script-o-rama.com
Posting Excerpts From James Cameron's SPIDER-MAN 1995 Script
Austin Johnson
Ryan Rogers
>CLOSE UP on an elderly lady yelling "Peter... you're going to be late!" It's morning and she's calling up the stairs to...
>PETER PARKER. Age 17. Peter is in the bathroom, popping a zit in the mirror. He puts on his glasses and checks his look in the mirror. Still the same. Nerdy. He doesn't care. Screw 'em. He grabs a big stack of books and heads downstairs.
>Over breakfast we meet his aunt MAY and Uncle BENJAMIN. Nice people, but way too old to be the kind of role model parents a kid needs. Still, he loves them even if he forgets to actually mention it 99% of the time like any kid. Aunt May is thin and fusses over Peter too much. He indulges her. When he has time, which he doesn't this morning.
>Peter's parents were killed in a plane crash when he was six. He woke up one day without a family. Somehow he always felt guilty that they went away. As if he had done something wrong. His 17 year old mind tells him it was just fate, just a random accident... but deep in his subconscious that scared 6 year old still cries, begging for them to come home... he won't cause trouble anymore... he'll go to bed when they tell him.
>Uprooted, he moved from the only home he knew, in Maryland, to Ben and May's modest bungalow in suburban Flushing, NY. It is a low to middle income boredom-zone of tract homes pushed too close together. Peter actually goes to high school in nearby Forest Hills, a snotty high-income neighborhood. This makes him a poor kid from the wrong side of the tracks in the eyes of his status-conscious schoolmates.
Liam Brown
>Peter is a bright kid. He doesn't have many friends. He is ostracized for his interest in science. Our MTV culture frowns on people who think too much. Intellectual curiosity is decidedly un-hip. Who cares about where the universe came from or how the Greeks hammered Troy? Did you hear the new Pearl Jam album?
>Peter is defiant. He thinks they are the real losers. They'll be flipping burgers while he's discovering the cure to cancer. We'll see who wins in the long run. He wears his isolation like a badge... with an air of superiority. In fact, he is awesomely shy and desperately lonely and unhappy. But whenever this occurs to him, he loses himself in his studies, and finds a kind of peace.
>He has the 17 year-old's sense that he knows everything about the world, and can see so clearly all the things that are wrong with it. In fact he is very insulated and knows almost nothing about human nature in all its complexity. He doesn't even understand himself very well.
>Because his life of the mind is his badge of superiority, he frowns on the pursuits of the body. Sports? Forget it. Bunch of jock boneheads crashing into each other. Like stag elk in rut. Senseless violence. Girls? Good in theory, but how do you talk to them? Dancing? No way. He tried it once. Not a pretty sight.
>Peter is a virgin. And apt to remain that way for a while. He's your basic sexually pent-up adolescent. One other thing about Peter, though. He is a plucky kid. He's got true grit. He's never had an opportunity to prove this, to himself or anyone else. But he will soon...
Xavier Nguyen
>Tommy Lee Jones as J.J.J.
Fuck, I would've loved to see that.
Benjamin Murphy
>Never got Young leo as Spidey
I'm in the wrong fucking timeline
Logan Young
>That day at school, we see Peter with his friends, who are mostly straight-A misfit types like himself. In his last class of the day... his favorite. BIOLOGY... Peter daydreams about the girl across the room. Mary Jane Watson. Peter is captivated by her, though she doesn't seem to know he exists. The teacher tells them to pair up for term science projects and to Peter's surprise Mary Jane comes all the way over to him and asks to be his partner.
>Mary Jane needs at least an A in the class, or she won't graduate with a B average, and then her parents won't buy her a car like they promised. So she teams herself with Peter the Nerd. Mary Jane's girl friends in the class exchange looks and smirks.
>Peter flushes with the sudden proximity of the girl he has watched from across the room all year. She even smells good. He feels giddy.
>Peter of course knows he has no hope. Mary Jane is going out with one of the school's top studs... Nathan McCreery, AKA "Flash". Nathan is a top athlete, playing on the senior football team and head of the gymnastic team. He is also a tennis snob and drives a Porsche. Peter hates him utterly, on general principles. Peter takes the bus. His aunt and uncle don't have much money.
>Mary Jane is a popular girl, in a "sosh" clique, way out of Peter's league. She has it all... looks, money, handsome boyfriend. Peter oscillates between despising her and fantasizing about saving her from a burning building so she will be eternally grateful to him and maybe even kiss him. Peter is thrilled to be her partner for the term project.
If you get a feeling Cameron is self-inserting into Peter a lot, you would be right.
Ayden Martin
>School lets out. Peter walks Mary Jane out of the parking lot. Flash comes zipping up in his Porsche to pick her up. In an awkward moment of condescending generosity, Mary Jane invites Peter to go with them, to Flash's house, to play tennis and swim in the pool. Peter declines... he has an honors student science seminar he's going to at a nearby university. Anyway... he doesn't want her to see his pale skinny body next to Flash the stud.
>McCreery makes some offhand but cutting remark about Peter, then some of Flash's jock friends get into it... mocking him as well. Peter walks away, humiliated.
Samuel Mitchell
>LATER, at the seminar... Peter is touring the genetics lab of the university he hopes to attend if he can get a scholarship. The lab has one of the nation's leading research programs on recombinant DNA and gene therapy.
>As the tour moves through the lab complex they are able to get a glimpse of the restricted area where some of the more advanced research is done, through sealed glass doors. The professor shows them video monitors which show the images of bio-isolation flasks where genetic experiments are done on fruit flies.
>He says they are "using synthesized transfer-RNA to re-code the genome of the fruit fly... transferring genetic information from one species of fly to another."
>He points to the monitors, saying, "You can see the ten mutagenically activated flies on the left, the ten control flies on the right..." Peter mentions that he only sees nine flies on the left.
>While the scientist is counting, the camera moves to a high corner of the room. Caught in a spider's web, near an air duct, is the tenth fly. The spider approaches the struggling fly and begins to dine. Rack focus back to the professor... as he continues the lecture. They move on.
Eli Garcia
>Peter asks if he can take some photographs for his school paper. The group moves on, leaving him behind.
>The tiny spider drops down from above on a nearly invisible thread. Peter, below, is oblivious, as the arachnid descends. It lands on his hand as he is taking his last shot.
>He feels a stinging pain and sees the spider. He smashes it. Stands rubbing his hand. Then hurries after the group.
>Peter on the subway on the way home. He is rubbing his hand, which is red and swollen. He is perspiring and feels faint. His lips are dry.
Jonathan Jenkins
Whoever drew this made Flash look like a full-grown gym teacher.
Dylan Foster
>By the time Peter gets home, his vision is blurry. He goes straight to bed... avoiding Aunt May. He pulls off his clothes and staggers toward the bed, but collapses on the floor.
>He is wracked by a convulsive tremor, like a seizure. He is plunged into a psychotropic state... an abyss of dark visions which yawns beneath him. He falls into the maelstrom, barraged by hallucinatory manifestations. Disturbing images of webs... from a POV as if crawling over them. Glistening eyes in the dark. Sudden predatory lunges. Prey struggling hopelessly to escape. A David Lynch bio-horror montage of spiderworld. Shadowy images of rooftops... crawling over buildings and fences. Leaping through the dark air...
>Peter awakens in the sunlight. He opens his eyes, relieved to be out of the nightmare. That it was just a dream. He blinks, looking around and screams. He is about 80 feet up a high tension tower... wearing only his underwear. Below him, morning traffic moves along the street. Nobody looks up.
Gabriel Edwards
>THE NEXT DAY. Tight on Peter as he wakes up. He opens his eyes cautiously. Not knowing what to expect. PULLBACK to reveal that he is still in bed. All is normal. He breaths a sigh of relief. In fact... he feels pretty good. Lots of energy. He pulls back the covers and... Something is causing the sheet to stick to him. He lifts it, revealing a sticky, white mass completely covering him, gluing him to his bedding. It is some silky substance webbing him into the covers. He cries out in dismay... struggling to free himself from the gluey strands. Where did it come from? He notices his wrists... They are oozing a pearlescent white fluid from almost invisible slits about a quarter of an inch long...
Liam Lewis
>Peter pushes on the skin next to one of the slits and a dark shape, the size and color of a rose-thorn, emerges from beneath the skin...
>It shoots a jet of liquid silk into his face! Peter screams at the top of his lungs. Aunt May comes to the door. "Peter, are you alright?"
>"Yes," he answers, nervously. "I'm... fine, Aunt May. I was just... uh... practicing for a school play." Aunt May says she's so happy that he's getting into other activities.
>He gets out of bed and pulls the silky webbing off himself, realizing how strong the stuff is. He looks again at the horrifying "spinnerets" on his wrists. He is hyperventilating... freaking out. Like the guy in Kafka's "Metamorphosis", he has woken up to find out he is a bug.
Brody Walker
>That night Peter is working on his homework, trying not to let this new reality ruin his life. His window is open. He looks out into the darkness. It beckons to him. The blackness, once a source of fear, is now welcoming. He goes through the window, into the world of night. Instead of leaving his home, he feels like he is going home.
>He climbs onto the roof. He can see perfectly. He leaps to the house next door. The heights don't scare him in the least. He takes off running...
>TRACKING SHOT, going with Peter as he leaps from roof to roof... running along the peaks... finally leaping to a streetlight and doing a full flip around it. He shoots some webbing onto the light standard and slowly lowers himself to the street, landing perfectly. He bows theatrically to nobody. This is great!
>He doesn't know what's happening to him, thinks he is a freak, his body has become a stranger. Hopefully this will be seen correctly as a metaphor for puberty and its awakening of primal drives -- everybody goes through this growing awareness that powerful forces are driving them beneath their supposedly rational consciousness.
>SEQUENCE of Peter in the world of night. Climbing sheer buildings... exploring. Learning. Leaping from roof to roof to fire-escape to freeway overpass.
>Just when he is starting to get cocky, he slips off the sheer face of a high-rise and falls. He shoots a silk-strand out wildly... it catches on something and he swings in a wild arc through the darkness. He slams against another building and sticks by his palms and feet.
>He takes a breath, looking down. Close one, but he is exhilarated. Wants to push it further. It is the first time in his life he has ever been good at anything physical. It is like a dream.
Robert Garcia
>We explore the idea that the lure of the dark replaces fear of the dark... that the dark becomes a comforting, nurturing place for Peter, rather than a place of dread and uncertainty. He feels at home in the dark, secure there... it is the place he seeks for solace, for peace.
>Everything is backward for him. Night becomes his day... heights, previously terrifying now attract him. The air becomes his water, he swims weightless where other mortals would plummet and break. He is at home in places others fear. And it stirs something dark inside him. A predatory urge.
>We see Peter following a woman far below the street. He runs along a rooftop effortlessly. A shadow in the moonlight. The person below has no idea he is being stalked.
>We will hear Peter's thoughts (the equivalent of the thought-bubble word balloons) as a voice-over. He is tripping on the power of being able to come and go like a wraith... to watch without being seen. The ability to go anywhere he wants without asking permission. He feels like an adult for the first time. A man.
>He goes to Mary Jane's house. Drop down from the roof and looks in her window. She turns off the light, and thinking she is unobserved, strips off her clothes. She slips into bed in just her panties and a T-shirt.
>But even this forbidden glimpse is too much for Peter. He loses his concentration and with it his palm grip on the wall. He crashes into the rose bushes. He is bounding into the darkness as lights come on in the house behind him.
Jose Cooper
>CUT TO an opulent mansion in Manhattan. Marble floors. Priceless art on the walls. Camera tracking through the luxurious darkness, to a vast living room with a fire burning in an enormous fireplace.
>One wall of the room is covered with TV screens. A FIGURE watching it from a high-backed chair. Watching the Amazing Spider Man on the variety show. A hand appears from behind the chair-back. With a minute gesture (and no remote) the hand commands the TV screens, and they all switch to the channel on which Spider Man is performing. Twenty images of Spider Man on cable as...
>The audience claps and the host makes some backhanded compliment. A joke at Spider Man's expense. Peter, eager to please, doesn't get it. He does another trick. The band strikes up and they go to commercial.
>We reveal the figure in the chair. This is CARLTON STRAND. He is in his early forties and exudes power from every pore. He is wearing a very expensive custom-tailored suit. His hair slicked back, very GQ. His nails are manicured. His watch is platinum. He is the image of vast wealth attained, not inherited.
SPIDER MAN (V.O.): Carlton Strand. You think Trump was big. This guy was bigger. There he was sitting like a big fat spider at the center of his web of power and megabucks... and way out at the edge he feels this little vibration.
>Strand's eyes are piercing, blazing with a malevolent intelligence. He waves one hand minutely and the TV set goes off. A man enters the room. A square-jawed, solid-looking guy with a powerful build, named BOYD.
STRAND: Find out everything you can about this Spider Man.
>Body nods and exits.
Evan Morris
>CUT BACK TO PRESENT, in Strand's mansion. A WOMAN enters the room. She is stunningly beautiful. The kind of consort you would expect for a man of wealth, power and taste. This is CORDELIA. He motions her to him and she glides over, but stops a foot away.
STRAND: I must say, my dear. You look very usable tonight.
>She smiles playfully. He circles her, almost touching her. His hands move over her... inches from her skin. He leans close and breathes in her scent. But he can't touch her.
>She opens her silk robe. Underneath she is wearing a rubber wetsuit. He touches the rubber, running his fingertips over her. We hear a faint crackling of electricity. She seems both excited and apprehensive.
STRAND: I want you. Not rubber.
CORDELIA: No, Carl--
STRAND: Yes!
>Strand doesn't like the concept of no. He takes her in his arms and kisses her. With passion. And more... her hair stands straight out with the electrostatic charge. She begins to convulse, in tiny shivers at first but then like an epileptic. Suddenly she goes limp. Her eyes stare fixedly at the ceiling.
STRAND: Shit.
Mason Bell
>PETER STARTS slipping as a student, missing sleep... feeling the strain of a dual life. The only subject which has kept his attention is Biology, and he reads voraciously on spiders... ostensibly for his term project.
>Mary Jane of course hates him for volunteering them for such a disgusting project. Thinks he's a geek. He tries to get her to see the beauty in spiders... how perfect they are, how amazing, how their engineering is astounding, how flawless they are as predators... how adaptable etc... how amazing their web-making ability is... with the equivalent strength for its size greatly in excess of steel... how they can vary the width, speed, texture, stickiness etc.
>He tells her how some species actually care for their young. The mother spider can distinguish the vibrations in the web caused by her own young from the movements of prey of enemies... they "see" by touch. Cobweb spiders perform stroking motions on the web to call their young, and plucking motions to warn them of danger. Sometimes the mother cares for the young spiderlings by feeding them regurgitated food... Mary Jane is grossed out, looking at him like he just crawled out from under a rock himself. Somehow, in all this, he manages to make her laugh. She actually starts to like him.
Jack Harris
>Peter is walking out of the school with Mary Jane when they are ambushed by Flash. He starts to ridicule Peter, then threatens him. Peter just clenches his jaw and backs away. Peter does not believe in violence... and he has never thrown a punch in his life. It just wouldn't occur to him.
>Through a row of bushes he sees Flash grab Mary Jane by the arm and spin her around. They are arguing. Flash slaps her across the face. Peter is so enraged his hands snap a four inch tree limb without him realizing it.
Landon Turner
>Flash is walking to his car after gymnastics practice. It is dark. A figure drops silently down from behind him. Flash spins and sees a guy in a black fishnet mask. Thinking it is a robbery, Flash swings... only to grab his own fist in pain. It was like hitting oak. Peter holds Flash with one hand and slaps him hard.
SPIDER MAN: How do you like it? Huh?
>He slaps him again, backhand. Then he cocks back his fist and BLAM! Punches Flash so hard he flies ten feet. He picks him up, gets him in a painful armlock... marches him to his beloved Porsche and slams him brutally against it. He pounds Flash into the car until the jock collapses, semi-conscious.
>Peter then rips a signpost out of the ground and pounds the car into junk. Glass flies everywhere. Peter leans close to Flash and tells him to stay away from Mary Jane... or else.
>Cut to Peter running. He stops around a corner, out of sight. In darkness he stands panting... looking down at his hands. He rubs his knuckles.
SPIDER MAN (V.O.): I wonder if every hero remembers their first punch. Well, I do. Maybe it was all the bullies, over the years, kicking the skinny kid around. All that stored up rage just came out so fast it was scary. For a split second I just wanted to kill him. It's a good thing his car was there. I always hated that Porsche.
>Peter is gasping, shaking with emotion. He feels like this strange power flowing through him has unleashed demons. That he is becoming something he doesn't recognize. He doesn't realize that these primal forces are within us all... and the power, like the power of adulthood... gives us the possibility of acting on those dark urges.
SPIDER MAN: But the scariest thing of all was... belting that jock butthead felt so good.
Benjamin Richardson
>Peter comes into his room through the window, in his street clothes, at 2 a.m. He sits on the bed... and the door opens from the hall. Ben comes in and sits in a chair. He doesn't turn on the light.
BEN: I know I'm not very good at the father thing, Pete. You came into my life twenty years past my prime time... and I know you're wrestling with things now that I can't help you with much. I was your age once... I know, it's hard to imagine. And it was the most painful, confusing time of my whole life. I'm not going to pretend to have all the answers for you, but I want you to know we're here for you, May and I. You can talk to us. If you're having problems, we'll understand.
>Peter watches his uncle fumbling for the words. He notices that Ben's hands are shaking. He is touched. But how can he tell them what's going on in his head? Being a teenager in the 90's is complex enough... Ben is obviously thinking drugs, sex, gangs... but this Spider Man thing would be impossible to explain. He doesn't even understand it himself. Because he doesn't understand all the forces at work in his mind, conscious and subconscious. He thanks his uncle and tells him everything is okay.
>Ben leaves the room, knowing he has failed.
Cooper Gomez
>Peter unbuttons his shirt. Under it is the Spider Man costume. He looks at the spider emblem drawn on his chest. He takes the mask out of his back pocket and holds it in his hand. The eyes seem to stare back at him.
>CUT TO Spider Man, creeping around a high-rise. He sees a man and a woman arguing. The man starts beating up on her in a drunken rage. Peter can't stand to watch. She cries and tries to run but the guy catches her... hits her again. And again.
>The next time he draw back his fist, he feels something grab it and turns... There is a guy in a mask there! Peter decks the guy with one punch. It feels good to make a difference. To mete out a little justice. To defend the helpless...
>Which is what he's thinking at the exact moment the woman smashes a frying pan down on his head from behind.
WOMAN: Leave my husband alone!!
>Now they're both beating on him, and he retreats in confusion. This spider Man thing is going to be harder than he thought. People sure are complex. He has the physical powers, but not the wisdom. Yet.
Michael Russell
>The next day Peter learns that making money as Spider Man is harder than he thought. The TV shows can't pay him cash, so he has the sleazy booking agent cash the checks for him. Peter gets his uncle Ben to drive him to the booking agent's building, under some pretense. He goes in alone and changes into his costume in a restroom. Peter goes in to collect his money and the guy is broke, out of business. The guy tells him to beat it.
SLEAZY AGENT: Go ahead. You want to call the cops... Call 'en. I'm sure they'll be happy to press charges for you. The second you take off the stupid mask and show them some ID.
>Peter doesn't want anyone to know who Spider Man is. He doesn't want to be revealed as Peter Parker, the freak. He wants to spare his aunt and uncle the humiliation. As long as his identity is secret, then people can go on thinking the web-shooters are man-made gizmos... and not a part of him which he can not take off.
>As Peter is leaving, he encounters a robbery in progress on the same floor. The thief is wearing a ski-mask. He does a double take at Peter... two masked guys staring at each other. Peter notices the thief has a tattoo of a cobra on his hand.
>The thief runs past him, and down the stairs. A security guard runs up... a fat guy who has no chance of catching the criminal. He recognizes the Spider Man costume and tells Peter to go get the guy because he can't. Peter, dejected and pissed off, shrugs.
SPIDER MAN: It's not my job.
Jayden Smith
>Peter secretly changes and returns to the parking lot to meet his uncle Ben... Only to find a small crowd of people gathered around someone lying on the ground.
>It is his Uncle. He has been shot in the chest by a carjacker who pulled him out of his car and took off. Peter watches him die before the ambulance gets there. A random crime. Senseless. Hard to solve. Peter becomes obsessed with finding his uncle's killer. Using his Spider Man skills he begins a one-man manhunt. For the first time we see him using his new powers for a non-selfish end. He spies on the police, taking what they know and following his own leads.
>He tracks the guy down to a warehouse and goes in to get him. Peter drops into the room with the guy... who laughs when he sees him.
KILLER: Well. The fag in tights. We keep bumping into each other.
Brandon Bailey
>CUT TO two cops driving through the park. Spider Man drops down in their headlights, with the killer over his shoulder. He slams the guy, bound in webbing, onto the hood of the car and tells them he is the killer of Ben Parker. Peter expects to see some justice done...
>But the cops aren't about to take the word of some whacko in tights. The killer is wailing and trying to get free, saying this crazy guy tied him up, HELP! The cops tell Peter to pull off the mask. He won't. They tell him to come to the station with them. They put handcuffs on him and start to take him in. Peter becomes furious... that he is being treated like the criminal, when he has solved the crime and brought them the murderer. When he resists, the cops get rough.
>Spider Man breaks the handcuffs and hurls the cops away from him. They land on the pavement, and go for their guns. Peter, cursing, leaps into the darkness, catching a streetlight, swinging up to a rooftop, and vanishing. The bruised cops are amazed.
>That night a local TV station, owned by J. JONAH JAMESON, runs a story on the evening news that two cops were assaulted by the mysterious character known as the Spider Man. Thus begins Spider Man's feud with the cops and Jameson, his media nemesis. This can be developed over ensuing scenes as Peter accepts the mantle of crime-fighter.
>Jameson, using the media, shades the story, creating a threat... going for the dark side, peddling fear. Fear of the spider, which lurks in the dark. And fear sells. Jameson is getting ratings. It's a good story and he's going to work it as long as he can.
Nathaniel Bailey
>Peter goes after criminals now with a vengeance. He wants the world to have some justice... something that seems to be lacking everywhere he looks. He goes after crooks so single-mindedly and viciously that we fear for him... for what he is becoming. He seems to feed on it, going a little nuts. He makes enemies of virtually everybody, except for a few grateful victims or near-victims. Maybe it was all those years of being the helpless geek, kicked around by the schoolyard bullies, with no one to protect him. No father. No older brother. Now he wants to be the big strong older brother to the world. Fix it all. Let there be no more victims... no more pain. As long as he has this strength, these senses... he's going to go for it.
>One night he sees cops beating the shit out of a guy. He intervenes and webs up the two cops. Now spider Man is officially a wanted criminal. And Peter has crossed the line... with the realization that justice is something that exists only in the mind... not in a uniform or a badge or any symbol which our society sets up to represent it. And now, as a felon, he can't make any more public appearances for money. He's back to square one... broke.
>Peter feels outcast, persecuted, misunderstood... answerable only to himself... and he doesn't have the answers. He is alone in a moral wasteland, without a map or compass. He is totally isolated... with no parents to talk to, with no one to confide in who would understand what's going on inside him.
>He needs someone to tell him what to do, what to be. And there is no one. He tries to ignore his powers... and the path of non-commitment is the guilt and pain of his uncle's death. He realizes he must accept responsibility and use his gifts, but how?
Ryan Turner
>The cops want him. He can't go work with them. Does he ignore the crime and injustice going on around him or become a vigilante? When he stops criminals in the act, the cops hate him more for making them look ineffective. He is condemned in the media as a vigilante.
>Oh, and incidentally... he still has to deal with the actual bad guys themselves, who want him dead. He's hurting their business. He's got them looking over their shoulders. All the gangs in the city, and the mob, the crack dealers, the Colombians, everybody... they all have a grudge against this guy.
>At the same time, in some neighborhoods, he is a local legend. Crime is down, and the friendly neighborhood Spider Man is a welcome sight. And everybody wants to claim him. Black kids think he's black. White kids white. Hispanic etc.
>"Spidey man ain't no white dude. He too down. What I'm sayin. You see his moves? He definitely a brother."
>"No way, home. My brother knows a guy that talked to him once, man."
>Italians say he's Italian. Gays think he's gay.
Carson Robinson
>Peter, working with Mary Jane to finish the science project, discovers that she is a big Spider Man fan. She thinks he is mysterious and romantic... someone with courage and conviction. And she relates to his need for a mask. To keep his inner self private.
>Peter wants so much to tell her... but he can't now that he is a wanted criminal. He follows her after school and she goes by herself to her private place. The place she goes to think. None of her friends even know about it. He watches her from a high place.
>ON MARY JANE, walking home. She is being followed by some punks. They accost her. There is no one around to help. She screams and they drag her off the street into an abandoned junkyard.
>Suddenly, Spider Man is there. He trounces the attackers and webs them up. He knows by now that without a crime actually taking place, the cops won't even hold these guys, so all he can do is warn them.
SPIDER MAN: If you worthless chunks of vomit show your faces around here again, I'll decorate my Christmas tree with your intestines. Got it?
>They get it. They're still worthless chunks of vomit, but at least they'll be somewhere else.
>He picks Mary Jane up and whisks her through the air, swinging from roof to roof. It is a wild fantasy ride for her... like a dream. He takes her to the top of the top of the world... literally. The stainless steel globe from the '64 World's Fair in Flushing Meadow Park. They sit up there in the moonlight. she melts against him. And with the confidence which the mask gives him... he kisses her... through the fabric. It is a tender, sensuous moment.
Jace Evans
>What does Strand want? Somehow he senses, though he does not know who Spider Man really is, that he is young. Strand wants to take him under his wing. Teach him. And Peter, needing a father figure, is seduced by this. Strand has had years to ponder the nature of his gifts, and he is so brilliant. The things he says make so much sense.
>Strand believes that they are extraordinary individuals joined by fate. That's why he sought out the Sandman... and now wants Spider Man to join. Out of 5 billion people, they are the special ones... not freaks, but masters... each created by a fluke of technology. It is some new form of evolution.
>Strand invites him to the Manhattan mansion. Peter has never seen such opulence. Strand sips a martini and strokes the electric eels in his huge aquarium. Peter stares around at millions of dollars worth of art and antiques. Strand says the whole Spider Man costume and character are pretty juvenile, and wants to know who he's really talking to here. He asks him to remove the mask but Peter won't.
>Strand expands his vision of the "special ones": The huddled masses exist, in their vicious ignorance and limitations, to lift a few exceptional people on their shoulders. However unwillingly. That's what human evolution is all about... the highest common denominator, not the lowest. Natural selection honors the efficient predator. And Spider Man has the instincts of a predator. The top of the food chain is always held by the most advanced predators that millions of years of evolution could produce... noble creatures like the wolf and the lion, not the cud-munching herd beasts...
>We honor competition right? We honor winners. But for every winner there must be a thousand losers. It's a law of nature. So you must ask yourself... am I a winner? Or a loser?
Eli Taylor
Looks better than MCU Spider-Man
Kayden Lopez
Go get'em, tiger.
Logan Ramirez
STRAND: We are more than human, you and I. Not less. We deserve whatever we can take. It is the only true law. The law that existed for half a billion years before the laws of man.
>Cordelia comes on to Peter, trying to get him to relax. Strand watches as Cordelia does her thing. Peter is starting to get a bad vibe. Strand takes him aside and says if Peter joins him he can have his fill of Cordelias, they come with the territory.
>Strand holds a lightbulb by its base, between two fingers. He holds it over Peter's head and makes it glow.
STRAND: Starting to get the idea, kid?
>Spider Man says he's not interested in a girl with values that screwed up, and he's not sure he likes Strand any more either.
>Strand makes the mistake of going too fast. Of assuming that Peter will accept his amoral view of the world immediately. When Peter finds out that Strand is a crook, he says they are enemies. Strand says Spider Man cannot afford any more enemies. As a demonstration he blasts Peter across the room with a bolt of power, stunning him.
Jacob Powell
>Strand begins a campaign to win Spider Man. First he buys the TV station and gives J. Jonah Jameson and unlimited budget to bash Spider Man.
STRAND: Here is what you will do. You will fixate on Spider Man. You will devote every program solely to him. You will not rest until this psychopath is arrested and his identity is revealed. He is a menace to the public. Trust me, your ratings will soar.
>He gets stories on network, and into major magazines and papers owned by his media conglomerate.
>Strand's agenda is to make the world such a hostile place for Spider Man that Spidey will be driven back to him. Strand can say, "see how fucked-up people are? See how
frightened and dangerous they can be?" He wants to sour Spidey on humankind.
>Then he wants to be there for him, as the only one who understands what it is to be different from the herd. To be truly alone.
>He even gets thugs to dress up in knock-off Spider Man costumes and rob stores, beat people up. Push down old ladies. There is a proliferation of Spider Man sightings, all negative. Now even the neighborhood people don't trust Spidey. When he tries to help they tell him to get lost.
Jeremiah Rogers
>Peter gets the flu one day and he still has to go out and do the superhero bit. He's swinging from building to building and has to stop on a ledge and throw up. A black kid sticks his head out.
KID: Hey yo, hey yo, Spidey. S'up, man?
SPIDER MAN: I've got the flu.
KID: Hey yeah. 's'goin' around , man.
>The kid goes back in. His mom asks "who you talking to?"
KID: Spidey got the flu, mama. He puking on the fire escape.
MOM: Well you tell him to "spidey" his ass on over to the next building and throw up there. Shit, it's bad enough with the wino's in the neighborhood...
>Peter is disheartened by the ungrateful response of the general populace to his well-meant attempts. And then he hits a string of bad luck, where his intervention makes the situation worse, because of his lack of experience in human affairs... the sheltered science nerd gets a rude education in the ways of the world. He comes in contact for the first time with the pain, desperation, and frustration which causes criminal behavior.
Landon Gray
>Peter will have a crisis of faith, where the burden of the world's ills becomes so overwhelming that he feels paralyzed. His new power is partially about the power to see, and the responsibility to not turn his head away -- he can go into the shadows, look in the windows, watch us all from above... and he will see human nature for what it is. He will enter a moral twilight zone where the victims and the crimes are not so clear cut, where it is hard for a well-meaning crusader to jump in and help or save when the victims must be saved from themselves, or from a society which grinds them down. And how can one man, one boy really make a difference? The tide of injustice and pain is too great... too overwhelming.
>Like an avalanche thundering down on him... until he starts to think there are no good people to save. Only varying degrees of bad. That the whole city is a toilet of greed and dark passions.
>He busts some thieves only to find out that they are just a bunch of kids, like himself. One of the kids runs, trying to escape, and slips off a fire-escape. Peter tries to catch him but he can't. The kid hits the street and dies.
>Just kids. Needing some money in a tough world. Just like him. The line between good and evil is getting blurred.
Joseph Nguyen
>Aunt May can't make the house payments on just her social security check. Now with medical bills piling up. Peter is going to have to get a job. Let's see... there's Pizza Hut. Or the car wash. Or... mmmm. There's always the 20,000 dollars in twenties and fifties sitting on the coffee table of the drug dealer's house he just dropped in on.
>There won't be any objection from the drug dealers, who are all webbed up and waiting for the cops (who will take credit for the bust). And there's the money. Go on, take it. Aunt May needs that operation. Her medicare won't cover it. Why should she suffer in pain? Maybe die? There's the money. Nobody would know. Spider Man can move like a ghost. And Peter would have a little extra cash. Stop having to ride a moped or take the bus. He could buy a car... and take a girl on a real date. That would show those sosh buttheads with the dentists and lawyers for dads... the smirking laughter of all the Mindys and Mandys and Sandys would finally stop ringing in his ears.
>He is hovering on the brink of going over the line... of becoming a criminal himself. He sees the opportunities right in front of him. It would be so easy.
>CUT TO: TOP OF THE WORLD TRADE CENTER...
>Spidey's lonely vigil. Still hanging upside down, over the world of bright lights and chaos.
SPIDER MAN: I figured being your friendly neighborhood Spider Man would get easier as I went along. Well... I'm waiting.
>CUT TO SPIDER MAN, his hands reaching slowly for the stack of bills. He looks into the eyes of the drug dealer.
SPIDER MAN: What the hell are you looking at?!
>He leaps out the window with the money.
Lucas Collins
>CUT TO next morning. A parking lot in a bad neighborhood. Asphalt, chainlink and graffiti. Kids playing basketball. Suddenly hundreds of bills come fluttering down into frame like green snow, scattering far and wide on the wind. The kids chase the bills up and down the block. It is an instant celebration in the whole neighborhood. Somebody looks up in time to catch a glimpse of a red and blue figure swinging between rooftops.
SPIDER MAN (V.O.): What was I gonna do? Track down all the crackheads and give it back? Anyway, I figure there's more than one way to be a saint in this world. But I've gotta tell you, even fighting Sandman was easier than turning that bag upside down.
Joshua Johnson
Anyone reading?
Aaron Sanchez
I do OP.
Gavin Martinez
>MARY JANE goes alone to her private spot. She is sitting, thinking, when she hears something behind her. She turns as Spider Man drops down to her, and gasps, startled by his sudden presence. She feels a rush of excitement as he offers his hand to help her up.
SPIDER MAN: Do you still trust me?
>Her answer is a kiss. Sweet and soulful... their lips separated by the sheer fabric of the mask. She can feel his breath on her face.
MARY JANE: Where are we going?
SPIDER MAN: It's a surprise.
>CUT TO: The Brooklyn Bridge. A stunning aerial shot. A tiny shape swinging in an arc, racing past the support cables, sweeps toward us. It is Spidey, with MJ in his arms. He shoots another web strand, swings to one of the stone towers, and races up the side. She is light as a feather in his arms. She screams like a kid riding Colossus, in fear and exhilaration. They pass us. Her screams continue, fading as he carries her up to the dizzying heights above us.
>ON TOP OF THE BRIDGE TOWER. Hold a beat. We hear screams approaching. Spidey appears and sets her on terra firma. She clings to him, looking down and around in wonder. He has put the world at her feet. She can't believe this is happening to her.
Aiden Roberts
>In a dizzying down-angle we see how the suspension cables all meet radially at the top of the tower... like the treads of some vast spider web. Peter and MJ seem to sit at the very center of the web, surrounded by the lights of the city. It is a warm spring night. And the moment is pure magic.
>She stands with her back against a girder, needing to feel something solid. Spider-Man stands before her, a perfectly formed male silhouette with a soothing low voice.
SPIDER-MAN: Courtship among the spiders is highly ritualized. It varies from species to species. The male spider may circle the female, or wave his front legs... to signal that he is not prey.
>Spider-Man moves in a hypnotic arc around her. He raises his hands in a dance-like movement. Lowers them.
SPIDER-MAN: The female usually signals her willingness by an uncharacteristic passivity.
>MJ takes a deep breath. Her lip trembles. Her knees are weak. Her eyes, though, are steady, gazing at the silhouette before her. She doesn't move or speak. He moves closer.
SPIDER-MAN: In certain crab spiders, such as Xysticus, the male will attach strands of silk to the female... tying her limbs...
>Spider-Man moves his hand gracefully across her, and she sees the sheerest silk webbing glinting in the moonlight. First one wrist. Then the other. Hypnotic movement in the moonlight. Her arms are bound to the wall. Her breathing gets more rapid.
SPIDER-MAN: Since the female can break free at any time, the bonds have only symbolic significance.
MARY JANE: The male must be very bold... to take such liberties with the predatory female.
SPIDER-MAN: Yes. He is very bold. But he must also trust her.(he moves very close) Close your eyes.
>He removes his mask and kisses her. Their mouths very slowly and very sensuously devour each other. Peter and MJ are locked together. He is mesmerizing, gentle, powerful. He pushes up her skirt. They make love, high above the world. She doesn't look.
Joseph Myers
>CUT TO STRAND, in his luxurious living room. Boyd is showing him a videotape he shot the night before. It is a shaky, long lens shot, quite amateurish. We see Spider Man drop down to MJ, startling her, then he and MJ kissing. Finally he hoists her in his arms and swings off into the darkness.
>Boyd says he followed the girl for two days, but it paid off. Looks like she's this spider geek's main squeeze. Carlton Strand just nods. Thinking.
>The Sandman comes to MJ that night and puts her to sleep. When the chloroform wears off, she wakes up at Strand's place. A prisoner.
>When MJ turns up missing, Peter goes to her house. He finds traces of sand in her room, and figures out what has happened.
>At that moment, Jameson is airing a tape which was submitted anonymously to the station. It is Boyd's tape, but the kiss has been edited out so what you see is Spider Man dropping down, surprising MJ, and then whisking her off into the darkness. The announcer says police have no other leads in the case of the missing girl, and this tape is compelling evidence that Spider Man may have kidnapped her.
Jaxon Rogers
>PETER reaches the World Trade Center towers. He starts to climb... racing up the sheer metal face of 2 WTC like he's never climbed before.
>He crashes through the glass into the observation deck. There he confronts Strand, who is holding MJ. Peter tells him to let her go and Strand shrugs.
STRAND: I don't care about her now that you're here. She was just a lure. It's hard to get a meeting with you, young man.
>MJ goes to Spider Man. She seems to be okay. Strand comes over to them. He gestures to the world laid out at Peter's feet, like it's something he made just for him. The city glitters like a billion jewels, as far as the eye can see.
STRAND: Relax, kid. I just want to talk.
SPIDER MAN: About what?
STRAND: About you. About your career. Think of me as a kind of guidance counselor. So let's take your chosen field... hero. See? Bad choice. I'm recommending against it.
SPIDER MAN: It's not up to you.
>Strand goes to the window and looks down. He puts his hands on his hips, surveying the world below like some wise lord.
STRAND: Think about it. You can't save the world. Why? Because you can't save people from themselves... from their own brutal and venal natures. You're either a predator of prey in this world. A killer or a victim. People are by nature violent, stupid, confused, greedy. Why waste your gift on the ungrateful masses, who would love to see your mask ripped off and see you dragged through the slime. The only thing they love more than a hero is to see that hero fail, fall, screw-up... to see him exposed in a scandal, arrested with his pants down, caught with his hands in the till. You know why? It lets them feel better about their own miserable lives.
>He turns dramatically to face Spider Man. He moves closer, his voice hypnotic.
Daniel Nguyen
STRAND: It's a myth that people need heroes. People hate heroes! Heroes make them feel bad! By creating examples they can never live up to. As long as the media can show, day after day, that the people they respect and admire are just as twisted inside as they are... they're reassured. They can sleep at night. They can face their puffy faces in the mirror in the morning.
>MJ looks at Spider Man. It is impossible to read his expression through the mask from her perspective (though by clever lighting we will be able to see the uncertainty in his eyes).
STRAND: Misery loves company. And everybody's miserable. You run around in your long underwear coming off to them like some holier than thou saint, Mr. My Socks Don't Smell... you're heading for a big fall. They hate you.
>Strand step up to Peter.
STRAND: I want this to work out. You're a smart kid. Like those phony bracelets. That was a good idea.
PETER (alarmed): What are you talking about?
>Strand puts his hands on Peter's shoulders.
STRAND: Son. I know your secret. See... I had the web material you left all over my living room analyzed. It's real spider silk.
>He grabs Peter's wrist and rips off the fake wrist-shooters. Looks closely at his wrists. Bends the hand back, forcing the spinneret to poke out a little. Mary Jane looks a little shocked at that one. Peter sees the fear in her eyes and his will seems to collapse. He sees everything she feels for him changing in a second. It's true. He's a freak. He is no longer human.
STRAND: You can take off the costume, but you will always be the Spider Man.
SPIDER MAN: It's just Spider Man.
Christopher Gray
Why is this so dark and depressing?
Colton Thompson
STRAND: The point is, you are not a hero. You are a spider. It's something you don't have a choice in. And spiders are predators. They kill to live. They are not hampered by humanitarian ideals or impeded in their lethal efficiency by delusions of morality. They are pure. Powerful. As God made them. There are no merciful spiders. There are no vegetarian spiders. It is now time for you to face and accept your true nature.
>Strand turns again to the window, this time putting his arm around Peter's shoulders. Father and son, staring down at the world they can own.
STRAND: Join me. Together we can shake this two-bit planet down for its last nickel. Take what is rightfully yours. You have been given a great gift, for a reason. Do not squander it.
>Peter stares out at the vista for a long time. It all makes so much sense. And it seems to explain so much of what he feels. All this churning confusion.
>Strand gestures to Boyd, who walks to a shape in the shadows nearby. Its about the size of two refrigerators and its covered by a tarp. Boyd pulls back the tarp to reveal... Money. Neatly stacked and bankslipped piles of hundreds. Six feet tall by eight feet long. Mary Jane gasps.
STRAND: Of course I seldom carry cash, but I had Boyd bring this for demonstration purposes. Much more dramatic than a bank statement, wouldn't you say?
MARY JANE: How much is it?
STRAND: It's about... what is it, Boyd?
BOYD: Two hundred and fifty.
MARY JANE: Thousand?
STRAND (insulted): Million, dear girl. Million. It's all I had lying around on such short notice.
STRAND: Of course it's chump change compared to what you and I could do together. It's out there. All we have to do is take it. You know how I get this? It's a half a cent here, a half a cent there... electronic transactions taking place a million times a second... all over the world. And nobody misses it. That's the beauty.
Austin Murphy
SPIDER MAN: You know, I took some money once. It was easy. It was just sitting there. It was the solution to all my problems, and there was nobody to stop me. Nobody could touch me. So I took it. And you know what I found out?
STRAND: What, son?
SPIDER MAN: That there is a line you don't cross. And that sometimes you only find the line by tripping over it the first time you cross it. But once you do, you always know right where it is.
STRAND: Oh, please! Next you're going to tell me you gave the money back.
SPIDER MAN: More or less.
STRAND: This is a disappointment.
SPIDER MAN: Listen, you want to talk about fate? Maybe there is a reason for all this. Maybe I was put here to stop guys like you when nobody else has the balls.
BOYD: Pretty tough talk for a guy in a danceskin.
>Strand moves without warning, grabbing Mary Jane before Peter can pull her away. She feels the current running through her. Peter lunges forward and Strand turns up the juice. Mary Jane cries out.
Nathaniel Scott
>Peter stops. He can only watch helplessly as Strand toys with her life. Strand grabs her head and kisses her. The voltage makes her hair shoot straight out. She starts doing the watusi.
STRAND: See how power turns women on?
>He breaks the kiss. She slaps the shit out of him and he kisses her again, this time at a much higher voltage. MJ starts to convulse wildly. Meanwhile, Sandman has dissolved and is flowing across the floor. He reforms behind Peter and grabs him in a grip of solid rock. Peter struggles as Strand electrocutes MJ. She bucks and goes still. Her head falls back and Peter sees her staring eyes, pupils fixed and dilated. Dead as they come. Peter can only stare in horror.
STRAND: Mmmm. What should we do? Call 911?
PETER: I'll kill you! Motherfucker! You hear me?! You're dead, you sick bastard!
STRAND: See! That's my point exactly! You are a killer, kid. You've got it in you. Why don't you accept it? You want to rip my throat out right now.
>Strand puts his hand on Mary Jane's sternum and zaps her with a defibrillating pulse. She arches, then relaxes. Her chest starts to move. She opens her eyes, weakly, seeing Strand looking down at her.
STRAND: I think there's real electricity between us, don't you?
>Peter goes berserk.
Bentley Torres
>She starts doing the watusi
Lmao
Carson Morgan
He fires webs at MJ, jerking her out of Strand's arms before he can react. Then... Mustering all his force, he EXPLODES the Sandman into loose chunks, which rain down around the room. He dives out of the way of Strand's first bolt of lightning, which sets a wall on fire... Peter tackles MJ and scoops her up... Diving right through the glass, a quarter mile up... Her scream vanishes on the wind.
>Sandman chunks dissolve into puddles of sand and quickly flow together... forming back into a human shape. Strand, in a fury runs to the window, looking down. No sign of Spider Man. Looking up he catches a glimpse of a figure leaping from one tower to the next... carrying MJ to safety. He fires a lightning bolt which sears the night. It explodes glass out of the north tower.
>ON THE ROOF of the tower, Spider Man gets MJ to the stairwell door. He rips it off its hinges and he tells her to run. She starts down. Then turns back to him.
MARY JANE: I love you.
SPIDER MAN: Cool.
>He turns to see...
>Across the gap, on the outdoor deck of the south tower, Sandman and Strand come out the door. Strand fires lightning bolts across to the other roof, blasting debris into the air. Peter knows enough not to leap onto the microwave tower... a natural lightning rod.
>Strand summons a furious force field of electromagnetic energy, like a sorcerer calling up a demon. The fiercely glowing plasma leaps across to the base of the microwave mast on the north tower. It starts to glow cherry red. Concentrating, he uses the electromagnetic force to bend the microwave tower toward him. It topples, falling across the gap. Bridging the two towers.
>Sandman leaps onto the bridge and runs across to Spider Man.
>THE FINAL BATTLE IS JOINED.
Gavin Jackson
This were the movie Arnie would play Dock Oc weren't it
And that grampa next to Sandman pic is Kyle Reese?heh
Thomas Mitchell
>Peter has a major slugfest with Sandman, during which they pound each other mercilessly and reduce every object in sight to junk. Peter is pummelled, his costume ripped half off... Sandman gets spread around and reforms...
>All the while, Strand is ripping open the power panel next to the huge roof fans... Pulling out the 440 volt main cables... And FEEDING off the power... Screaming to high heaven as the energy blasts through him and... A blackout darkens the whole lower half of Manhattan... And Strand conjures a writhing, living field of blinding blue-white force around him. It lifts objects into the air and melts the steel railing near him. The power of his mind to control the electromagnetic forces has grown exponentially.
>Sandman pounds Spidey into semi-consciousness. Hurls him off the roof... But he catches a web and pulls himself back up, like one of those spiders you can't get to stay down the drain...
>Spidey sees Strand readying a mega-blast... He leaps as the bolt rips along the edge of the roof... Blasting glass into space and fusing the steel in a glowing track a yard wide.
>Spidey sees that Strand is about to fire again... He fires a web at Sandman, lassoing him... Just as Stand unleashes a bolt... Spidey drops over the edge, pulling the web taut... Jerking Sandman, screaming, right into the path of the lightning beam...
>The furious bright plasma wraps over the Sandman... Fusing him into molten glass.
>Strand swears and runs across the bridge to the north tower. Sandman is a smoking lump of melted glass in the vague form of a man. Poised, cooling, in a position of agony. Like Michaelangelo's dying slave. His glass mouth is a shapeless pit of eternal pain. Bummer.
Ayden Brown
>Hey... you jerk... you phony Spider-Man... Prepare to meet your death, bug.
>Actually, I'm rather fond of living... especially now...
Easton Morgan
>Strand looks around and in a fury. Spider Man appears around the superstructure of the tower with a fire hose. He unleashes a stream of water at Strand just as he is summoning a surge of power. It shorts, and there is a tremendous steam explosion. They are both hurled several yards. Spider Man comes up running and dives at Strand, smashing him brutally across the face... Pummelling him even as Strand shoots pulses into Peter's body which cause him to scream and writhe in agony.
>Peter is hurled back against a wall... He is crumpled on the ground, his costume in smoking rags... And Strand, unsteady and bleeding, advances.
>Strand summons his amperage for a single, lethal blast. The veins stand out on his neck and forehead. This is the big one... And Peter raises his head, his eyes steady... They lock eyes... And in the blink of an eye... Strand fires. Peter leaps. In midair he tags Strand with a loop of web and sails past him...
>Over the edge... Jerking Strand with him, over the side... And they fall together, down the face of the tower...
>Strand screams, unleashing bolts of power in all directions... From a distance it looks like some kind of fantastic Jacob's Ladder as the arcs light up the gap between the two towers.
>Strand's death fall is one of the most beautiful displays ever seen, like a symmetrical release of the energy which created him out of art and the elements.
>Falling... Peter, fighting for consciousness, fires webs at the wall. One finally sticks... But it breaks.
>They're going too fast... He fires one at the far tower, fifty feet away... It grabs, and he swings toward the tower, slamming against it as the line pulls taut, HOLDING. Jerking him to a stop, from a hundred miles an hour to zero in one second.
>And Strand rockets past him, still falling... Peter holds the web with all his might, stopping Strand so suddenly that he slams into the steel columns along the side of the building with a sickening smack. The lightning stops suddenly.
Jaxon Cruz
>OBSERVATION FLOOR, SOUTH TOWER: It is the window Peter shattered leaping out with Mary Jane. He climbs painfully up into view. Moving slowly, he swings in until he is on the floor. He pulls up on the taut lifeline, dragging a semi-conscious Strand up into the building. He lays him out on the floor. A few stray arcs as Strand's broken body dangles at the end of Peter's line. The sound of sirens wafts up from the street far below.
>Strand is bleeding badly, and broken inside. Dying. Peter's mask is ripped half off by the fight. He pulls it off his head, showing his face to Strand for the first time.
STRAND: What's your name, kid?
PETER: Parker. Peter Parker.
STRAND: Peter Parker. So... what're you? Senior in high school?
PETER: Yeah. I graduate next week.
>Strand chuckles weakly, coughing blood from ruptured lungs.
STRAND: Unbelievable.
>He dies.
>Peter sags, spent. Then he sees the pallet of money. Two hundred and fifty million dollars. Stolen a half a cent at a time from a billion accounts all over the world. Impossible to give back. What the heck.
>People don't notice the cloud at first. A green cloud, covering the city... a cloud of hundred dollar bills fluttering out across the city on a brisk breeze. Spreading for miles. But New York notices when it reached the street. From Central Park to the Battery, it is one big street party. On a warm evening, the first night of summer, it's raining hundred dollar bills as far as the eye can see.
Cameron Morales
>CUT TO PETER, at school. It is the end of the schoolyear. He has a lot of bruises. He tells them he fell off his moped. They think he's a putz. MJ is back too. She is very quiet. She doesn't hang with any of her old friends. They think she's odd now. She doesn't care.
SPIDER MAN (V.O.): There was still the small matter of the woman I loved...
>Peter and MJ get their grade on the science project. A+. He is happy for her that she will graduate with a B and get her car. But she doesn't care about that anymore. She's decided to go to a different collage, get her grades up, and then go to med school. She thanks him for helping her see the wonder of things. She kisses him. And whoa... wait a minute. Why does that kiss seem so familiar? Peter is smiling. Not a geek. But confident. Even, somehow... charming.
PETER: Mary Jane. Close your eyes.
>She does. Puzzled. He moves very close to her.
PETER (in Spidey voice): Do you still trust me?
>She gasps and her eyes pop open... staring at him. Then she gulps, nods once and squeezes them shut. He kisses her long and deep, and she twines her fingers in his hair. Two of MJ's snotnose girlfriends are walking by. They just stare, shocked. MJ breaks, staring at him in wonder.
MARY JANE: My God, Peter. Are you really him? I mean--
PETER: Shhhh!
>It is what everybody secretly hopes for... that someday someone will see past the face that everyone sees to their secret self -- what is inside and hidden. Peter grins, and she returns it. They go back into the kiss, just as Flash grabs Peter by the shoulder and spins him around. He can't believe it's true. MJ with this pencil-neck. He tells Peter to walk with him a second and Peter shrugs. Sure.
Landon Rogers
>He turns back to Mary Jane.
PETER: When two male wolf spiders, Pardosa, encounter one another in the presence of a female, they assume ritual threat postures.
>MJ smirks. Her eyes merry. Poor Flash. Flash drags Peter by his arm around the corner. He whirls on Peter without warning, with a lightning roundhouse. But of course Peter ducks and Flash hits a brick wall.
PETER: Careful, Flash. You could sprain something.
>Howling in pain, Flash holds his hand, then charges again. Peter steps aside, and Flash roars past. In the blink of an eye Peter shoots a tiny strand of web to a nearby railing. Flash rushes him, tripping on the silk, and cartwheels into a wall.
PETER: Flash, you should really watch your step. Here, let me help you up.
>Peter helps Flash to his feet, surreptitiously attaching a web to the back of his jacket. He shoots the other end to a nearby railing. Peter dusts Flash off and turns, walking away. Flash roars and charges... only to get jerked short like a mean dog on a short chain. His feet fly out from under him and he crashes on his back. Dazed.
>All the kids standing around the schoolyard laugh uproariously. Peter grins and holds up his hands.
PETER: I never laid a glove on him. I swear.
>Everybody cheers. Because the truth is: we really do like heroes. Especially when they're underdogs.
Nathan Smith
>CUT TO SPIDER MAN: STILL HANGING.
SPIDER MAN: Mary Jane and I got accepted to different colleges. Wouldn't you know it? But we see each other every weekend. Her grades are better than mine, but I blame it on the heavy hours. It's not easy being your friendly neighborhood Spider Man. Takes it out of you. Well, it's a schoolnight. Gotta fly. Be good.
>He pushes off from the mast... swinging in an arc out over the edge of the roof. Paying out web-line he drops like an express elevator toward the street far below.
>TILTING DOWN to follow as he becomes a black dot above the sea of lights. A tiny spider going home.
>THE END
So what do you say, lads? Would it be kino?
Joseph Barnes
Some of Cameron's worst work. Every time I remember this I'm glad it never happened.
Wyatt Wood
I can just imagine Leo DiCaprio calling Electro a “motherfucker” I’m his whiny voice.
John Gomez
*in his
James Wilson
Could’ve been good with a couple of tweaks. Better than Iron Boy
Connor Peterson
Now how about Tom Mankiewicz’s Batman?
Anybody wanna do that?
Adrian Roberts
Needlessly edgy and features some questionable changes, but I dig the themes Cameron was going for.
It would've done gangbusters in the late 90's, but ultimately we are better off with Titanic and Sam Raimi's Spider-Man.
Brayden Lewis
Oh, but we did.
Anthony Baker
Didn't Raimi use this?