there is a shudder, a CRICK and tha entire stand drops a few . · ···.•·-.·
- . ....·....···
f-t. N.J. is splayed precariously on the dangling balcony _ _..,.
---·,_ 1
balustrades. . . _. _· _'·:_.:.}~
.:.!
Barxy gata to bis feat, goes to her. But his INlight causes ..:~·':''.;:f:k,,.-J
J!l!
soars upwa:cd. Takes another pumpkin bomb from his pouch and
::i~ -.
_ tha 1,omb'·landa with_ a '?IIUNlt, bounces to a stop right in f~Dt
____
;... ·r.:~,;:€·
of· tha m-n'Ntrs of tha OsCoz:p board. Th bomb WBIRS f ~ t•··::::-;:•;7".'.,:-_~
into_~.~, and than
AP-rI,ASJI! .
---- .,_.. -
: =!yet~t
;:;.;;;;;i~;-~·;;;;:
.-:-··••,•.
,· ~ ,·
_.-;~
...
·:.c"'-i.
""'\,·
'• ,' I~
_.,..: , ...,:··
\ .·
... .. ~
-":-;,-
~~cc,-;.~,- ·cc ••. ~•·,,-·-.•~---• •• ·,.··~ •• •• • •• :•·:- •• ~.. , .. ·; ~--••·· ,,"",.",.-.· •• ~ -~ -•·.:•· ,:·"-.' -~_.· --_.~·•- "" ... ,_ .._,"',-;---
72. Rav.-Yellow 2/23/2001
77 CONTINUED : ( 7) 77
e TBE GREENGOBLIN
rises up behind her, on his Glider. Malefic grin. M.J. turns
to him, SHRIEKS. *
. ....,
73. Rev.-Yellow 2/23/2001
77 CONTINUED : ( 8) 77
swings down from a building above and (PON!) smacks right into·
the Goblin, knocking the villain clean off his Glider.
The Goblin plummets, from six stories up, except that he lands
on one of the passing floats, bounces off it, makes a nifty
mid-air twist -- ·
And crashes feet first into a large tent below, which breaks
his fall.
IN MID-AIR.,
the Glider comas sailing down after the Goblin, as with a
homing device. It S!aSBES through the globe replica, which is
knocked off its perch, and comes out the other side, heading
for the Goblin.
SPIDER-MAN
. --,
74. Rev.-Green 12/18/2000
77 CON'l'INOED
: ( 7) 77
SPmER-MAN
World peace. But I' 11 settle for your
chin.
And he sends a FIST into the Goblin's chin.
'l'he Goblin flies across the street, crashing into a brick
wall. Spider-Man comas at him again, with another haymaker
-- which the Goblin catches in one gloved hand. Stopping it.
GREEN GOBLIN
See what I did there?
And now it's hi.s turn to throw a massive punch.
Spider-Man goes ass over elbows, smashing through an ice cream
cart and into a lamppost.
---
-
75. Rev.-Yellow 2/23/2001
77 CON'l'XNUED
: (10) 77
0 ON THE BALCONY
Spider-Man, glass and chunks of the building come crashing *
down near M.J. causing her to roll out, to the very edge. She *
is saved by the balustrades, which break her fall. M. J. *
watches as debris crumbles, falls five stories. *
Spic:1er-Man is just about to move toward M.J. when the Goblin
appears, rising up out of nowhere~ HOVERINGright over them. *
. -.
.76. Rev.-Tan 4/12/2001
77 CONTINUED: {14) 77
() Your friend1y
SPIDER-!-mN
neighborhood Spider-Man.
--~
77. Rev.-Green 3/5/2001
M.J. (V.O.) *
To a beautiful roof garden. *
BARRY *
To a roof garden? *
M.J. (V.O.) *
Bava you ever been there? You should *
go. *
BARRY *
No, I've never been there, listen, I'm *
coming over. *
M.J. (V.O.) *
Why? *
BARRY *
Because you need to tell me *
everything, that's why. And what did *
you mean by incredible? *
M.J. (V.O.) *
I'm going to sleep now. *
BARRY *
Well, then, call me in the morning. *'
Are you sure you're feeling alright? *
M.J. (V.O.) *
( still blissed) *
Incredible. *
BARRY *
STOP SAYING'l'BA'l' ! C&ll me when you *
wake up, we'll go for breakfast and *
I'll buy you something beautiful ... *
Why?
M.J. (V .0.) *
*
BARRY *
Because I want to, it'll make you feel *
better. *
M.J. (V.O.·) *
G'night. *
BARRY *
Alright, g' night, get some sleep, ·uh, *
sleep tight, don't let the--- *
- -: .
-~::--••
~~ .....
;
78. Rev.-Green '3/5/2001
BB0 CONTINUED : ( 3) BB0
·-,:-.-~
'"·- .:;~=.
~
79. Rev.-Green 3/5/2001
B80 CONTINUED : ( 4) BS0
0 BARRY
Look, I'm going to get some sleep.
Bow about you?
*
*
*
PETER
I think I'll look out at the skyline. *
I'd like to pray for those people who *
died. *
BARRY
What was that thing that killed them?
It happened so fast. *
PETER
I don't know. But somebody has to *
stop it.
BARRY
Right. Well • . . I '11 pray in the *
bedroom.
Be hesitates, then moves into another room. Peter moves to
the window and looks out at the night sky, the skyline. 'rha
terror that lurks.
80 80
81 'l'BE DAILY BUGLE 81
has a front page picture of Spider-Man and the Green Goblin,
doing battle atop the Goblin Glider, next to the headline:
!'INES SCARE!
Spider-Nan, Green Goblin f'errorize City!
.,..,
BOA. Rev.-Blue 2/12/2001
82 CON'l'INUED: 82
.-. 19'
81. Rev.-Blue 2/12/2001
82 CONTINUED : ( 2) 82
OSBORN
Oh, God! MyGod!
GREEN GOBLIN (0. S. )
Stop 111Btrling. • • .You sicken me. • • you
ooze treakness . .•
&.,.. •.!'•··
11111!! ;. J9
'
82. Rev.-Blue 2/12/2001
82 CONTINUED: ( 3) 82
0 respectable
OSBORN
I'm not a murderer, I'm a scientist,
businessman. The police.
a *
*
Norman scurries over to the phone, reaches for it-- *
--but The Goblin beats him to it. *
GREENGOBLIN (0. S . )
( shrieking)
HYPOCRITE! LIAR!
The Goblin rears back, heaves the phone toward the balcony. *
Norman watches it fly through the air, sees The Goblin, now *
standing on the balcony, duck as it zips past his head. The *
Goblin stands there, looking down on Osborn. *
GREENGOBLIN (cont'd) *
Norr shut up and listen! !Z'zy to
understand t:be beauty of all t:bis.
(MORE)
-~
83. Rev.-Blue 2/12/2001
82 CONTINUED : ( 4) 82
GREENGOBLIN (cont'd)
YOU are no'ltf in full control of OsCorp .*
0 Industries.
granted
Your greatest:
by me.
,rish,
Say thank you.
OSBO:RN
(a batter thought)
Or. • • be our greatest ally.
GREENGOBLIN
Bxact:ly! Ne need t:o have a li tt:le
chat rri th you know who. *
·.
t.iH......
.-; :-,••·
,19
84. Rev.-Yellow 2/23/2001
82 CONTINUED : ( 5) 82
0 OSBORN
But how do we find him?
With that he snatches up the Bugle from the table top, looks
at the front page picture of Spider-Man and the Goblin.
83 83
84 ..mMESON'SOFFICE LA'l'E DAY 84 *
..mMESON
(finishing the sentence)
"The Green Goblin."
Jonah Jameson is in his office, chewing a cigar and admiring
the front page of his newspaper. Peter Parker stands
opposite. (On the wall behind Jameson is a framed photograph
of a handsome astronaut.)
..mMESON(cont' d)
You like that? Made it up myself.
Ever since Spider-Man, they all gotta
have a name. HOFFMAN! ca11 the
patent office and copyright the name
Green Goblin! I want a quarter eve%Y
time somebody says it! ·
PE'l'ER
Spider-Man wasn't terrorizing the
city, he was trying to save it! It's
slander!
J»m:SON
I resent that! Slander is spoken! In
print it's libel.
Be tosses his cigar over his shoulder, out the window behind
him.
PETER
You don't trust anybody, that's your
problem, Mr. Jamason.
:::--- ·.
i,~:
85. Rav.-Yellow 2/23/2001
84 CONTINUED: 84
Peter walks out of his off ice. Jameson yells after him.
JAMESON
I trust my barber! What are you, his
lawyer? Let him sue me and get rich
like a normal person! That's what
makes this country-
Bis cigar flies back through the window and lands on his desk.
Jameson looks at it, puzzled, turns around --
-- and frBE GREEN GOBLIN SMASHESthrough the window frame. Be
grabs Jameson by the throat with one hand and scoops him up
off his feet, his glider hovering over the floor of the
office.
ASS IN'l' OFFICE OUTSIDE JAMESON'S OFFICE
NEWSPAPER LATE DAY ASS *
Peter's eyes pop wide as ha looks into Jameson's office.
Secretaries, reporters and other Bugle employees scurry about
to escape the mayhem. Peter quickly ducks into the hallway.
BBS INT JAMESON'S OFFICE LA'l'E DAY BBS *
The Goblin's grip remains fiz:m on Jameson's throat.
GREENGOBLIN
Who's the photographer who takes the
pictures of Spider-Man?! I need to
talk·to him about his favorite
subject. Where is he?
JAMESON
Be's a free-lancer, I don't know who
he is! Bis stuff comes in the mail.
GREENGOBLIN
You're lying.
JAMESON
(choking)
I swear!
GREENGOBLIN
This is your last chance!
JAMESON
Please •.• air ••. stop ...
SPIDER-MlaN (0. S. )
Bey.
. -.
~~
,..,~ ..
BSA. Rev.-Yellow 2/23/2001
BBS CON'l'INUED: BBS
0 The Goblin
window.
whirls. Spider-Man hangs upside-down in the
86. Rav.-Yellow 2/23/2001
B85 CONTINUED: (2) B85
0 SPIDER-MAN (cont'd)
I wear the tights in this town.
GREEN GOBLIN
Speak of the devil.
Be lets go of Jameson, who drops to the floor in a heap,
gasping for air.
J»!ESON
I knew it! You and Spider-Man are in
this together! I knew that creep was-
ff/NIP ! A bunch of webbing SPLATS across Jameson's mouth,
shutting him up.
SPIDER-MAN
Bey :Kiddo, let Mom and Dad talk for a
minute, will you?
The Goblin points his glove at Spider-Man and sprays gas
directly from it, into Spidey' s face. Everything goes black.
85 EXT DULY BOGLE LATE DAY 85 *
Spider-Man, unconscious, tumbles from what used to be
Jameson's window and plummets toward the ground below.
Right before ha meets his demise, The Green Goblin swoops in,
catches Spider-Man and zooms away. *
86 EX'l' NIGHT 86 *
Spider-Man is regaining consciousness on the roof of a tall
building in midtown. 'l'he Goblin Glider nearby, the Goblin
standing next to it in the shadows. Spidey tries to move.
GREENGOBLIN
Relax.
Spider-Man struggles, drags himself to a sitting position,
·against an abutment. Feels like he weighs a thousand pounds.
GREENGOBLIN (cont' d)
My hallucigen gas slowed your central
nervous system to a crawl, just for a
few minutes. Long enough for us to
have a talk. Don't worry, I didn't
remove your mask. I' 11 respect your
privacy, for the moment anyway.
Because I respect you.
\ _,...,
19~.
87. Rev.-Green 12/18/2000
86 CON'l'nroED: 86
0 (fighting
SPIDER-MAN
to be alert) *
Who are you?
GREEN GOBLIN
A kindred spirit. A fellow
traveler... You've changed and now *
you want someone to tell you what to *
do, who to be. And there's no one who *
could possibly understand ... *
(leans in) *
... except me. *
Spider-Man looks down, at his hand. Be can raise a few
fingers, but they're trembling.
GREEN GOBLIN (cont'd)
They call us freaks. But we' re not
less than human, we are 1110rethan
human.
SPmER-MAN
I'm not like you. You' re a murderer. *
GREENGOBLIN
Well. . . to each his own. I chose my *
path. You chose the way of the hero.
And they found you amusing for a *
while. . . the people of this city. But *
the one thing they love more than a
hero is to see the hero fail, fall,
die trying. . The truth is people don' t
like heroes. Who wants an exampi.e you
can never live up to? Take my word
for it ••. in spite of all you've done
for them, eventually t:bsy ,rill hate
you. Read the headJ.ines. *
In spite of himself, Spider-Man is listening.
GREENGOBLIN (cont'd)
We are who we choose to be, but a day *
will come when you must ask yourself, *
did I choose wisely -- why am I *
risking my life for ungrateful fools~
SPmER-MAN
Because it's right.
The Goblin circles Spider-Man. *
88. Rev.-Yellow 2/23/2001
86 CONTINUED: (2) . 86
0 Right?
GREEN GOBLIN
Wrong? Capital R, capital W?
You're young, aren't you? You believe
in truth, beauty, professional
athletes as role models. Well here' s
the real truth. There are fourteen
million people in this city, and those
teeming masses exist for the sole
p1J%Pose of lifting a few exceptional
people onto their shoulders. You, me,
we are exceptional. I had problems,
but I used my God given powers and
poof, those problems vanished.
Spider-Man stares . Be' s thinking ...
GREEN GOBLIN ( cont' d)
Imagine what we could accomplish
together. What we could create.
(loving this)
OR ••• we could destroy, cause the
deaths of countless innocents in
selfish battle, again and again. And
again, until we both are dead.
Be summons his glider. Bops aboard. Looks at Spider-Man.
GREEN GOBLIN (cont'd)
Think about it, hero.
Be cackles and shoots off into the night.
87-94Q,il'l' 87-94
95 95
AA96 EXT. !GNBA'l"l'AN DAY AA96 *
The sun rises over the Manhattan skyline. *
A96 EXT. S'l'IU!:ETCORNER- DAY A96
L.
89. Rev.-Blue 2/12/2001
95 CONTINUED: 95
' ..r-:
90. Rev.-Goldenrod 12/22/2000
96 CONTINUED: 96
0 PETER
Bey!
M.J.
(turns)
Bey.
PETER
Bow was the audition?
M.J.
Bow'd you know?!
PETER
'l'he hotline. Your mom told my aunt
told me. We have no secrets from each
other.
M.J.
So you just came by?
PETER
I was in the neighborhood. I needed
to see a friendly face. 'l'ook two
buses and a cab to get in the
neighborhood, but ..•
.·.·.· ·.
M.J.
'l'hey told me I need acting lessons. A
soap opera told me I need acting
lessons.
A light rain starts to fall.
PETER
I'll buy you a cheeseburger. Sky's
the limit, up to seven dollars and
eighty-four cents.
She laughs. She smiles. But:
M.J
I'd like a cheeseburger, but I'm going
to dinner with Barry. Come with us. ** •'
PETER
No thanks. ** ·:.
(abeat)
So how's it going? I mean, with you * .
and, nevermi.nd, none of my business •
....-:
91. Rev.-Buff 1/9/2001
96 CON'l'INOED : ( 2) 96
0 It's not?
M.J.
Why so interested?
PETER
I'm not, am I interested?
M.J.
You're not?
PETER
Well . . . why would I be?
M.J.
I don't know. Why would you be?
PETER
Y'know ... just ... I don't know.
She smiles.
M.J.
Sorry you won't come with us.
It's raining harder.
M. J. (CONT'D)
Gotta run.
(runs)
. ..r-:
92. Rev.-Buff 1/9/2001
97 CONTINUED : (2) 97
p.::;;... 19
. 93. Rev.-Pink 2/15/2001
97 CON'l'INUED: ( 4) 97
0 Thank you.
SPIDER-:t-mN
Be leaps up, onto the wall above her, clinging there upside-
clown. She steps up underneath him. Be's right at lip height.
M.J.
Do I get to say thank you this time?
She puts her hands on his mask. . . and starts to lift it.
Spider-Man is paralyzed, can't stop her.
SPIDER-:t-mN
Wait ...
But she cloesn' t lift it all the way up. Just so his mouth is
exposed. And she kisses him. That is, she kisses him, rain
streaming clown both their faces and over their parted lips.
She pulls back. Touches his lips with her fingertips.
M.J.
'!'hat's so you'll remember where your
mouth is ..
· She replaces the mask, tenderly. Spider-Man hesitates, then
scampers up the wall and out of sight. She watches him go,
eyes shining.
·.,..
M.J. (cont'd)
Yowza.
98 CI'l'Y SCAPE DAY 98 *
"YONZA" is BEARDagain. But it's being DISTORTED into the *
sommsof the sirens of fire trucks and police cars and *
ambulances. *
A99 EXT. CI'l'Y DAY A99 *
Spider-Man swings through a city corridor. · *
SPIDER-MAN.
Help is on the way! Yowza! Yowza!
CAMERACOtJNTERS Spider-Man as he swings past lens and he heads *
towards a burning apartment house surrounded by fire trucks, *
police cars, ambulances. A crowd is there, including soma *
people who have been rescued. *
94. Rav.-Goldanrod 3/9/2001
FI:RDGN
It's too· late, lady, the roof's ready
to collapse.
The woman continues to struggle and scream.
l'IlU!:tGN #2
Bay! Up there! Look! It' s him!
' ·.;·.,.·
...
Above ·the crowd we SD Spider-Man swinging his way to tha
burning building. Ba di.sappears inside. We BOCM DONN to--
::·°,;• •
. :-~: --~:-·~-
.:: ,::.:-c.·•
l'DZMAN
What's.ha doing?
.. .
____
·•··-··'···· - ·--·--.~-..... ·~--~·--•··a'DDAN #2
Ba's crazy, ha hasn't a chance.
ta?BE1l . ·?:t~}:
\:;,;~~}
~t~~=-
Sava my baby, please, please! .·
il!~t!•
~Uii:/•
/
··_:•;
. .. ~ ...- . -; ;, .
0 SPIDER-lGN
. (extends baby)
Hare's your baby •
. (takes it)
Oh, God Bless you, Spider-Man. Bless
you, bless you.
SPmD.-lGN
(to the boys)
You children be good. Stop playing
with matches. Don't start somathinq
you can't put out. *
COP (O.S.) '.,: i :,i~;··i. :.
*·
Don't let him qat away! ::. ·.-:: ~ ..
··:·:)Jt1''._
•,• ;;~-t_~
Look! 'l'hara'
YOONG lGN
• somapocly else!
... : . ::):~f~~
- ~
--=-::::::::::::
·--
==:~:~--i1
•• --~ ..... ··-.. • • . • ·-. . • .• • - • - • .. • • .. .. • I •• - • • - - ... • ··- • - - .•• -------~-.,~-~-X~i~
C99
- ~.lw:•:■be=~=:::~. -·01
D'l'. NDDY SN:>ltY R0CM DAY
away.
· · C9f?·,·.;,-·
~~T.:=:·E~::t:.=-be~
~·-'=~be okay - .... ~ Ml% ,
:·t:::J.::V
\.
GREEM GOBLIN
cloam:)
(movinq
I thought you might be :i.n the
neighborhood. ..
•.
·...·\,_
;.._..
.. :
.· : .. ' ':.
SPmD.-w.N ·,..:::~
·,..
::..>..
YOO? You started 1:!u.11!'ire •
. ,:,•.· :·~c: • , ,.,;..•;-,
.. · .:5'44'.~ ·. :.··:·,;·,;:.,•:.' -~:-.,•..' . ., .,.;·.:.:!::• l:
GlUIZH GOBLIN
You.know wbat they say: When you want .. ·····-·--- ..' .. ,._
to meat a hero, at:art a !'ire. ~;::-:;•:··,
.·,...... ....
~ ...
·. ·----::
..·\••'
(than super sm:i.ous) ..... •\ .
What about my o~!'ar? Are you in, or ...:>/·'.:;~-~-•-:)
..
are you out? ·'!·:·;,."
.~:~:·.,.::.
:~·-
.
SPmD.-w.N :.-···.···: ·;
: . :..:.. ~~ .•
....
It'• you who'• out, Gobby. ,,· ......
-.;._:-'::·
(preparing to attack) . : ;>.···:.•···,.'
Ollt ..~ar goodU. . _...
GPBP GOBLIN
Your ~inal answer?
SPIDD-MAN
My ~inal. answm:.
.. . ~-:,
l~
; .
0 SPIDER-MIN
(pain)
ABBB!
Spider-Man looks down at his az:m. A deep gash oozes blood.
Be shoots a "web ball," about the. size of a so~tball, into The
Goblin's face, sending him ass over elbows back into the wall.
The Goblin rises, dataz:mined, pissed, flickinq gooey web fram
his face. When his eyes clear, Spider-Man is gone. A trail
o~ blood leads out the window. '!he Goblin's body tenses, ha *
howls with anger. *
. : .. GRl!Zlf GOBLIN . .. ·... ....
~ ~
. :~:_:,•
·. ·,:
..·...:..~-'.· //:':" ,·
~; .
-~--
-~.
··r~:tt
I
..
:. I
..:z·:~-
..~;.;;
-------------·-··--···-·-··-···-------·~----- ----- -----------·-· -- -·--- -- ··- -- ·-·--
95-96. Rev.-Buff 1/9/2001
....
,_ ta~,
A.JIIE'-·· -
,,-;.
n-----
96A. Rev.-Buff 1/9/2001
99 CONTINUED: 99 _
Aunt May is nearly to the door, Norman, Barry, and M.J. just
behind her. She turns the handle, opens it, and they see --
105 IN PETER' S BEDROOM, 105
nothing. The room is empty.
BARRY
Pete?
AUNT MAY *
But there's nobody here ... *
Osborn comes in and glances .around the room. Kind of a mess,
clothes and books and science equipment scattered everywhere.
But no Peter. _....,
97A. Rav.-Buff 1/9/2001
105 CONTINUED: 105
·-'-:
98. Rav.-Buff 1/9/2001
105 CON'rINOED: (2) 105
Let me see.
She pushes his sleeves up, exposing the X-shaped slashes in
his forearm.
AtJNT ?G.Y (cont'd)
What in the name of heavenly glory?!
Norman Osborn' s eyes widen. Be recognizes those slashes!
AtJNT ?G.Y (cont'd)
You've got to be more careful out
there! This city has a lunatic on
every corner.
We move in on Norman, holding the carving knife, his eyes
focusing in like laser beams, staring at the distinctive cuts
on Peter's arms.
AtJNT ?G.Y (cont'd)
Everyone sit down, I'll go and get the *
First Aid kit. And then we' 11 say *
grace. 'l'his is the boys' first *
Thanksgiving in this apartment and
we're going to do things properly.
OSBORN
Peter)
(to
Bow did you say that happened?
PETER
. . . Bike messenger. *
As Peter turns to Norman, his breathing sharpens, his eyes·
widen and fill with fear, suddenly and inexplicably
BIS SPIDER-SENSE
kicks in like crazy. Everybody around him slows to a crawl,
and his P.O.V. pivots around the room, rapidly scanning every
nook and cranny for the source of the danger that must surely
be nearby. Be flips from frozen face to frozen face -- Aunt
May, M.J., Noman, Barry -- all friends, right?_---s
100. Rev.-Green 12/18/2000.
107 CONTINUED: (2) 107
0 .
BAC1t IN THE APAR'l'MEN'l',
0 Bay, I like
HARRY
this girl, this is
illlportant to me! ·
OSBORN *
Barry, please. Look at her. You *
think a woman like that's sniffing *
around because she likes your *
personality? *
HARRY *
What are you saying, Dad? *
OSBORN *
Your mother was beautiful, too. *
They're all beautiful, till they're *
snarling after your trust fund like *
ravening wolves. *
HARRY *
Dad. . . This girl ' s not ... *
OSBORN *
(interrupts him) *
A word to the not-so-wise about your
little girlfriend. Do what you need
to with her and broom her fast.
Osborn leaves. *
What? *
*
10 9 IN 'I'D APAR.'l'MENT, 109
M.J. stands on this side of the door. Listening. Everyone
else is in the living room or kitchen. They can all hear. *
M.J. turns away and grabs her coat. Barry comes back in.
M.J. stoJ:mS past him.
BARRY
Where are you going?
M.J.
Thanks for sticking up for ma, Barry.
HARRY
You heard?
M.J. . -.
Everyone could hear that creep. *
101A. Rev.-Buff 1/9/2001
109 CONTINUED: 109
0 BARRY
(suddenly angry)
That "creep" is my rather! Al.right?! *
If I'm lucky, I've got the brains and
the guts to become half of what he is,
so you keep your g,,-ddamn mouth shut *
about things you don't understand. *
---,
~ 102. Rev.-Buff 1/9/2001
109 CON'l'INUED: (2) 109
0 Barry Osborn!
AUNT MAY
M.J.
You're acting like somebody's father --
.mine!
(as she goes)
I'm sorry, Aunt May .. *
She storms out of the apartment, SLAMMING
the door behind her.
PETER
Barry, go after her! *
BARRY
I don't think so.
PE'l'ER
Barry, coma on!
BARRY
No. I can't.
(to Aunt May)
Welcome to an Osborn Thanksgiving.
Be storms into his bedroom and SLAMSthe door.
PETER
Sorry, Aunt May. It looked great.
Be jumps up, gives her a kiss, and hurries out of the
apartment. Aunt May, shocked at all the discord, sits at the
table alone. *
AONT MAY *
We didn't even get to say grace. *
110 EXT S'!REET DAY 110 *
Peter hurries out of the building. Looks for M.J., sees her *
sitting on a nearby step. She's crying. The chauffeur-dri van
Bentley drives past. M.J. gives it the finger.
. .,..,
102A. Rev.-Buff 1/9/2001
110 CONTINUED: 110
_.,..,
103. Rev.-Goldenrod 12/22/2000·
110 CON'l'INUED: 110
0 She"laughs
She laughs
through
harder.
her tears.
Then starts
She blows her nose.
to cry harder.
"Bonnnk."
Be sits next
to her.
PETER (cont'd)
That's okay. Good cry.
M.J.
I'm sorry I acted like that, but I *
couldn't stay there. Being treated *
that way brings back bad stuff. I *
hate being thought of as if I'm not *
worth anything. *
PETER
I understand.
M.J.
I know you do. Your poor Aunt May.
But I can't go back in there.
PETER
She'll be okay. She's tough. I'~ *
never seen Mr. Osborn act like that. *
I've never seen either of them act *,:..
like th•t.
(a beat)
But I know Barry really loves you. :"t:t
M.J.
Sometimes I wonder why I ever went out
.'.·:.:.::}
with him in the first place·. I guess ,........<
because he asked me. Dumb, black
dress.
'\,.\\___::i /:·_::
--:--:
__
;",·. . . . ·,
PETER
~ - . .·/:,;:
.
.. ·~-::': ,...
·:,::.·
.""·.:.- :
However, you do look extremely -·..- •·':f•::;: ...::.;
beautiful in it.
She looks at him, smiles at him.
M.J.
Thank you. You look very handsome
_.,. ·yourself tonight.
An opportunity. Be could kiss her now, but he doesn't make a · \:,/':'. '.;
~-=::7::~
==~
~~::arm
,?;
' :I,~
111-113CMCT -.r-:: . 111-113'·?~..:..:~i"'
104. Rev.-Green 12/18/2000
OSBORN
Be did .•.
GREEN GOBLIN
Plucked your bsartsuings like a
111/Jster... Connived bis ,ray into your
heart, leaving no room ror Barry, your
!'RUB son and heir . ..
Closer to him now, we see what he's got in his hand. It's the *
mask he has worn as the Green Goblin.· Be's clutching it in
two hands, talking to it.
OSBORN.
It's true ... oh God ...
GREEN GOBLIN (0. S • )
And no,r, after everything you 've done
ror Peter. Parker, artsr everything
you've taught bi.llJ, !l'BIS is bo,r be
repays you?! ·
OSBORN
What have I done to Barry? What have
I done to my own son?
1"--
105. Rev.-Green 12/18/2000·
115 CONTINUED: 115
0 Betrayal
GREEN GOBLIN (0.S.)
111Ustnot bs countenancsd • .•.
Parker 111Ustbs ... educatsd.
OSBORN
What do I do?
GREEN GOBLIN (0. S. )
Instruct bi.Ill in the llllltters of loss
and pain •.. Nake bi.Ill suffer, lllllke bi.Ill
rrish he w,re dead •.•
OSBORN
Yes!
GREEN GOBLIN (0. S • )
And then grant bis rrish.
OSBORN
But how?
GREEN GOBLIN (0. S.)
!l'be cunning rrarrior attac::ks neither
body nor lllind • ••
-.r-:
,--·----·----
106. Rev.-Green 12/18/2000
116 CONTINUED: 116
0 Our Father,
AtJN'1' MI.Y
who art in heaven,
hallowed be thy name. Thy kingdom *
come, thy will be done, on earth as it
is in heaven. Give us this day our *
daily bread, and forgive us our
trespasses as we forgive those who
trespass against us.· Lead us not into
temptation, but· ...
Suddenly the wall behind her EXPLODES, SHA'l'TERZDglass flying *
in all directions.
Aunt May spins around, horrified, and falls to the floor. The
Goblin hovers over her and the room slowly fills with green
vapor and the horrible BUZZ of the Glider's turbine engine.
AUNT MI.Y (cont' d)
... but ... but .•. but ...
Aunt May pales as she stares into the Goblin's inhuman eyes.
GREEN GOBLIN
FINJ:SB IT! FINJ:SB IT!
Ber hands clutch her chest, she GASPS:
AtJN'1'Ma.Y
DBLIVER US FRal EVIL!!
Ber body arches, tenses, then goes limp. Ber eyes close.
GREEN GOBLIN
ANlCN, SISmR!
.....
,Cr •- J
~
,.
tium;+.
108. Rev.-White 2/5/2001
0 I'm sorry
M.J.
about that. Makes things
*
*
worse for everybody. *
PETER *
You were fine. Have you talked to *
Barry? *
M.J. *
Be called me. I haven't called him
back.
She turns away from Peter, looks at sleeping Aunt May. She
takes the time to tuck in her bed sheet.
M.J. (cont'd)
(without facing Peter) *
'l'he fact is, I'm in love with somebody
else.
You are?
M.J.
At least I think I am.
(turns to Peter)
'l'his isn't the time to talk about *
this. *
19
109. Rev.-White 2/5/2001
122 CONTINUED: (2) 122
0 No, go on.
PE'l'ER
Would I know his name? *
This guy.
M.J.
You'll think I'm a stupid little girl
with a crush.
PE'l'ER
Trust me.
M.J.
I'm like head over heals, it's
whacked ...
PE'l'ER
Who is he?
M.J.
It's funny. Be saved my life twice,
and I've never seen his face.
PE'l'ER
(pleased)
Oh. Bim.
M.J.
You're laughing at me.
PETER
No, I understand, he is extremely
cool.
M.J.
But do you think it's true, the
terrible things they say about him?
PETER
No way. That isn't Spider-Man, not a
chance in the world. I know him a
little bit. I'm sort of his
unofficial photographer.
110. Rev.-White 2/5/2001
122 CONTINUEO: (3) 122
0 M.J.
Bow do you always manage to find him?
PETER
Wrong place, right time, I guess.
M.J.
You ever talk to him?
PETER
Sometimes.
M.J.
Does he ever talk about me?
PETER
Oh ... yeah ••• once. Once he asked what
I thought of you.
M.J.
What did you say?
PETER
. (searching for the words)
I said ... I said, Spider-Man, I said
the great thing about M.J. is when ...
when you look in her eyes and she's
looking back in yours and smiling,
well, everything feels ... not quite
normal because you feel ... stronger. *
And weaker at the same time and you *
feel excited and at the same time
terrified. The truth is, Spidey, I *
call him Spidey sometimes, the truth *
is you don't know what you feel, *
except you know the kind of man you
want to be and what it is, is, it's as *
if when you're with her, it's as if *
you've reached ... the unreachable ... and
you weren't ready for it.
And he looks up, because these inner thoughts were said out *
loud, and M.J. is staring at him, tears welling in her eyes.
M.J. *
You said that? *
PETER
Oh ... umm... ssssomething like that~
Aunt May opens her eyes ... looks at them, unbeknownst to them. *
llOA. Rev.-White 2/5/2001
122 CONTINUED: (4) 122
Bello.
And they confirm it all by hastily withdrawing their hands.
Barry's face hardens.
·;i):
,. /.
.
111. Rev.-Buff 1/9/2001
0 OSBORN
I'm sorry ...
(pause)
I haven't always been there for you,
have I?
HARRY
Well. . . you' re busy. . . you' re an
important man, I understand that.
OSBORN
It's no excuse. I'm proud of you.
And I lost sight of that somewhere.
But I'm going to make it up to you.
I'm going to rectify certain ...
inequities.
Be comes into the light, slips an arm around his son. Bugs
him. It'd be nice, if it weren't so creepy.
OSBORN (cont'd)
I love you son.
126 Drl' HOSPITAL ROCM NIGB'l' 126
FAVORPETER, his eyes closed, homework on his lap. Then, as *
if from a horrible dream, he opens his eyes, startled, looks *
around, trying to come awake. *
WXDER. SB0'1' *
Aunt May, in her bed, looking at him. (M.J.'s flowers, now in *
a vase on the bedside table.) *
AUNT MAY *
Peter. Pete? *
PETER *
(suddenly aware, sees her) *
Buh? *
(he stands quickly, his *
homework falls to the floor) *
You' re awake. '1'hat' s good. Good. *
· You okay? *
AUN'l' MAY *
I'm okay, but I think you should go *
home and get some sleep. You look ~
*
awful. ~
*
:'
n:·
112A. Rev.-White 2/5/2001
126 CONTINUED: 126
0 PETER
And you look beautiful. *
(a beat) *
I don't like to leave you. *
AUNT lG.Y *
I'm safe here. *
PETER *
I should have been there. Maybe I *
could've done something. *
AUN'l' !G.Y *
Done something? *
She gives a light-hearted chuckle. *
AUN'l' !G.Y (CONT'D) *
You do too much. College, a job, all
this time with me -- you're not
Supm:man, you know.
(Peter can't help but find that *
funny) *
A smile, finally.
(MORE)
•.
,.
..:::-~--."
-~-~
126
~:~•F;
.:·•,_-·.•,
••\
115. Rev.-Buff 1/9/2001
A133 CONTINUED: A133
....-,
116. Rav.-Buff 1/9/2001
0 Because
GREENGOBLIN (cont'd)
you never know when some
*
*
lunatic will come along with a *
sadistic choice •.. *
Be shoves M.J. further out, so her toes are actually over the *
edge. She looks down, almost loses her balance. Cars race *
over the bridge platform, two hundred feet down. *
GREENGOBLIN (cont' d) *
Let die the woman you love ••• *
The Goblin loosens his grip on the cable, lets it slip through *
his ·hands causing the tram to drop, a sickening dip. The *
children SCREAM. *
A'l'OP 'l'BE BRIDGE *
The Goblin watches with glee, tightens his grip on the cable. *
GREENGOBLIN (cont'd) *
••• or suffer the little children. *
Spider-Man watches as the tram sways horribly, sees the *
pleading faces of the Children and their Fathers as they POtJND *
on the glass, begging for help. *
Ba looks back up, seas J.J. teetering over the edge, the *
Goblin's hand in her back. *
GREENGOBLIN (cont'd) *
Make your choice, Spider-Man, and sea *
how a hero is rewarded! *
Spider-Man is momentarily paralyzed, torn in half. *
The tram quivers. *
M.J. teeters. *
GREENGOBLIN (CON'l''D) *
This is your doing! rou caused this!
!'bis is tbs life you have chosen!
•--- r
19
. ,.. ·~:- .
Spidar-Man uses his free hand to shoot out a wab toward the
underaida of the bridqa. '1'ha wab sticks.
1,,....
..
v
1,6
14'7
INT.
equipment
an.
DIM - NIGH
'1'ha tram comas to
tumble
BRmGB BOADWAY -
a halt,
about.
mmr.r
bounces up and down. KI!)S, DADS and·.:.·.: ..·
?'1fJJ
A cz:olld has fozmad atop tha bridge. Sama cheer at Spidar-
Man'• heroics.
148 EXT. QtJDNSBOROBRIDGE
,.
Spider-Man's body is stratchacl to the limit with one hand
boldinq on to the cable, the other the web.
149 CKr:
··_
f~z{t
----- .·,. <;, ·.'
.·,-:
·-t:!Y:J:j~
,···.):S'.\;I
1 q.-
119. Rav.-Golclenrod 3/9/2001
149 CONTINUED: 149
0 *
150 EX'.I!. QOEENSBORO BRIDGE NIGHT 150
Spider-Man looks at M.J. *
SPIDER-lGN
Climb down.
M.J. turns, looks at him, confused.
SPIDER-lGN (cont'd)
'?ha cable to the tram, climb down.
. : -~ ~-..
M.J.
(voice quivering)
I can't.
SPIDER-lGN
M.J., just do it.
M.J.
I •m. scared .
• IC. ii.
to his
looks
ayes.
'tJ:ust ma.
him. in the
SPIDD-!GN
, ~ .. ( 1;
..
--The Goblin hauls o~~ and cold cocks him in the jaw, ZOCIIIUI . :::-:;;i/:
away. . . :i:\ ?:;~.
:. ,_:_~_
~~~-·;.i;;r,:::~•i
1
:, . :·,. .
-',.:;.:;-~.-·•:: ...r;
-~:
.. • ' I • • • •~: •
•
120. Rev.-Buff 1/9/2001
.-· / ~:~~. ;· .
Spider-Man thrashes about as ha spins out of control behind
the glider.
157
crashing :i.nto tha abandoned hulking ruin of a co~ amal.1 :·-~ .::·:~\;
..
..~-::.·_
·. . ..... ·.-:'.·
pox hospi.ta1 on ltoosaYalt Island below. -----.. ···--· .. -;:--•
\f~Itl
·-· ···--. ...._....·
~ ..... ,
..-:·-~r:;
··- ._-.,..,._,;_.__.
. ..,·'-:·:·."!"·~:"-:.'tt:.
-""''
-.,.
a,,,,:
,flllllli:,.
19
122. Rev.-Buff 1/9/2001
158 CONTINUED: 158
0 159-164a.!IT 159-164 *
Spider-Man comes to. can't qui ta make out where he is. Light *
streams in from the massive holes of the condemned structure. *
Dust dances about, making it difficult to see. *
Be looks up, hears the WBOOSBINGof the Goblin's Glider *
circling about. Ba gets to his feet, staggers and falls down. *
Pulls himself back up. Ba looks at himself, covered in blood, *
costume in shreds. *
Ba hears a strange blood curdling scrapping noise. Ba looks *
around, spots the lone unbroken window in the structure *
covered by a wooden shutter • *
• Ba approaches
the shutter.
flapping
through,
They encircle
the window, still punch-drunk and flings
A horde of razor bats press against the window,
their wings against the glass.
sanding shards of glass raining
back
Suddenly they burst
clown on Spider-Man.
him, diva, SLICE and SLASB at the few parts of
*
*
*
*
*
his body that remain unbloodied. Be screams out, tries to *
swat at tham but that only leaves massive gashes in hi.a hands. *
Spider-Man looks across at the wall on the far end of the room *
and races toward it. The sw&J:mof razor bats follow. *
Be runs full spaad at the wall, jumps, plants his feet on the *
wall and does a back flip. The razor bats fly under him, *
crash into the wall, crumple to the ground. *
Spider-Man looks at the heap of razor bats on the ground. A *
cocky smi.les creeps across hi.a face. *
SPmER-MJUf *
You ain't so bad. *
Bis happiness soon fades as more bats come after him. Be *
flips and tumbles around the structure to elude them, but is *
quickly overtaken as they revert to ripping him to shreds. Be *
falls to the ground. *
GREENGOBLIN (0. S . ) "*
Enough! p.: .. : 10 *
L
122A. Rev.-Blue 2/12/2001
166 CONTINUED: 166
GREENGOBL:m (CON'l''D)
Please ...
Spider-Man picks him up yet again, his rage is barely
controlled. Be pulls his fist back for another blow, and
knowing this one will put him down for the count, Goblin, to•
save himself, pulls off his mask to reveal No:i::manOsborn.
. 123. Rav.-Buff 1/9/2001
166 CONTINUED: (3) 166
0 Peter ...
GREEN GOBLIN (CONT'D) *
*
Spider-Man, his fist still in the air, ready to deliver the *
final blow, stares in the face of his best friend's father. *"
Shock. Disbelief. Be rips off pieces of his own mask to make *
sure he's seeing right. Be is. Be lets go of Osborn who *
slumps to the floor, looking up at Peter, pathetically. *
OSBORN *
(small voice) *
Peter ... thank God for you. *
Peter, his hands covered in blood, trembles, still with rage, *
shaken by the violence he feels inside.
PETER
Can't be ... you're a monster. *
OSBORN
Please, Peter, don't let it take me *
back. I need your help. I'm not a *
monster. *
PETER
You killed those people on the *
balcony, you could have killed your *
son. *
OSBORN
"I'l'" killed. 'l'he Goblin killed. I *
had nothing to do with it. Please, *
don't let it have me again. Protect *
me, I beg you. 'l'alk to me about this-- *
Surreptitiously, Osborn brings his right hand around in front
of him, unseen by Peter. On his wrist, the 'l'OUCBPAD CON'l'ROLS *
of the Goblin Glider.flash patiently.
PETER
You tried to kill Aunt May. You *
wanted to kill Mary Jane. *
OSBORN *
But not~, I would never hurt you. *
Osborn presses the RED BtJ'l"l'ONon the pad. Peter doesn' t see. *
Behind Peter, the Glider rises up into the air without a *
sound. Osborn keeps talking, to keep him distracted.
..,,
,;ll'fl.\:.-·
124. Rev.-Buff 1/9/2001
166 CONTINUED
: ( 4) 166
0 OSBORN(cont'd)
I knew from the beginning if anything
*
*
happened to me, you·were the one I *
could count on, you Peter Parker, ·*
would save me, and so you have. Thank *
God for you. *
During this, Osborn pushes himself to his feet. With his back *
against the wall, holds out a hand in pathetic supplication. *
OSBORN(cont' d)
Give me your hand. Believe in me as I *
believed in you. I was like a father *
to you. Be a son to me now. *
PETER
I have a father. His name was Ben *
Parker.
Suddenly a look crosses Peter's face. Osborn begins to *
cackle. It grows louder, crazier, totally, happily insane. *
BIS SPIDER-SENSE KICKS IN *
OSBORN *
God's speed, Spider-Man. *
Spider-Man's perception leaps outside his body and whips *
around, giving him a look behind him, just as --
-- the Goblin Glider's SPEAR rotates into position on the
front of the moving Glider, in ultra-slow motion, just a few
feet behind Peter, headed straight for his back!
In sudden real time, Peter hurls himself to the side, twisting *
and bending in a near-impossible contortion --
the Glider's turbine SCREAMSas it whistles just past him --
terror creases Osborn's face
and his or,n Glider rockets right through him.
167 ac:T
.---
--
167
125. Rev.-Green 12/18/2000
-- and sets the body down again, this time on the floor of
Osborn's apartment, beside wide-open French doors, curtains
wafting in the breeze. Osborn's body is dressed again, no
trace of the incriminating Green Goblin costume. Blood soaks
through Osborn's shirt, he looks like the victim of a murder.
Spider-Man takes a few steps away, toward the open French
doors, then hears a nearly-silent GASP from the door to the
apartment. Ba whirls around.
Harry Ollborn stands in the doorway, looking from his dead
father to Spider-Man, aghast.
BARRY
You •••
BARRY
!
NURDBRJJ:R
M----"
126. Rev.-Green 12/18/2000
168 CONTINUED: 168
<iijfi . ou mus .
. _J/t'1;r:',;;::
·
~!~~'.
- · ••.·.,""•;ii~,,· -~ ss . ,.~.,
.. b . ...;.,, ~, . • ••
~
~~~~If
·•:f'.f';.;:i:~~:~f
"<<·~·.:·./.'{
'· ..,..·.....,.-
~··.t: .
.......
_.._._
.· '·•·''-tl.i!· '1,,...(M ·J···
lif &t;;:J~E~;; pauses a beat.· Pater•"·· ':.:" .,.~· • ··1.·0••
::-..·.;,;;.ii • · .. 4( '• Sometimes ..what·· you-' want~· .. • you have ,to ·...-'·::.
,,.:>-··. .,_,. ,--..··~;,tcFtba'"'~_;.--•
'••;-"'..:~ : -~~
•·.....was· of~ .._.,Yf!'..
...
·, - ur l.ifa to·.:.,,..,;..,,,
find'.~·-·.· i~~,V~•
t '•i,t· r:i.qht next door .· ., .. .. •......
· · · -~··· I'-~~·.·."•,.,;--
•·· ...,_.... _,<.
•_.A••••
,,.
b od~~fl,_·,;_;_~,~, 1
-.r_.~':.~.~,l.~.:~.·-I.I_:~_i.•.i"'.if_(v_
:n_;_·_,'..·~.~.--:
..
M J .. (cont'd)
i.)ii'j,:;~\;;/:
••
_{_·_.~_;_;_,,'.:
. . .:: /ff:~- ':''.T;J~
·:::·;;'(ttft;/jr
·.•/:·
X.l~;-~-:~~~--,~~id for so long•-~::·):/:·--
....,
:L.:i:.:::;.i>i-~••'.;a,'?,*-1-Jl\1.~!1•
..man_who was aver~-: .::,
__
:.,, :
~: ~or· ma,-·who has always_ bean·.-1;'.:<·:--
.tbara•·fo£·ma.:\who :makes ma balieva.:·:, ·.. , ..-.,;:..•;
.
.~i¥Jl*
~--~·,:Just
'?·~r4:1than I aver th~u~ht·~:~ 't"_'.'f[f
,ras;.,::,f'l'hat Im ... ma, and 1t s ··c._-:·•'.f-;1
' .. s,.
-~'!iig'~&'~'last~'~
- °:li!~;s.;;~;:
.•
moved :'_'CAMERA
has
I
1
~- ~);,
slowly
__I
i~
ii~Jl
for·,:;
·:.:·,·
.'·":.:.-:,
.. :f
,:·
•' ..., ,:"=',
130. Rev.-Pink 2/15/2001
• ·.,..
Sura!
JAMESON
Another hostage story. But
where is he when 'l'he Graen Goblin
busted through my window? 'l'ha Goblin
and Spider-Man, in front of our noses!
A golden opportunity and the
*
*
*
*
*
*
photographer when to lunch. *
(looking off)
And what's that?
Ba's looking at an OFFICE BOY holding up a pair of trousers.
OFFICE BOY
Pater Parker's pants, J.J.
tDMl!:SON
What?
OITICE BOY
'l'hey were in the closet.
JAMESON
Parker's pants?
OITICE BOY
I ',
With his shirt and tie and shoes and
\___) socks.
131. Rav.-Pinlt 2/15/2001
A170 CONTINUED: A170
v~ ~t•s
JAMESON
going on here, who's he think
he is, Tarzan? Where is he, running
around the town naked? And who put
flowers on my desk?
MZSSBRJµff
I did, sir, it's your.birthday.
J»a'!SON
What're you looking for, a raise? I
don't want flowers, I want Peter
Parker, not his pants, I want
pictures, I wanta sell papers, I want
Spider-Man!
(Be continues on as:)
170 EXT CITY DAY 170
Spider-Man swings away, sbimmering into the glass and stone
canyons of his city.
FADE 00'1' •
.....
,.
-~.
_;