Archive of Our Own ^beta

Chapter Text

EXT. EMPIRE STATE UNIVERSITY - DAY

The Empire State University campus is alive with activity. Students, laden with backpacks and books, weave through the pathways, their faces animated with conversation. The architecture of the university stands tall against the blue sky, an inspiring blend of historic and modern design. The imposing science building, with its sleek glass and steel exterior, shines like a beacon of innovation.

INT. EMPIRE STATE UNIVERSITY - SCIENCE LABS - DAY

The inner science labs are a marvel of modern engineering. The room is vast, with high ceilings and large windows that allow natural light to flood in, illuminating the haphazardly organised workstations. Each bench is equipped with state-of-the-art equipment: high-powered microscopes, centrifuges, genetic sequencers, and a plethora of other advanced tools. The walls are adorned with whiteboards, covered in complex equations, molecular structures, and detailed diagrams that hint at the cutting-edge research being conducted. One whiteboard has a diagram of DNA, dissected into its many pieces. 

RICHARD PARKER, a man in his early 30s, steps into the lab. His dark hair is neatly combed, and his eyes, sharp and inquisitive, scan the room. He wears a crisp white lab coat over a smart shirt and tie, his pockets bulging with pens and a well-worn notebook. Richard exudes a quiet confidence, his demeanour that of a man deeply passionate about his work.

As Richard enters, he immediately spots DR. CURT CONNERS at one of the central lab benches. Curt is in his mid-30s, a man with a formidable intellect and a stern yet kind face. His right hand moves with precision as he adjusts the fine-tuning knobs on a microscope. His eyes, focused and intense, reflect his unwavering dedication to his research. There is a certain meticulousness in his movements. 

Across the room, DR. MILES WARREN is immersed in his work. In his late 40s, Miles is characterised by his intense focus and relentless drive. His slightly greying hair is long and tousled, evidence of countless hours spent in the lab. He wears a pair of thin-rimmed glasses that perch precariously on his nose, his eyes glued to the screen of his computer as he inputs data from their latest experiments. His workstation is cluttered with notes, printouts, and various genetic samples, a testament to his tireless pursuit of scientific discovery. Ever so often, his mouth twitches, causing his bushy moustache to quiver. 

Richard's entrance catches their attention. Miles looks up, offering a reserved but genuine nod of acknowledgement, while Curt briefly glances over, a hint of a smile playing on his lips before he returns to his data.

RICHARD PARKER

(smiling warmly)

Morning, Curt. Morning, Miles.

CURT CONNERS

(smiling)

Good to see you, Richard. 

MILES WARREN

(nodding)

Morning, Richard. 

Richard moves further into the lab, joining his colleagues at the main workstation. 

The lab is a hive of activity, filled with the quiet hum of advanced machinery and the soft glow of computer screens. The room is organised chaos, with notes and diagrams pinned to every available surface. The whiteboards are covered with complex equations, molecular structures, and intricate genetic sequences.

The three scientists are deeply engrossed in their work. They move with purpose and precision, their faces illuminated by the glow of their monitors and the occasional spark of inspiration.

Richard stands at the centre of the lab, his sharp eyes scanning a series of genetic sequences on a holographic display. His fingers move deftly over the controls, adjusting parameters and inputting new data. Richard's demeanour is one of quiet confidence, his excitement tempered by the weight of the scientific endeavour before him.

He taps in an equation into the sequencer, making it run the simulation for him. The holographic display whirs into action. The sequence lasts for a while. There is a percentage bar near the top that seems to be reaching close to 100%. It’s clear by Richard’s shocked face that this is a new development. 

RICHARD PARKER

(voice filled with excitement)

Curt, Miles, I think we’re onto something here. Look at this.

Curt moves to join Richard. Curt’s right hand skillfully adjusts the fine-tuning knobs on the display, his eyes reflecting both determination and hope.

CURT CONNERS

(leaning in, intrigued)

What have you got, Richard?

Richard points to the holographic display, highlighting a section of the genetic sequence. The display hits 99.8% before lighting up green. A popup appears, displaying the text SUCCESSFUL in capital letters. 

RICHARD PARKER

We’ve managed to bridge the genetic gap between species. The transfer is happening without rejection. It’s working!

Miles joins them. His glasses catch the light as he examines the data on the screen, his face breaking into a triumphant smile.

MILES WARREN

(in awe)

This is incredible! We need to test it. 

The three scientists exchange looks of triumph. The sense of accomplishment is palpable, but they know their work is far from over. The trio dives back into their respective tasks, their determination renewed. 

Richard begins meticulously adjusting the parameters on the holographic display, running simulations and refining the formula. His fingers fly over the keyboard, entering complex algorithms and recalibrating variables. Every few moments, he pauses to review the results, a look of intense concentration on his face. 

Curt moves to his workstation, where a series of genetic samples are laid out. He carefully selects a sample and places it under the microscope. Peering through the lens, he adjusts the focus and begins to analyse the cellular structures. His hands move with practised precision, making minute adjustments and taking detailed notes.

Miles is at his computer, cross-referencing data and making detailed notes. His eyes are glued to the screen as he compares genetic sequences, looking for any inconsistencies or errors. Every so often, he glances over at Richard and Curt, sharing a nod of affirmation when they make a breakthrough.

CUT TO: MONTAGE

- Richard Parker inputs data into the computer, his fingers flying over the keyboard as he runs simulations and refines the formula.

- Curt Conners meticulously examines samples under the microscope, adjusting the settings with practised precision.

- Miles Warren analyses the genetic sequences on his monitor, cross-referencing data and making detailed notes.

The lab is a symphony of scientific endeavour, each scientist contributing their unique skills and expertise to perfect the formula. Hours pass unnoticed as they delve deeper into their research, the outside world fading away in the face of their monumental task.

Miles, slightly separate from the others, glances at his watch. His expression hardens as he makes a decision. He quietly slips out of the main lab area and into a smaller, adjoining office space filled with filing cabinets and equipment.

INT. SMALL OFFICE - CONTINUOUS

Miles shuts the door behind him and pulls out a secure phone from his pocket. He hesitates for a moment, a flicker of guilt crossing his face, before dialling a number.

MILES WARREN

(whispering into the phone)

It's Miles. We've cracked the formula.

The voice on the other end is cold and authoritative.

THE GENTLEMAN (V.O.)

(distorted voice)

Excellent. He will be pleased. Your work is done. Expect your reward to come… later tonight.

Miles takes a deep breath, his resolve hardening.

MILES WARREN

I understand. They can't know about my involvement.

THE GENTLEMAN (V.O.)

(distorted voice)

Leave them to us. Your payment will be substantial.

Miles hangs up, his hands trembling slightly. He pockets the phone and composes himself before returning to the lab.

INT. EMPIRE STATE UNIVERSITY - SCIENCE LABS - CONTINUOUS

Miles rejoins Richard and Curt, who are deeply engaged in their work. Richard glances up, noticing Miles’s return.

RICHARD PARKER

(cheerfully)

Everything alright, Miles?

MILES WARREN

(forcing a smile)

Yes, just handling some administrative details.

As they continue their work, the scene shifts to another part of the city.

CUT TO: INT. LUXURIOUS OFFICE - NIGHT

The office is lavishly decorated, with expensive artwork on the walls and a large mahogany desk at its centre. GUSTAV FIERS, known as The Gentleman, sits behind the desk, reviewing documents. He is a distinguished man in his late 50s, exuding an air of old-world sophistication and menace. A symbol shaped like a skull with tentacles peeks out from under the sleeve of his tailored suit. HYDRA. 

A large screen on the wall flickers to life, revealing a mysterious shadowy figure. Only the lower half of his face is visible, his identity shrouded in darkness.

MYSTERY MAN

(distorted voice)

Are we ready to proceed, Gustav?

GUSTAV FIERS

(smiling slightly)

Yes, Sir. Our contact has assured me that the formula is within our grasp.

MYSTERY MAN

(distorted voice)

Good. Ensure there are no loose ends. Keep Curt. I might need him but as for Richard… The Parkers have been a thorn in both our sides for too long.

GUSTAV FIERS

(eyes narrowing)

Consider it done. The Howlett job, the Cairo operation… The Parkers will pay for their interference in our missions and HYDRA does not forget.

MYSTERY MAN

(distorted voice)

I have no interest in your… organization. 

The word is spoken with contempt, as if the idea of affiliating with HYDRA is an affront to him.

MYSTERY MAN (CNTD.)

(distorted voice)

Just make sure they can’t interfere ever again. 

The screen goes dark. Gustav Fiers leans back in his chair, a cold smile spreading across his face.

GUSTAV FIERS

(to himself)

Yes, we shall see to that.

The camera zooms out of the luxurious office, transitioning back to the science labs, where the two remaining scientists remain unaware of the storm about to descend upon them.

INT. EMPIRE STATE UNIVERSITY - SCIENCE LABS - NIGHT

The lab, previously a sanctuary of discovery, is now a scene of chaos. The air is thick with tension as a group of HYDRA agents, clad in dark, tactical gear, burst into the room, weapons at the ready. Richard, Curt, and Miles look up in shock and fear, although for Miles it is a carefully practised farce. 

HYDRA AGENT LEADER

(seething with authority)

Secure the formula. No loose ends.

Richard instinctively grabs the notebook containing their research. His eyes dart around, calculating his next move. The agents spread out, methodically searching and destroying.

Curt tries to protect their work but is overwhelmed by an agent. In the struggle, a loud CRACK is heard, and Curt screams, clutching his badly wounded right arm, blood seeping through his fingers. 

CURT CONNERS

(gasping in pain)

Richard...go!

Richard glances at Miles, who stands frozen, torn between fight and flight. Unbeknownst to Richard and Curt, Miles is a much better actor than they give him credit for. 

MILES WARREN

(barely audible)

Richard, run!

Richard makes a split-second decision and bolts for the exit, clutching the vital research to his chest.

INT. EMPIRE STATE UNIVERSITY - HALLWAYS - NIGHT

Richard sprints down the dimly lit hallways, the sound of his laboured breathing echoing off the walls. Behind him, the HYDRA agents give chase, their footsteps a relentless drumbeat.

HYDRA AGENT LEADER

(into comms)

Target is on the move. Do not let him escape.

Richard's heart pounds as he races around a corner, nearly colliding with a janitor who jumps out of the way in surprise. He glances back, seeing the agents closing in. Desperation fuels his speed.

INT. STAIRWELL - NIGHT

Richard bursts into the stairwell, leaping down the steps two at a time. The sound of the agents' pursuit grows louder, reverberating through the confined space. He stumbles, catching himself on the railing, then continues his descent.

INT. BASEMENT - NIGHT

Richard pushes through a heavy door into the basement, a labyrinth of pipes and storage rooms. He navigates the maze, his mind racing as fast as his feet.

HYDRA AGENT LEADER

(close behind, shouting)

We’ve got him cornered!

Richard spots a service tunnel and dives into it, the narrow passage barely accommodating his frame. He crawls through, hearing the agents' frustrated shouts behind him. The tunnel seems to stretch on forever.

EXT. EMPIRE STATE UNIVERSITY - ALLEYWAY - NIGHT

Richard emerges into a dark alley, gulping in the fresh air. He stumbles forward, his body screaming in protest. The distant wail of sirens reaches his ears, but he knows he can't stop.

He dashes through the alley, his shoes slapping against the wet pavement. He glances over his shoulder, seeing the HYDRA agents pouring out of the building, their silhouettes menacing against the moonlight.

HYDRA AGENT LEADER

(furious)

Don’t let him get away!

Richard pushes himself harder, his vision blurring at the edges. He spots a fire escape ladder and leaps, his fingers just catching the bottom rung. He scrambles up, his muscles burning, and makes his way to the rooftop.

EXT. ROOFTOP - NIGHT

Richard reaches the rooftop, panting heavily. He darts across the flat surface, jumping from one rooftop to the next. The city sprawls out below him, an endless maze of lights and shadows. He knows he must keep moving, no matter the cost.

HYDRA AGENT LEADER

(on the rooftop, pointing)

There! Don’t let him escape!

The chase continues, a high-stakes game of cat and mouse above the city. Richard’s determination drives him forward. 

EXT. ROOFTOP - NIGHT

Richard is sprinting across the rooftops, his breath coming in ragged gasps. The city lights blur beneath him as he pushes his body to its limits. The sound of footsteps behind him is relentless; the HYDRA agents are still in pursuit.

As he reaches the edge of another rooftop, Richard glances back to see a HYDRA agent closing in. He leaps to the next building, barely making the jump. He stumbles and rolls, coming to a stop near the edge. Panting, he scrambles to his feet, clutching the notebook tightly.

HYDRA AGENT LEADER

(closing in, coldly)

Dr Parker, you may have been with SHIELD in the past, but even with their training you can’t run forever.

Richard's heart pounds as he looks around desperately, his eyes landing on a small maintenance shed on the roof. He dashes towards it, slipping inside and closing the door behind him.

INT. MAINTENANCE SHED - NIGHT

Inside the cramped shed, Richard fumbles with his phone, quickly dialing a number. His hands shake as he brings the phone to his ear. The line rings, and then a familiar voice answers.

MARY PARKER (V.O.)

(surprised)

Honey? What’s going on? Are you okay?

1. RICHARD PARKER

(frantic)

Mary, the briefcase! You have to keep it safe! They’re coming! 

The door to the shed bursts open, and a HYDRA agent steps in, gun drawn. Richard freezes, the phone still pressed to his ear.

HYDRA AGENT

(grimly)

The Gentleman sends his regards.

Richard's eyes widen with fear and anger. He can hear Mary’s frantic voice on the other end of the line, but he knows he has no time. He drops the phone, his mind racing.

MARY PARKER (V.O.)

(panicking)

Richard! What’s happening? Richard!

The HYDRA agent steps forward, his expression devoid of mercy. In a swift, brutal motion, he fires his weapon. The sound of the gunshot echoes through the shed.

EXT. MAINTENANCE SHED - ROOFTOP - NIGHT

The HYDRA agent steps out of the shed, leaving Richard’s lifeless body behind. The phone lies on the floor, Mary’s voice still audible from the earpiece.

MARY PARKER (V.O.)

(sobbing)

Richard! No!

The agent looks back at the shed, a satisfied smirk on his face, before turning away and disappearing into the night.

INT. EMPIRE STATE UNIVERSITY - SCIENCE LABS - NIGHT

The room is dimly lit, a single overhead light casting long shadows across the cold, concrete floor. Miles stands nervously, his eyes darting around as he waits. Beside him, Curt sits slumped against the wall, his right arm wrapped in a makeshift bandage, blood seeping through the fabric. His arm is badly wounded and deformed from the HYDRA attack.

The door creaks open, and a HYDRA AGENT enters, his presence intimidating. He walks with a menacing stride, his expression unreadable. Miles straightens up, trying to mask his fear with a veneer of confidence.

MILES WARREN

(anxious)

I’ve done everything you asked. The research is yours. Now, where’s my payment?

The HYDRA agent steps closer, a cold smile spreading across his face.

HYDRA AGENT

(mockingly)

Payment? Did you really think we were going to pay you?

Miles's face pales, his heart sinking. He glances at Curt, who is barely conscious, and then back at the agent. Curt’s face is an expression of shock. Miles doesn’t let himself feel anything

MILES WARREN

(desperation creeping in)

But... but we had a deal!

The HYDRA agent’s smile widens, his eyes glinting with malice.

HYDRA AGENT

(sneering)

HYDRA has no use for those who betray their own friends. You’ve outlived your usefulness.

Panic sets in as Miles realises the gravity of his situation. He looks around frantically, searching for an escape. His eyes land on Curt, and he sees an opportunity.

He grabs Curt, lifting him up. 

Curt, barely conscious, yells in pain and reluctance.

CURT CONNERS

(weakly)

Wh-what are you doing, Miles?

Miles, ignoring Curt’s protests, grabs him by his good arm and yanks him to his feet. With no regard for Curt’s injury, he shoves Curt in front of him, using him as a human shield.

MILES WARREN

(coldly)

You’re coming with me. Move!

Summoning all his strength, Miles drags Curt towards the door. The HYDRA agent shouts, pulling out his gun.

HYDRA AGENT

(shouting)

Stop them!

Bullets ricochet off the walls, and one strikes Curt’s already injured arm. He screams in agony, the pain overwhelming, but Miles doesn’t relent. 

INT. HYDRA SAFEHOUSE - HALLWAYS - NIGHT

Miles and Curt race through the labyrinthine hallways, the distant shouts of HYDRA agents growing louder. Miles shoves Curt ahead of him, using him as a shield against the incoming fire. Curt’s face is contorted with pain and terror, but he has no choice but to keep moving.

They round a corner and come face-to-face with another agent. Without hesitation, Miles lunges forward, using Curt to block the agent’s line of sight. The agent doesn’t hesitate, shooting through Curt, directly into his right arm, giving Miles the opening he needs to knock the agent off balance. They continue running, their breaths ragged and desperate. Curt is yelling in pain all the while. 

MILES WARREN

(voice strained)

Hm. Looks like you have some uses after all. 

They burst through a door and find themselves in a dimly lit garage. A black van is parked nearby, the keys still in the ignition. Miles forces Curt into the passenger seat and scrambles into the driver’s seat. He fumbles with the keys, his hands trembling.

EXT. HYDRA SAFEHOUSE - GARAGE - NIGHT

The van roars to life, and Miles floors the gas pedal. The vehicle lurches forward, crashing through the garage doors and into the night. The HYDRA agents give chase, but Miles swerves wildly, navigating the narrow streets with reckless determination.

INT. VAN - NIGHT

Curt groans in pain, clutching his severely injured arm. Miles glances over, his expression devoid of sympathy, focused solely on his own escape.

CURT CONNERS

(voice weakening)

Why? I thought we were friends.

MILES WARREN

(coldly)

Friends are a weakness. 

The city blurs around them as they speed away from the HYDRA safehouse, leaving the darkness and danger behind. 

Miles stops and glances towards his phone. He knows that if he wants revenge, he’ll need an ally—someone with power and influence. He picks up his phone and dials a number, his hand shaking slightly.

INT. SHADOWY WAREHOUSE - NIGHT

The warehouse is dimly lit, with shadows lurking in every corner. A menacing figure with a cold demeanour, stands waiting. His tall, imposing frame exudes authority and danger. The phone in his hand rings, and he answers it.

SHADOWY FIGURE

(into phone)

This better be important, Warren.

MILES WARREN (V.O.)

(voice filled with determination)

You were right. They doublecrossed me. Took everything. Luckily for you, I managed to walk away with something. 

He looks into the backseat at Curt’s weak form. 

MILES WARREN (CNTD. V.O.)

(anger bleeds through his tone)

I just need a way to get them back. 

SHADOWY FIGURE

(smiling darkly)

Revenge, huh? I like the sound of that, Warren. What do you need?

MILES WARREN (V.O.)

(voice firm)

Medical supplies. The information I saved isn’t going to be very helpful if its vessel bleeds out in the back of a car. 

The shadowy figure’s smile widens as he considers the proposal.

SHADOWY FIGURE

(voice cold)

Alright, Warren. We have a deal.

CUT TO: INT. MYSTERY MAN’S HIDEOUT - NIGHT

The hideout is an old, abandoned warehouse repurposed into a makeshift lab. Curt is forcibly seated at a workstation, his right arm bandaged sloppily, throbbing with pain. A man in a black suit stands nearby, overseeing everything with a watchful eye. The Shadowy Figure. 

SHADOWY FIGURE

(voice cold)

Get to work, Dr. Conners. We have a lot to do.

Curt looks around the room, his eyes settling on Miles. The sense of betrayal is palpable, but he knows he has no choice. Reluctantly, he begins to work. 

INT. PARKER RESIDENCE - NIGHT

The living room of the Parker residence is dimly lit, filled with the soft glow of a single lamp. MARY PARKER , a woman in her late 30s with a strong yet gentle demeanor, sits on the couch, her face etched with worry and sorrow. Her eyes are red-rimmed from crying, yet they remain resolute. She holds her five-year-old son, PETER PARKER, tightly in her arms. Slung over her shoulder is a brown leather briefcase. 

PETER PARKER, a bright and inquisitive child, looks up at his mother with wide, innocent eyes. He doesn't fully understand the gravity of the situation, but he can sense the tension in the room.

The doorbell rings, breaking the heavy silence. Mary takes a deep breath and gently sets Peter down on the couch.

MARY PARKER

(voice trembling)

Stay here, Peter. Mommy needs to talk to Uncle Ben.

She walks to the door and opens it to reveal BEN PARKER, Richard’s brother, a kind and sturdy man in his early 40s. His face mirrors Mary’s concern, but he tries to offer a reassuring smile.

BEN PARKER

(softly)

Mary, what’s going on? You sounded so urgent on the phone.

Mary steps aside, letting Ben in. She closes the door behind him and leads him to the living room.

MARY PARKER

(voice breaking)

Ben, I need you to take Peter. Keep him safe. There are people... dangerous people who are after us.

BEN PARKER

(eyes widening)

What do you mean? Where’s Richard?

Mary’s eyes fill with tears, but she swallows hard and stands tall.

MARY PARKER

(voice steady)

Richard’s gone, Ben. They... they got him. Take this, keep it safe, but most importantly keep Peter safe. 

Mary hands him the leather briefcase as Ben’s face pales as the gravity of the situation sinks in. He looks at Mary with a mixture of shock and determination.

BEN PARKER

(nodding firmly)

Alright, Mary. I’ll take care of him. Peter will be safe with us.

Mary kneels down and takes Peter’s small hands in hers.

MARY PARKER

(tears streaming down her face)

Peter, you’re going to stay with Uncle Ben and Aunt May for a little while, okay? They’re going to take good care of you.

Peter looks up at his mother, confused but trusting.

PETER PARKER

(innocently)

Will you come with me, Mommy?

Mary’s heart breaks, but she manages a brave smile.

MARY PARKER

(gently)

I’ll be with you soon, sweetheart. I promise.

Ben steps forward, placing a comforting hand on Mary’s shoulder before scooping Peter up into his arms.

BEN PARKER

(softly)

Come on, buddy. Let’s go.

Mary watches as Ben carries Peter out the door, her heart heavy with the weight of her decision. She places a hand on her abdomen. 

As the door closes behind them, Mary takes a deep breath, her resolve hardening. She knows what she has to do. 

INT. AIRPORT TERMINAL - NIGHT

The airport terminal is bustling with activity, a sea of travellers moving through security checkpoints and boarding gates. Mary, her face set with determination, strides through the crowd. She carries a small suitcase and clutches a plane ticket in her hand. Her eyes are red-rimmed from crying, but her resolve is unshaken.

INT. AIRPLANE - NIGHT

Mary settles into her seat, her mind racing with thoughts of revenge and justice. She takes a deep breath, trying to steady her nerves. There is a quiet beeping sound in the background. As the plane begins to taxi down the runway, she pulls out her phone and dials a number. The call connects, and a familiar voice answers. Mary Parker’s old boss, NICK FURY. 

FURY (V.O.)

(voice calm and authoritative)

Mary, what’s your status?

MARY PARKER

(voice trembling with emotion)

Nick, it’s Fiers. He’s back. He got Richard. I can’t let him get anyone else. 

FURY (V.O.)

(voice firm)

Mary, this is dangerous. You need to think about Peter. He needs you.

Mary’s grip tightens on the phone, her knuckles turning white. The beeping sound intensifies. 

MARY PARKER

(voice resolute)

I know, Nick. But I can’t just sit by and do nothing. Fiers has to pay for what he’s done.

There’s a pause on the other end of the line, and then Nick’s voice softens slightly.

NICK (V.O.)

(sighing)

Alright, Mary. Just be careful. We can’t afford to lose you too.

Mary nods, even though Nick can’t see her.

MARY PARKER

(voice steady)

I will, Nick. I promise.

The call ends, and Mary leans back in her seat, staring out the window as the plane takes off into the night sky. Her life is about to change forever. She knows it. 

Later, during the flight. 

Behind her the beeping sound quickens. Mary notices it and turns around. The man behind her waves. She thinks nothing of it. Then she realizes the watch he’s wearing. It’s not telling the time. It’s counting down. 

The man leans forwards. 

SUICIDE BOMBER

(softly)

Hail Hydra. 

The beeping stops. Her eyes widen as there is a rush of fire and the screen cuts to black. 

INT. BEN AND MAY'S LIVING ROOM - EVENING

The living room is cosy, filled with warm lighting and the comfortable clutter of a loving home. Ben, now having to hold the title of Uncle and all the responsibility that comes with it, and his fiancée, MAY REILLY, sit on the couch, watching the evening news. Peter plays quietly with his toys on the floor nearby.

The news anchor's voice fills the room, reporting the day's events. Ben and May listen with half an ear, their focus more on each other and Peter than on the television.

NEWS ANCHOR (V.O.)

(on TV)

In breaking news, we have just received reports of a tragic plane crash. Flight 714 from New York to Berlin has gone down in the Atlantic Ocean. Rescue teams are on the scene, but there are no signs of survivors at this time.

Ben's attention snaps to the TV, his face paling as the reality of the news sinks in.

BEN PARKER

(voice shaking)

May, that... that was Mary’s flight.

May’s eyes widened in shock, her hand flying to her mouth.

MAY REILLY

(whispering)

Oh, Ben... no.

The camera cuts to a live feed from the crash site, showing the wreckage floating on the water. Rescue boats circle the debris, their searchlights cutting through the darkness.

NEWS ANCHOR (V.O.)

(on TV)

Officials have yet to release the full passenger list, but we know that Flight 714 was carrying over two hundred passengers. Our thoughts and prayers go out to the families affected by this tragedy.

Ben stares at the screen, his mind racing. Tears well up in his eyes as he struggles to comprehend the loss.

BEN PARKER

(voice breaking)

She’s gone, May. Mary’s gone.

May wraps her arms around Ben, pulling him into a tight embrace. Tears stream down her face as she tries to comfort him.

MAY REILLY

(softly)

We’ll get through this, Ben. We have to be strong for Peter.

Peter looks up from his toys, sensing the tension in the room. He walks over to Ben and May, his innocent eyes filled with concern.

PETER PARKER

(confused)

Uncle Ben, Aunt May, what’s wrong?

Ben pulls Peter into the hug, his heart breaking for the young boy who has already lost so much.

BEN PARKER

(struggling to find words)

Peter, I... I have something to tell you. 

As Ben and May hold Peter close, the news broadcast continues, the grim reality of the situation settling over them. They know that their lives will never be the same, but they also know that they must find a way to carry on—for each other, and for Peter.

FADE OUT.

EXT. CEMETERY - DAY

The sky is overcast, mirroring the sombre mood of the gathering. The cemetery is quiet, with only the soft rustle of leaves and the distant chirping of birds breaking the silence. A small group of mourners stands gathered around two freshly dug graves, each marked by elegant headstones. Pictures of MARY PARKER and RICHARD PARKER sit on easels nearby, gentle reminders of the lives being honoured.

Ben, May, and Peter stand at the forefront, their faces marked by grief and loss. Ben's arm is wrapped protectively around Peter, who clings to his uncle, his young mind struggling to comprehend the finality of the moment. May stands beside them, her eyes filled with unshed tears.

Among the attendees, a tall, stern-looking man stands slightly apart. He is dressed in a black suit, his eye patch setting him apart from the others. He is NICK FURY, though to those present, he is simply known as Nick, Mary and Richard’s boss and he is the last person to talk to any of the Parkers alive. 

Beside him stands a woman with a steely gaze and a composed demeanour. Her name is MARIA HILL, but to the Parkers and the rest of the attendees, she is simply known as Nick's assistant. They exchange hushed words, their presence a reminder of the hidden world Mary and Richard were a part of.

In the background, a rugged man with piercing eyes and a stern countenance stands alone, his presence unnoticed by most. 

The minister steps forward, beginning the service with words of comfort and remembrance. The mourners bow their heads, absorbing the solemnity of the occasion.

MINISTER

(voice gentle)

We gather here today to remember Mary and Richard Parker, beloved parents, spouses, and friends. Their courage and love touched the lives of everyone they knew. They will be deeply missed.

As the service continues, Maria Hill steps forward, her gaze softening as she approaches Peter. She kneels down to his level, offering a small, comforting smile.

MARIA HILL

(softly)

Hi, Peter. Your mom and dad were remarkable people. They loved you very much.

Peter looks up at her, his eyes filled with a mix of confusion and sadness.

PETER PARKER

(innocently)

Will they come back?

Maria’s heart breaks at his question, but she keeps her voice steady.

MARIA HILL

(shaking her head gently)

No, Peter. But they’ll always be with you, in your heart and in your memories. They’ll always be watching over you.

Peter nods slowly, his young mind trying to grasp her words. Maria gives his shoulder a reassuring squeeze before stepping back.

Meanwhile, Nick approaches Ben, his expression serious but empathetic.

NICK FURY

(grimly)

Ben, I’m sorry for your loss. Mary and Richard were some of the best. We’ll make sure their sacrifice wasn’t in vain.

Ben’s face hardens, anger flashing in his eyes. He steps forward, his voice low and intense.

BEN PARKER

(firmly)

Stay away from my family, Nick. You’ve done enough. Just... stay away.

Nick’s expression shifts, a mix of regret and understanding. He nods slowly, knowing that now isn’t the time to argue.

NICK FURY

(softly)

Alright, Ben. But if you ever need anything...

Ben cuts him off, his voice strained with emotion.

BEN PARKER

(coldly)

We won’t. Just leave us alone.

Nick steps back, giving Ben the space he needs. The tension between them is palpable, a silent acknowledgment of the pain and loss they both share.

As the service draws to a close, the mourners begin to disperse. Peter clings to Ben and May, their small family unit finding solace in each other’s presence.

FADE OUT.

INT. OSCORP LAB - AFTERNOON

PROJECT 616, a genetically-engineered spider, sits on its web high in the corner of the lab. The intricate webbing glistens in the dim light, reflecting the sophistication of its design. The spider observes the lab below, its multi-faceted eyes taking in every detail. On the centre of its body is a number, burned into its exoskeleton. 616

From its perch, Project 616 notices a group of people entering the lab. The group is led by a TOUR GUIDE, who speaks with enthusiasm and authority.

TOUR GUIDE (O.S.)

(excitedly)

Welcome to Oscorp! Here, you can see some of the most advanced scientific technology in the world. This, ladies and gentlemen, is our Isotope Genome Accelerator, created by genetic scientists Dr Curt Conners and the late Dr Richard Parker. 

The guide gestures towards a large, imposing machine at the centre of the lab. Its sleek design and array of blinking lights suggest its cutting-edge capabilities. The spider notices this and remembers the machine. It was born through this machine. 

The spider's attention is drawn to the human figures below. There is a handsome young boy with curly dark red hair, his demeanour lazy and uninterested, as if he’d seen all of this before. There is a dark haired young girl who is listening with rapt attention. 

There is a tall stocky blonde boy, who looks sturdier than a brick. A troublemaker grin adorns his face and a cruel glint enters his eye, although there is a world of hurt beneath masked behind them. 

He is also clearly uninterested in the whole event, same as the first boy, but has managed to keep himself amused by lobbing pieces of chewed up paper at the back of another teenager’s head. The first boy reaches over and smacks the blonde teens arm before turning to the blonde one’s target.

This… target catches the spider’s interest. He has soft brown hair and glasses jammed onto the bridge of his nose. 

Peter Parker, now 16 years old, in his hoodie and jeans, stands at the back of the group, his eyes wide with curiosity and fascination.

As the tour guide continues to speak, Project 616 begins to move. Its legs navigate the web with precision, descending towards the lab table directly below.

With a sudden motion, the spider loses its grip and falls from its web, landing on Peter’s exposed hand. Before Peter can react, the spider takes a bite. The screen fades to black. 

CUT TO: INT. PETER PARKER'S BEDROOM - MORNING

Peter Parker jolts awake, his eyes snapping open. The camera pulls back to reveal him clinging to the ceiling of his bedroom, his fingers gripping the plaster as if it were the most natural thing in the world. He blinks, disoriented, his mind racing to understand what is happening.

His grip slips, and he falls onto his bed, landing in a heap. Peter scrambles to his feet, staring up at the ceiling, then down at his hands. He turns them over, his expression a mix of awe, confusion, and a hint of fear.

The room is bathed in morning light, but the surreal nature of the situation makes it feel dreamlike. Peter’s heart pounds as he takes a tentative step forward, wondering if he’s still dreaming or if something extraordinary has just begun.

PETER PARKER

(startled, disbelieving)

What the fu—

ROLL CREDITS.

Chapter Text

FADE IN:

EXT. OSBORN MANSION - MORNING

The luxurious Osborn Mansion stands tall, bathed in the soft morning light. The meticulously manicured lawns and towering gates give off an air of opulence and control.

INT. HARRY OSBORN'S BEDROOM - MORNING

The room is spacious and stylishly decorated, reflecting the tastes of a privileged teenager. Posters of rock bands and sports teams adorn the walls, and a sleek gaming setup dominates one corner. The alarm clock buzzes insistently on the nightstand.

CLOSE-UP: ALARM CLOCK

The time reads 7:00 AM. A hand reaches out, silencing the alarm with a swift tap.

HARRY OSBORN, 16 years old, stirs in his bed. He rubs his eyes and sits up, his hair tousled from sleep. Harry is a striking young man with sharp features and a hint of vulnerability in his eyes.

CUT TO: BATHROOM

Harry splashes water on his face, staring at his reflection in the mirror. He takes a deep breath, steeling himself for the day ahead. He runs a hand through his curly dark red hair, smoothing it down.

He looks into the mirror and plasters on a smile. To the outside world, it’s real but Harry is a pretty good actor. He knows how to put on a performance. 

CUT TO: WALK-IN CLOSET

Harry stands in front of his expansive wardrobe, filled with designer clothes. He selects a sharp-looking outfit, opting for a casual yet sophisticated look: a crisp white shirt, dark jeans, and a stylish leather jacket. He dresses quickly, with practiced ease.

CUT TO: KITCHEN

The kitchen is sleek and modern, outfitted with the latest appliances. Harry grabs a bowl and pours himself a generous helping of cereal. He munches thoughtfully, checking his phone for messages. The screen lights up with texts from his father’s friends, all looking to gain favour in the great Norman Osborn’s eyes, and reminders for the day. 

One of the texts is about an anti-mutant program that his father previously expressed interest in called the Sentinel Program. Harry scoffs. 

CUT TO: HARRY'S DESK

Harry sits down at his desk, flipping through his school books and notes. He frowns slightly, the pressure of expectations weighing on him. He closes his eyes for a moment, taking a deep breath.

HARRY

(whispering)

Just get through today, Harry. One step at a time.

CUT TO: FRONT DOOR

Harry grabs his backpack and swings it over his shoulder. He steps out of the mansion, taking a moment to look up at the sky. The fresh air fills his lungs, momentarily lifting the weight on his shoulders.

EXT. OSBORN MANSION - DRIVEWAY - MORNING

A sleek car waits for Harry in the driveway, the driver ready to take him to school. Harry slides into the backseat, his mind already racing through the tasks and challenges of the day.

HARRY OSBORN

(to himself)

Here we go.

The car pulls away from the mansion, leaving behind the grandeur and heading towards the bustling world beyond.

EXT. MIDTOWN HIGH SCHOOL - MORNING

The bell rings, signalling the start of the school day at Midtown High. Students mill about, chatting and laughing as they make their way to class. Harry walks through the crowded hallways, his steps purposeful. As he reaches his classroom, he looks around for his best friend, Peter, but Peter is nowhere to be seen.

INT. MIDTOWN HIGH - CLASSROOM - MORNING

Harry takes his usual seat at the back of the classroom. He glances at the empty desk next to him, where Peter usually sits. He frowns slightly, a feeling of unease settling in. The teacher begins the lesson, but fellow classmate and all round jerk EUGENE “FLASH” THOMPSON makes a rather obvious observation as though it were breaking news. 

FLASH

(loudly, without respect for others)

Damn, Parker’s not in today! Call the press!

Harry ignores his abrasive voice. 

The teacher, disgruntled but willfully ignorant of the intrusion, continues to speak. The Thompson Family donates a sizable amount to the school and he would rather not risk his job. Harry checks his phone for any messages from Peter. There's nothing. He tries to focus on the lesson, but his worry grows with each passing minute.

CUT TO: INT. MIDTOWN HIGH - HALLWAYS - LUNCHTIME

Harry walks down the hallway, his backpack slung over one shoulder. The hallways are bustling with students, but he feels a growing sense of concern. He pulls out his phone and sends Peter a quick text: "Hey, where are you?"

As he reaches his locker, he checks his phone again. Still no response. He grabs his lunch and heads toward the cafeteria, his worry gnawing at him.

INT. MIDTOWN HIGH - CAFETERIA - LUNCHTIME

Harry enters the cafeteria and scans the room. He spots the table where he and Peter usually sit, now occupied by other students. With a sigh, he moves to a different table and sits down alone. He picks at his food, his appetite dulled by his growing anxiety.

HARRY

(Whispering to himself)

Peter wouldn't just skip school without telling me. Something must be wrong.

He checks his phone again, but there's still no message from Peter. He tries to push his worry aside and focus on his lunch, but it's no use. The absence of his friend is like a shadow hanging over him.

CUT TO: INT. MIDTOWN HIGH - SCIENCE LAB - AFTERNOON

Harry sits in the science lab, staring at the equipment in front of him. The teacher is explaining a complex experiment, but Harry's mind is consumed with thoughts of Peter. This was their favourite class, the one where they would compete to see who could come out on top. Peter usually won. 

Harry checks his phone under the desk. Why isn’t he answering?

He goes through the motions of the experiment, his heart not really in it. The absence of Peter's enthusiasm and curiosity makes the class feel flat and uninspiring.

CUT TO: EXT. MIDTOWN HIGH - AFTERNOON

The final bell rings, and students pour out of the building, eager to head home. Harry walks slowly, his thoughts heavy. He heads towards the spot where he and Peter usually meet after school. He stands there for a moment, looking around as if expecting Peter to appear.

Harry walks towards the parking lot, his phone in hand. His worry grows with each unanswered text. Suddenly, his phone rings, breaking the tense silence. Harry quickly glances at the screen and sees Peter's name. Relief washes over him as he answers.

HARRY OSBORN

(relieved)

Peter! Where have you been? I’ve been worried sick!

INTERCUT WITH: INT. ABANDONED WAREHOUSE - AFTERNOON

Peter stands in the dimly lit warehouse they used to play in as kids. His voice is hushed and urgent. His hair seems to stand up more than usual, defying gravity. It’s as if he is standing on the ceiling, but that can’t be possible… can it?

PETER PARKER

(breathless)

Harry, I can’t explain everything right now. Meet me at the warehouse. You know the one.

Harry’s heart skips a beat. The warehouse held many childhood memories. They’d gone there many times when they were younger whenever Peter got into an argument with his Uncle Ben or when Harry’s dad had… done anything really. More often than not, Harry’s dad was the reason they’d gone, but they hadn’t had to go in years. 

HARRY OSBORN

(concerned)

The warehouse? Are you okay, Peter? What’s going on?

PETER PARKER

(insistent, but excited)

Just meet me here, Harry. Please. It’s important.

Harry nods, his confusion deepening.

HARRY OSBORN

Alright, I’m on my way. Don’t move, okay?

PETER PARKER

Thanks, Harry.

Peter hangs up, leaving Harry staring at his phone. He quickly heads towards his car(a 16th birthday present), his mind racing with concern and questions.

CUT TO: INT. HARRY’S CAR - AFTERNOON

Harry drives through the city, weaving through traffic with focused determination. His thoughts are a whirlwind of worry and speculation.

What’s happened to Peter? Why the warehouse? This better not be some prank.

EXT. ABANDONED WAREHOUSE - AFTERNOON

Harry pulls up to the old, abandoned warehouse, memories of their childhood games flooding back. He parks the car and steps out, his eyes scanning the dilapidated building.

INT. ABANDONED WAREHOUSE - AFTERNOON

Harry steps inside the dimly lit warehouse, the dust and decay evident from years of neglect. There seems to be a mess that wasn’t there before and some of the walls are cracked with the indent of a fist. 

His footsteps echo as he walks deeper into the building. He finally spots Peter standing near a pile of old crates, looking anxious and dishevelled but there is a level of excitement in his eyes that Harry hasn’t seen in ages.

HARRY OSBORN

(concerned)

Peter, what’s going on? Why did you want to meet here?

Peter runs a hand through his hair, his face a mix of excitement and apprehension.

PETER PARKER

(excited)

Harry, something crazy happened. Yesterday, during the trip to your dad’s place, I got bitten by a... spider. But it can’t have been a normal spider! It must have been this crazy weird experiment. I’m not completely sure since I killed it pretty much instantly but I think it might have given me powers!

Harry raises an eyebrow, the scepticism clear on his face.

HARRY OSBORN

(sceptical)

A spider bite? Come on, Peter. You can think of something better. That’s— 

Peter interrupts, his voice urgent.

PETER PARKER

(interrupting)

I know how it sounds, but it’s true! After the bite, I started feeling... different. Stronger, faster - There’s like this buzzing in my head? I convinced Uncle Ben I was sick so I could skip school and figure out what was happening. I’ve been testing my new abilities here.

He glances around the warehouse, then looks back at Harry with earnest eyes. Harry suddenly feels like he understands what the cracks in the walls came from. 

HARRY OSBORN

(intrigued)

New abilities? What do you mean?

Peter takes a step back, taking a deep breath. He focuses for a moment, then swiftly runs up a nearby wall, defying gravity. Harry’s eyes widen in shock as he watches Peter cling to the ceiling.

HARRY OSBORN

(astonished)

What the... Peter, how are you doing that?

Peter drops back down, landing lightly on his feet. His face is lit with a mix of exhilaration and relief.

PETER PARKER

(grinning)

I told you, Harry. It’s like I have these... spider super powers. Super strength, agility - I can stick to walls. The walls! 

Harry takes a step back, his mind racing to process everything.

HARRY OSBORN

(stunned)

That’s... incredible. 

As Peter drops back down and lands lightly on his feet, Harry’s expression shifts from awe to concern.

HARRY OSBORN

(worried)

But Peter, have you thought about the risks? Anti-mutant sentiment is at an all-time high. If people find out about your powers, you could be in serious danger. 

Peter’s excitement falters, replaced by frustration.

PETER PARKER

(firmly)

I know, Harry, but I’m tired of being the school loser whenever you’re not around. This could change everything for me. I could finally be popular, respected. People aren’t going to look at me and think, look, it’s the screw-up. What’s he doing here?

Harry shakes his head, his worry deepening.

HARRY OSBORN

(pleading)

Peter, I get it. I really do. But this isn’t the way. If you put yourself out there, you’re not just risking your social life—you’re risking your safety. People fear what they don’t understand, and they could hurt you.

Peter clenches his fists, torn between his desire for acceptance and the reality of Harry’s words.

PETER PARKER

(struggling)

I just... I don’t want to be invisible anymore, Harry. I want to be someone.

Harry steps closer, placing a reassuring hand on Peter’s shoulder.

HARRY OSBORN

(softly)

You already are someone, Peter. You’re my best friend, and that’s never going to change. 

Peter looks into Harry’s eyes, seeing the genuine concern and care there. He wants to be convinced, he really does, but he’s been around for 16 years now and knows the world isn’t fair. Why should he get the chance to take something for himself?

PETER PARKER

I want to be more, Harry! Do something! Make people see me! No-one pays attention to some orphan from Queens! Maybe, I’ll wear a mask, but I still want to do something! I have these gifts! They give me power! Why shouldn’t I use that power for myself? I have a responsibility to myself Harry. 

Harry looks at Peter, concern etched on his face. He realises that Peter’s not going to stop. 

HARRY OSBORN

(resigned)

Okay, I’ll help you. Someone needs to make sure you don’t screw this up.

Peter smirks. 

PETER PARKER

Great, because I’ve got some ideas. 

INT. PETER'S BEDROOM - NIGHT

Peter and Harry sit on the floor, surrounded by various fabrics, sketches, and sewing supplies. Peter’s excitement is palpable as he sketches out his ideas, while Harry watches with a mix of amusement and concern.

PETER PARKER

(grinning)

Alright, what do you think?. 

He’s drawn a suit with a flashy red and blue design. Notably, there aren’t any signs of webs covering the suit. The spider emblem is large and in black, one pair stretching over the shoulders, another below the waist and the last two wrapping around his torso. 

The mask design isn’t there yet, a clear design that Peter still wants the recognition, not the anonymity. However, that isn’t what Harry sees first. Stretched over the back is a white cape, darker strands stretching over the fabric like a spider-web. 

Harry raises an eyebrow, unable to hide a small smile.

HARRY OSBORN

(smiling)

A web cape? You’re really going all out, aren’t you? 

He looks again and frowns. 

HARRY OSBORN

Where’s the mask?

Peter sighs.

PETER PARKER

(resigned)

Maybe I can throw something together? I’ve got an old red ski mask that might go with this colour. Plus you had those old silver ski goggles I could use the lenses from to hide my eyes.

Harry examines the sketches and fabrics, his worry still present as Peter is clearly not willing to wear the mask. 

HARRY OSBORN

(worried)

I think it looks... pretty cool but you’ve got to wear the mask. Not just because of anti-mutant protestors like those stupid ‘Friends of Humanity’ group, but because of your Aunt May and Uncle Ben. You really think they’d be okay with this?

PETER PARKER

(sighing)

I guess you’re right. I’ll wear the mask. 

His expression changes to one of excitement. 

PETER PARKER

Now come one! Let’s get to work!

CUT TO: INT. PETER'S BEDROOM - LATER

The finished costume lies spread out on the bed, a vibrant combination of red and blue, with the large black spider emblem and the web cape. The red mask with silver eye slits sits beside it.

Peter stands back, admiring their handiwork.

PETER PARKER

(proudly)

What do you think, Harry? Pretty impressive, right?

Harry nods, his expression a mix of admiration and concern.

HARRY OSBORN

(sincerely)

It’s definitely impressive, Peter. Just remember, using these powers comes with a lot of responsibility. Be careful out there.

Peter frowns but doesn’t comment on anything.

PETER PARKER

(seriously)

I will, Harry. I promise. But I can’t ignore these gifts. I have to do something with them.

Harry places a hand on Peter’s shoulder.

HARRY OSBORN

(supportive)

Alright, Peter. Just know I’ve got your back, no matter what.

Peter smiles, grateful for Harry’s support.

PETER PARKER

(smiling)

Thanks, Harry. Let’s see what these powers can really do.

INT. UNDERGROUND WRESTLING ARENA - NIGHT

The dimly lit arena is packed with roaring fans, the air thick with the smell of sweat and anticipation. The ring, illuminated by harsh spotlights, stands as the center of attention. The crowd’s energy is electric, buzzing with excitement for the next match.

Among the crowd, Harry, wearing a hoodie and sunglasses to avoid recognition, watches intently. He adjusts his disguise, making sure he remains inconspicuous as he keeps his eyes glued to the ring.

ANNOUNCER

(booming voice)

Ladies and gentlemen, welcome to tonight's main event! In this corner, the reigning champion, the unstoppable force, CRUSHER HOGAN!

The crowd erupts into cheers and boos as CRUSHER HOGAN, a massive and intimidating figure, steps into the ring. He flexes his muscles and roars, feeding off the energy of the audience.

ANNOUNCER

(continuing)

And in this corner, a newcomer to the ring, a mystery man with a lot to prove... Give it up for THE SPIDER-MAN!

Peter, now in his costume, steps into the ring. His cape swirls behind him. 

The crowd murmurs in curiosity, intrigued by the masked newcomer. Harry leans forward, his heart pounding with anticipation and concern.

CUT TO: INT. WRESTLING RING - NIGHT

Crusher Hogan smirks, sizing up his opponent. He towers over Peter, his confidence evident.

CRUSHER HOGAN

(mockingly)

You think you can take me, kid? This'll be over in seconds.

Peter narrows his eyes behind his mask, his determination shining through.

PETER PARKER (SPIDER-MAN)

(calmly)

We’ll see about that.

The referee signals the start of the match, and the bell rings. Crusher Hogan charges at Peter, aiming to overpower him with sheer brute force. But Peter, utilising his enhanced agility and reflexes, effortlessly dodges Crusher's powerful blows.

The crowd gasps, amazed by Spider-Man’s speed and grace. Harry’s anxiety turns into a mix of awe and pride as he watches his best friend in action. Crusher Hogan, frustrated by his inability to land a hit, grows more aggressive.

CUT TO: INT. WRESTLING RING - NIGHT

Peter seizes the opportunity, using his superhuman strength to counter Crusher’s attacks. He leaps onto the ropes, bouncing off with incredible speed, and lands a perfectly executed kick to Crusher’s chest. Crusher staggers back, momentarily stunned.

Peter doesn’t relent. He swiftly moves in, delivering a series of rapid punches and kicks, each one landing with precision and power. Crusher Hogan, unable to keep up with Peter’s relentless assault, is quickly overwhelmed.

CROWD

(chanting)

Spider-Man! Spider-Man! Spider-Man!

With one final, spectacular move, Peter flips over Crusher Hogan, grabs him by the shoulders, and slams him into the mat with a forceful throw. Crusher Hogan lies on the mat, defeated and gasping for breath.

The referee raises Peter’s hand, declaring him the winner.

REFEREE

(loudly)

The winner, and new champion... The Amazing Spider-Man!

The crowd erupts into cheers and applause, their excitement reaching a fever pitch. Peter stands tall in the ring, soaking in the adoration and thrill of victory. He’s done it—he’s won.

INT. CONVENIENCE STORE - NIGHT

The store is quiet, illuminated by the fluorescent lights that hum softly overhead. An unnamed figure with a sharp look in his eye, moves quickly and quietly through the aisles, stuffing valuable items into a bag. His movements are swift and practised, showing that this isn't his first heist.

CUT TO: STORE ENTRANCE - NIGHT

A security guard making his rounds enters the store, his flashlight cutting through the dimly lit aisles. The figure freezes for a moment, his heart racing. He knows he has to act fast.

CUT TO: BACK OF THE STORE - NIGHT

He darts towards the back exit, but the security guard spots him.

SECURITY GUARD

(shouting)

Hey! Stop right there!

Wally curses under his breath and drops the bag of stolen goods, knowing he needs to get out fast. He bolts for the door, his footsteps echoing through the empty store.

EXT. CONVENIENCE STORE - NIGHT

Wally bursts out of the store, sprinting down the darkened alley. As he rounds the corner, he nearly collides with Spider-Man, who is walking down the street.

WALLY

(panicked)

Out of my way!

PETER PARKER (SPIDER-MAN)

(annoyed)

Watch where you’re going, asshat!

Spider-Man glances at Wally, his mask hiding any expression. He doesn’t move to stop him, simply watches as Wally runs past, disappearing into the night.

SECURITY GUARD

(out of breath, catching up)

Hey! You! You could have stopped him!

Spider-Man shrugs nonchalantly, his tone cocky and dismissive.

PETER PARKER (SPIDER-MAN)

(uncaring)

Ain’t that your job?

The security guard’s face contorts with anger and frustration.

SECURITY GUARD

(angrily)

You’re kidding! You could have helped!

Spider-Man walks past the guard, his demeanor relaxed and unconcerned.

PETER PARKER (SPIDER-MAN)

(nonchalantly)

Not my responsibility, pal. Next time, lay off the donuts. 

He casually walks away, the guard’s angry shouts fading into the background. 

INT. ALLEYWAY - NIGHT

The thief ducks into a dark alleyway, his breaths coming in ragged gasps. He leans against the cold, brick wall, trying to collect himself. Suddenly, a figure steps out from the shadows. Dimitri Smerdyakov, a.k.a THE CHAMELEON, wearing a pristine white mask and an immaculate business suit, regards Wally with an air of calm authority. He speaks with a light Russian accent. 

CHAMELEON

(coolly)

Wally, Wally, Wally... you used to be a legend! Now look at you. Failing to rob a convenience store. How the mighty have fallen.

Wally straightens, his eyes narrowing as he sizes up the masked figure.

WALLY

(defiantly)

Who the hell are you?

The Chameleon steps closer, his movements smooth and deliberate.

CHAMELEON

(smirking)

Call me The Chameleon. I’ve been keeping an eye on you, Wally. I know your skills, your reputation. As… out of practice you may be, you are useful. I have a proposition for you.

Wally crosses his arms, trying to mask his curiosity with indifference.

WALLY

(intrigued)

What’s the job?

The Chameleon smiles which, through the facial mask that maps his face’s movements, looks about as unnerving as it would be if the man turned out to be a real chameleon. 

CHAMELEON

There is a briefcase located at a certain address, stolen from my employer. He would like it back. It’s located at this address. 

Wally looks at the address and realises it’s a family home. 

WALLY

(scoffing)

I’m not interested. I don’t do home burglaries.

The Chameleon’s eyes glint with amusement as he reaches into his pocket, pulling out a photo of a young teenage girl with silver hair. Hair just like Wally. He holds it up for Wally to see.

CHAMELEON

(coldly)

Are you sure about that, Wally? Because I think you might reconsider when you realise who’s at stake here.

Wally’s eyes widen in recognition and fear as he stares at the photo. It’s his daughter. His hands clench into fists, his voice trembling with anger.

WALLY

(seething)

Leave my daughter out of this. Licia is an innocent girl!

The Chameleon’s tone remains calm and menacing.

CHAMELEON

(softly)

Not really that innocent, Walter. She’s been to juvie three times in the past decade alone and she’s coming of age soon. I can hardly imagine how she’ll survive in the… rougher parts of the judicial system. Do the job, Wally. A simple home burglary. Nothing more, nothing less. And your daughter stays safe. Refuse... and things could get very unpleasant.

Wally’s heart pounds, his mind racing. He knows he has no choice. He lowers his head, his voice barely more than a whisper.

WALLY

(defeated)

Fine. I’ll do it. But if anything happens to her—

The Chameleon interrupts, his voice chillingly calm.

CHAMELEON

(smirking)

Smart choice, Wally. Just get the job done, and everything will be fine. You have my word.

Wally nods reluctantly, the weight of his decision heavy on his shoulders. The Chameleon steps back into the shadows, his presence lingering like a dark cloud over Wally’s thoughts.

CUT TO: INT. WAREHOUSE - NIGHT

Wally sits alone, staring at the photo of his daughter. He knows what he has to do, and the thought fills him with dread. But he also knows that he must protect his family, even if it destroys another in the process.

FADE OUT.

INT. MIDTOWN HIGH SCHOOL - CLASSROOM - DAY

Peter sits in the back of the classroom, his phone hidden in his lap. He’s looking at the design of a new gadget to add to his suit. A pair of what he calls, web-shooters. The teacher is explaining an important concept, but Peter’s mind is miles away.

TEACHER

(calling out)

Mr. Parker, can you answer the question?

Peter looks up, clearly caught off guard. He glances at the board, but it’s obvious he hasn’t been paying attention.

PETER PARKER

(mumbling)

Uh, sorry, what was the question again?

The class chuckles, and the teacher sighs in frustration.

TEACHER

(sighing)

Please try to focus, Peter. This will be on the exam.

Peter nods absentmindedly, already looking back at his phone.

CUT TO: INT. SCHOOL HALLWAY - LATER

Peter walks through the crowded hallway, his phone still in hand. He bumps into other students, not bothering to apologise. He catches sight of Harry waiting by his locker.

HARRY OSBORN

(concerned)

Peter, you’ve been zoning out a lot lately. Is everything okay?

Peter waves him off, his tone dismissive.

PETER PARKER

(irritated)

I’m fine, Harry. Just busy with... stuff.

CUT TO: EXT. PARKER RESIDENCE - AFTERNOON

Peter arrives home, his backpack slung over one shoulder. Aunt May and Uncle Ben are waiting in the living room, their faces etched with concern.

AUNT MAY

(worried)

Peter, you’ve been coming home late and missing family dinners. What’s going on?

Peter shrugs, avoiding eye contact.

PETER PARKER

(dismissive)

Just busy with school and... other things. Nothing to worry about.

Uncle Ben steps forward, his voice gentle but firm.

UNCLE BEN

(supportive)

Peter, we’re here for you. But you need to keep your priorities straight.

Peter nods, but it’s clear he’s not really listening.

CUT TO: INT. MIDTOWN HIGH SCHOOL - CAFETERIA - DAY

Peter sits alone at a table, his phone propped up in front of him. He’s watching his latest wrestling match video, a smirk on his face as he reads the glowing comments. A group of students passes by, whispering and pointing at him about how weird he is. 

Peter overhears, but instead of feeling hurt, he smirks. If only they knew. 

CUT TO: INT. HARRY'S HOUSE - EVENING

Peter and Harry sit in Harry’s room, but Peter’s mind is clearly elsewhere. He’s scrolling through his phone, checking the comments on his latest wrestling match. Harry watches him, concern etched on his face.

HARRY OSBORN

(cautiously)

Peter, we need to talk. You’ve been blowing off school, ignoring Aunt May and Uncle Ben. You’re even blowing me off. What’s going on?

Peter glances up, annoyed.

PETER PARKER

(defensively)

I’m fine, Harry. Everything’s fine. I’m just... busy, okay?

Harry shakes his head, frustration bubbling to the surface.

HARRY OSBORN

(firmly)

No, it’s not okay. You’re not being responsible with your powers, Peter. You’re letting this fame get to your head. What happened to all that talk about responsibility?

Peter’s face hardens, anger flashing in his eyes.

PETER PARKER

(exploding)

Responsibility? You don’t get it, Harry. You’ve never had to struggle like I have. This is my chance to be someone, to matter. 

Harry steps back, his expression hurt but determined.

HARRY OSBORN

(pleading)

Peter, I’m your friend. I’m trying to help you. But you’re throwing everything away for some attention.

Peter stands up abruptly, his fists clenched.

PETER PARKER

(shouting)

You don’t know what it’s like to be invisible, to be nothing! I have these powers, and my only responsibility is to use them for me!

He storms out of the room, slamming the door behind him. Harry stands there, his heart heavy with worry and fear for his friend.

INT. PARKER RESIDENCE - NIGHT

Peter slams the front door behind him, his anger from the argument with Harry still simmering. He storms into the living room, where Uncle Ben is sitting, reading a newspaper. Ben looks up, concern etched on his face.

UNCLE BEN

(calmly)

Peter, we need to talk.

Peter rolls his eyes, exasperated.

PETER PARKER

(irritated)

Not now, Uncle Ben. I’ve had a long day.

Ben sets the newspaper aside and stands up, his expression gentle but firm.

UNCLE BEN

(softly)

I know things have been tough, Peter. But you’re pushing everyone away. Your aunt and I are worried about you. Now I don’t know what you’ve been doing and I’m not going to ask but-

Peter clenches his fists, his frustration boiling over.

PETER PARKER

(angry, interrupting)

You don’t understand, Uncle Ben. None of you do. I’m finally getting somewhere with my life, and all you guys do is lecture me!

Ben takes a step closer, his voice filled with understanding, but a hint of anger is coming through.

UNCLE BEN

(patiently)

Peter, I get that you want to make a difference, to be someone. But there’s something you need to remember. Your father had a saying that he always lived his life by: "When you have a gift, you have the power to use that gift to help people. With that power, there must also come great responsibility."

Peter’s face twists with anger at the mention of the word, responsibility. It’s been thrown around by Harry and now by Ben when all he wants to be responsible for is himself.

PETER PARKER

(snapping)

Don't bring my father into this! He isn’t here, remember? And now you’re trying to tell me how to live my life because of some saying he had? He has no right! You have no right!

Ben’s expression remains calm, though there’s a hint of sadness in his eyes.

UNCLE BEN

(softly)

Peter, I’m not trying to control you. I’m trying to help you understand that your actions have consequences. You have incredible gifts! Your mind is one of a kind! The inventions you always tinker with are extraordinary! You can use those inventions and that mind to help people!

Peter glares at Ben, his anger and frustration reaching a breaking point.

PETER PARKER

(shouting)

I’m sick of everyone telling me what to do! I’m going to live my life the way I want. You don’t get to decide that for me!

With that, Peter storms out of the room, leaving Uncle Ben standing there, his heart heavy with worry.

UNCLE BEN

(shouting)

Peter! Peter! Come back!

May leans softly on Ben’s shoulder.

AUNT MAY

(softly)

He’ll come back, Ben. He just needs time. 

INT. WRESTLING STUDIO - NIGHT

Peter bursts through the doors of the wrestling studio, still seething from his argument with Uncle Ben. The bright lights and bustling activity of the studio are a stark contrast to his turbulent emotions. He marches up to the front desk, where a receptionist looks up in surprise.

RECEPTIONIST

(startled)

Can I help you?

Peter, still in his Spider-Man costume, leans over the counter, his voice firm and demanding.

PETER PARKER (SPIDER-MAN)

(determined)

I need to be on the show tonight. Now.

The receptionist looks flustered, glancing at the schedule in front of her.

RECEPTIONIST

(apologetically)

I'm sorry, but the lineup is already full. We have another performer scheduled for tonight.

Peter's eyes flash with anger. He slams his fist on the counter, causing the receptionist to jump.

PETER PARKER (SPIDER-MAN)

(fiercely)

I don't care. I’m the reason people are tuning in. You want ratings? Put me on. Now.

The commotion catches the attention of the studio manager, who approaches with a wary expression.

STUDIO MANAGER

(calmly)

What's going on here? Beck’s supposed to be coming on soon!

Peter turns to face the manager, his posture tense and unyielding.

PETER PARKER (SPIDER-MAN)

(determined)

I need to be on the show tonight. I’m not asking. I’m telling you.

The manager sizes him up, realizing that the masked man in front of him is indeed the new sensation drawing viewers. He sighs, knowing that refusing could lead to a bigger scene.

STUDIO MANAGER

(resigned)

Alright, alright. We’ll make it work. You’re on tonight. Just... don’t cause any trouble.

Peter nods, satisfied. He turns and heads towards the backstage area, his mind focused on the upcoming performance.

In the background, a man in a green body suit with what looks to be a fishbowl in his arms is arguing with the receptionist. He storms off angrily. 

CUT TO: INT. BACKSTAGE AREA - NIGHT

Peter sits in the dressing room, his mask off as he prepares for the match. The adrenaline pumping through his veins temporarily drowns out the turmoil from earlier. He hears the muffled sounds of the audience and the ongoing matches, knowing that soon, he’ll be in the spotlight again.

He needs this, he thinks. He needs the distraction. The thrill. It’s the only thing that makes sense right now.

He pulls the mask back on, steeling himself for the performance. He stands up, ready to head out to the ring. The energy in the studio is palpable, and Peter feels a surge of determination.

ANNOUNCER

(loudly)

Hey everyone! It’s time for a surprise guest on the show. Give it up for your Friendly Neighbourhood Spider-Man!

Cheers erupt in the crowd as a jazzy theme music starts to play but there is a feeling in the air. A feeling of tragedy. Something lifechanging is about to happen and Peter Parker is at the centre. 

FADE OUT.

EXT. PARKER RESIDENCE - NIGHT

Peter arrives home from the studio, his adrenaline still pumping from the match. The neighbourhood is eerily quiet, but as he approaches his house, he notices the flashing red and blue lights of police cars. His heart sinks, but he tries to push the worry aside. 

CUT TO: EXT. PARKER RESIDENCE - FRONT YARD - NIGHT

Police cars are parked outside the house, and a small crowd has gathered, murmuring in concern. CAPTAIN GEORGE STACY , OFFICER STAN CARTER , and OFFICER JEAN DEWOLFF are at the scene, their expressions grim. Peter pushes through the crowd, his heart pounding in his chest.

PETER PARKER

(panicking)

What's going on? What happened?

Captain Stacy steps forward, not recognizing Peter initially but eventually realizing that this is the kid who lives in the house.

CAPTAIN STACY

(gently)

Kid, you need to stay calm. There's been an incident.

Peter's eyes dart around, searching for any sign of his aunt and uncle. He sees Aunt May sitting on the porch, her face pale and tear-streaked. He rushes over to her, his worry intensifying.

PETER PARKER

(frantic)

Aunt May, what happened? Where's Uncle Ben?

Aunt May looks up at him, her eyes filled with sorrow. She opens her mouth to speak, but no words come out. A gut wrenching sob takes its place. Peter's heart races as he turns back to Captain Stacy.

PETER PARKER

(desperate)

Where's Uncle Ben? Is he okay?

Captain Stacy exchanges a look with Officer Carter and Officer DeWolff. He takes a deep breath, his expression sombre.

CAPTAIN STACY

(somberly)

Peter, we need to talk.

Peter's mind races with possibilities, but he follows Captain Stacy into the house, his legs feeling like lead.

CUT TO: INT. PARKER RESIDENCE - LIVING ROOM - NIGHT

The living room is filled with police officers, their radios crackling with static. Peter looks around, his anxiety growing with each passing second. Captain Stacy leads him to a chair and gently guides him to sit down.

CAPTAIN STACY

(calmly)

Peter, there was a robbery tonight. Your uncle... he tried to stop the burglar and the burglar… he didn’t react well. 

Captain Stacy pauses for a second. 

CAPTAIN STACY

(voice full of sorrow)

He had a gun.

Peter's breath catches in his throat. He shakes his head, refusing to believe what he's hearing.

PETER PARKER

(whispering)

No... no, this can't be happening. I just talked to him. We had an argument and I-I…

Captain Stacy places a comforting hand on Peter's shoulder.

CAPTAIN STACY

(somberly)

I'm so sorry, Peter. Your uncle... he didn't make it.

Peter breaks down crying and Captain Stacy’s heart breaks. He wraps Peter in a hug.

PETER PARKER

(crying)

No! Uncle Ben! No!

He collapses to his knees, tears streaming down his face. Captain Stacy places a comforting hand on his shoulder.

CAPTAIN STACY

(somberly)

Peter, I'm so sorry. We’ve identified the killer. We’re doing everything we can to bring him to justice.

Captain Stacy walks outside to console a grieving May Parker. Peter’s hearing, now enhanced, picks up some of the radio chatter from the police scanners. He hears one name. 

Walter Hardy. 

Peter's sorrow turns to a burning rage. His hands clench into fists as his vision swims red with anger.

He stands up, his grief replaced by a cold, unyielding resolve. He takes his Spider-Man mask out of his pocket and stares into his reflection in the lens. He can’t recognize the boy he sees. He doesn’t care. 

The killer doesn’t know it yet, but he is prey and spiders have just reached the top of the food chain.

ROLL CREDITS.

Chapter Text

EXT. DARK ALLEYWAY - NIGHT

The alleyway is dimly lit, shadows stretching across the cracked pavement like dark, eerie fingers. The city is quiet, save for the distant hum of traffic and the occasional drip of water from a nearby gutter. A faint fog hangs in the air, adding an extra layer of mystery to the already foreboding atmosphere. A young blonde girl, around 16 years old, walks briskly down the street. She carries a backpack slung over one shoulder, her blonde hair catching the faint glow of the streetlights

She quickens her pace, eager to get home after a late night at school. The sound of her footsteps echoes off the walls, a constant reminder of her solitude. Her breath forms small clouds in the cool night air, and her eyes flicker nervously from shadow to shadow.

Suddenly, a figure emerges from the darkness ahead. The man has distinct greying blonde hair and a stocky build, deliberately similar to Walter Hardy’s look, his eyes glinting with predatory intent. The Blonde Girl's heart skips a beat as he steps into her path, blocking her way.

ROBBER

(gruffly)

Hey, girl. Hand over your bag.

The Blonde Girl's grip tightens on her backpack, fear coursing through her veins. She glances around, but the alleyway is deserted. She takes a small step back, her mind racing.

BLONDE GIRL

(trembling)

Please, I don’t have much. Just let me go.

The man steps closer, his face twisting into a menacing sneer. The dim light casts eerie shadows across his features, making him appear even more threatening. He pulls out a small knife. 

ROBBER

(angry)

I said, hand it over!

With a sudden, swift motion, he corners her in the alleyway, blocking any chance of escape. The Blonde Girl's back hits the cold, brick wall, and she feels a wave of panic. Her heart pounds in her chest as she realises the danger she’s in, the reality of her situation sinking in.

Just as the situation seems dire, a sudden web shoots out from the shadows, yanking the knife out of the robber’s hand. The man stumbles back in shock as Spider-Man swings down, landing gracefully between him and his intended victim. His costume is dirtier and not well maintained. He’s ditched the web cape and there is a small crack in one of his lenses. His suit is dirty and ripped, being held together by webs. On each wrist, he is wearing a metal bracelet. 

SPIDER-MAN

(coolly)

Whoa, buddy. Dangerous thing to be waving around. You could stick someone’s eye out. 

At the word ‘stick’ Spider thrusts and arm forward, pressing two fingers to the centre of his palm, hitting a button. A web THWIPS out of the bracelet he’s wearing. A web-shooter. 

The robber’s eyes widen in shock as the hand holding his knife is suddenly encased in a white strand-like substance, pinning it to the wall. 

Spider-Man advances, his movements smooth and confident. The Blonde Girl watches in both confusion and awe, her fear slowly making way in the presence of her masked saviour.

ROBBER

(scared and disgusted)

What the-? What is this? Who are you?

Spider-Man tilts his head, his tone casual yet firm.

SPIDER-MAN

(mockingly)

Who am I? I’m wearing a mask dude. I feel like that’s a pretty easy concept to grasp. 

Before the robber can react, Spider-Man shoots another web, pinning his other hand to the wall. The man struggles, but the webbing holds him fast.

Spider-Man gets in close. 

SPIDER-MAN

(menacingly)

What about you? What’s your name?

The robber shakes slightly. 

ROBBER

(scared)

D-Dennis. 

Spider-Man’s eyes narrow. Suddenly his entire disposition changes, becoming more cheerful. 

SPIDER-MAN

Now wasn’t that easy?

Suddenly muffled voices start speaking, as if coming from a radio. Spider-Man looks down to his pocket and takes out a police scanner. Stolen. He turns to the Blonde Girl. 

SPIDER-MAN

You might want to call the cops and… Mind keeping this quiet?

He points to the police scanner, clearly not wanting the cops to know he had it. 

BLONDE GIRL

(smirking)

Thanks but… fat chance. My dad’s a cop and a damn good one. He’ll know when I’m lying. Don’t worry. I’ll put in a good word. 

Spider-Man sighs. 

SPIDER-MAN

(sighing)

Worth a shot. Stay safe. 

EXT. STREET NEAR ALLEYWAY - NIGHT

Spider-Man swings out of the alleyway and into the bustling streets, the city lights reflecting off his suit. As he reaches the apex of his swing, he spots a massive billboard advertising an old remake of "Snow White," starring MARY JANE WATSON as Snow White and KIRSTEN DUNST as the Evil Queen. The bright lights highlight every detail of their radiant costumes and dramatic poses. The billboard is old and ripped - The movie wasn’t much of a success but it did launch Mary-Jane Watson’s career. 

With a quick glance, Spider-Man perches on the edge of the billboard, taking a brief moment to survey the city below. The wind ruffles his suit, and for a moment, he is just a silhouette against the vibrant advertisement.

His phone buzzes in his pocket, breaking the silence. He pulls it out and sees Harry Osborn's name flashing on the screen. He answers the call.

PETER PARKER (SPIDER-MAN)

(casually)

Hey, Harry. I’m a little busy. What’s up?

Harry’s voice comes through, tense and filled with concern.

HARRY OSBORN

(urgently)

Peter, we need to talk. Have you seen the news? There are reports all over the place about a vigilante in a red suit. People are calling him Spider-Man. Sound familiar?

Peter’s heart skips a beat. He glances around, making sure he’s alone.

PETER PARKER (SPIDER-MAN)

(defensively)

Yeah, I’ve seen it. So what?

Harry's tone hardens, a mix of frustration and worry.

HARRY OSBORN

(exasperated)

So what? Peter, it’s too dangerous! You can’t just go around playing vigilante. Leave it to the cops. They’re trained for this stuff.

Peter’s eyes narrow behind his mask. He stands up, the city lights reflecting off his suit.

PETER PARKER (SPIDER-MAN)

(firmly)

I’m not playing, Harry. People need help. And the cops can’t be everywhere at once. Someone has to do something.

Harry's voice takes on an accusatory edge.

HARRY OSBORN

(suspiciously)

Is that what this is really about? Or is it just about getting revenge on Walter Hardy?

Peter’s breath catches, anger starting to simmer.

PETER PARKER (SPIDER-MAN)

(defensively)

So what if it is?

Harry doesn't relent.

HARRY OSBORN

(demandingly)

What are you going to do when you find him, Peter? Kill him?

There’s a long pause as Peter grapples with his emotions. He finally responds, his voice low and filled with conflicted anger.

PETER PARKER (SPIDER-MAN)

(quietly)

...Maybe.

Harry is stunned into silence. The tension hangs heavy between them. Peter, fueled by frustration and anger, abruptly cuts the call. 

Spider-Man remains perched on the edge of the billboard, the city’s lights flickering in the background. He pulls out a small, handheld police scanner from his utility belt, its screen casting a faint blue glow on his face.

He adjusts the frequency, the device crackling with static before a clear transmission comes through.

POLICE SCANNER

(sounding urgent)

All units, we have a 10-31 in progress at the corner of 5th and Main. Suspect is a dark haired male, approximately 6 feet tall, wearing a black hoodie and jeans. Approach with caution.

Spider-Man listens intently, his eyes narrowing. The description doesn’t match Walter Hardy. He clenches his jaw, feeling the weight of his mission pressing on his shoulders.

He hesitates for a moment, the urge to swing into action tugging at him. But he forces himself to stay still, his focus unwavering.

He keeps listening, unmoving, as the police scanner continues to buzz with updates and chatter. The city hums around him, but his mind is solely on the hunt for the man who took his uncle from him.

EXT. DARK ALLEYWAY - NIGHT

The flashing red and blue lights of police cars cast eerie shadows on the walls of the alley. Officers are cordoning off the area as CAPTAIN GEORGE STACY steps out of his vehicle. His expression is a mix of professional calm and personal concern.

He makes his way through the throng of officers, his eyes scanning the scene until he spots a familiar figure—his daughter, The blonde girl from earlier, GWEN STACY , unharmed and safe but still uneasy. A man, the mugger, is webbed up against the wall, struggling futilely against the sticky substance.

CAPTAIN STACY

(calling out)

Gwendy! Are you alright?

Gwen looks up, relief washing over her face as she sees her father.

GWEN STACY

(shakily)

Dad, I’m okay. It was... it was Spider-Man. He saved me.

Captain Stacy reaches her and pulls her into a quick, reassuring hug. He then steps back, his eyes scanning the scene with a critical eye.

CAPTAIN STACY

(seriously)

What happened?

Gwen takes a deep breath, trying to steady her nerves.

GWEN STACY

(still shaken)

I was walking home when this guy jumped me. He pulled out a knife and... I thought it was over. But then Spider-Man showed up. He disarmed him and webbed him up like that.

She gestures to the mugger, still ensnared in the webbing. Captain Stacy's gaze hardens as he looks at the man.

CAPTAIN STACY

(calmly)

Did Spider-Man say anything to you?

Gwen nods, her voice gaining strength.

GWEN STACY

(firmly)

Yeah. He told me to be careful and stay behind him. He... he was using a police scanner, Dad. I think he stole it. But he saved my life.

Captain Stacy’s expression tightens at the mention of the stolen police scanner, but his relief at his daughter’s safety is palpable.

CAPTAIN STACY

(sighing)

Alright, Gwendy. Let’s get you home. We’ll deal with this later.

As they walk away, Captain Stacy casts one last glance at the webbed-up mugger, his mind already turning over the implications of a vigilante with a police scanner roaming the streets.

INT. STACY RESIDENCE - NIGHT

The cosy living room is dimly lit, the warm glow from the lamps casting a soft light. Captain Stacy sits on the couch, his face etched with worry and deep thought. Across from him stands OFFICER JEAN DEWOLFF , her expression serious as she goes over the recent reports.

CAPTAIN STACY

(sighing)

Thanks for coming over, Jean. We need to figure out what’s going on with this Spider-Man character.

Jean nods, her eyes scanning the notes in her hand.

OFFICER JEAN DEWOLFF

(nodding)

I’ve been going through the reports. Spider-Man's been targeting multiple criminals, all with a similar build. We know he has a stolen police scanner so we have to assume he knows about all reported crimes in the city. He’s just choosing to go after these guys. It’s almost like he’s searching for someone specific.

Captain Stacy leans back, rubbing his temples as he processes the information.

CAPTAIN STACY

(thinking)

And they all match the description of Walter Hardy, don’t they?

Jean looks up, her eyes meeting his.

OFFICER JEAN DEWOLFF

(seriously)

Exactly. It’s too much of a coincidence to ignore. I think Spider-Man might be after Hardy.

Captain Stacy lets out a deep breath, his mind racing with the implications.

CAPTAIN STACY

(firmly)

If that’s the case, we need to get ahead of this. We can’t have a vigilante running around seeking revenge. It’s dangerous—for everyone.

Jean nods in agreement, her expression resolute.

OFFICER JEAN DEWOLFF

(decisively)

Agreed. We need to talk to someone who might know about him. 

Captain Stacy stands up, determination in his eyes.

CAPTAIN STACY

(nodding)

Alright. You go to the studio which hired the guy. Apparently before last week, he was some sort of entertainer. We need to get to the bottom of this before it escalates any further. I’ll stick around here looking over the files. 

Jean nods and heads out. 

INT. WRESTLING STUDIO - DAY

The studio is bustling with activity as crew members rush about, setting up for the next show. Jean walks in, her presence commanding yet approachable. She makes her way to the front desk where a receptionist sits, typing away at a computer.

OFFICER JEAN DEWOLFF

(politely)

Excuse me, I’m Officer Jean DeWolff. I need to speak with someone about a performer who recently worked here—Spider-Man.

The receptionist looks up, a hint of recognition flickering across her face.

RECEPTIONIST

(nodding)

Oh, Spider-Man. Yeah, I remember that guy. Piece of work, I tell you. The ego on that man. Let me get the manager for you.

A few moments later, the STUDIO MANAGER approaches, his expression a mix of curiosity and annoyance. He is a portly figure in a Hawaiian shirt. 

STUDIO MANAGER

(curtly)

How can I help you, Officer?

Jean offers a professional smile, pulling out her notepad.

OFFICER JEAN DEWOLFF

(calmly)

I’m here to ask about Spider-Man. I understand he performed here recently?

The manager nods, his annoyance turning into frustration.

STUDIO MANAGER

(angry)

Yeah, he did. Showed up unannounced, demanded to be on the show. We let him in because he was getting a lot of buzz, but after that night, he just dropped off the face of the earth. Worst of all, because we let him take the other slots, all the other performers just quit! Can you imagine? It’s like we didn’t pay them! We haven’t had any good revenue in a week!

Jean takes notes, her expression thoughtful. This man was clearly only in it for the money, not caring about the rest of his employees. 

OFFICER JEAN DEWOLFF

(asking)

Can you tell me more about what happened that night?

The manager crosses his arms, thinking back.

STUDIO MANAGER

(explaining)

He was angry, the little bastard. Said he needed to be on the show, wouldn’t take no for an answer. We let him because he was a moneymaker, but after the performance, he vanished. Didn’t stick around, didn’t say goodbye. Just left. 

Jean nods, absorbing the information.

OFFICER JEAN DEWOLFF

(thankfully)

Thank you for your help. This information is very important to our investigation.

The manager nods, his expression hardening.

STUDIO MANAGER

(angrily)

You better put that crook away. He’s cost me a lot of money. 

Jean leaves the studio, her mind whirring with new insights. She knows she needs to definitely look into this wrestling studio, but right now her priority is to report back to Captain Stacy. 

INT. STACY RESIDENCE - NIGHT

The cosy living room is dimly lit, the warm glow from the lamps casting a soft light. Captain Stacy sits at his desk, papers and reports spread out in front of him. His mind races as he pieces together the puzzle. Jean enters the room, her expression serious.

CAPTAIN STACY

(thinking aloud)

Spider-Man quits right after Ben Parker is killed. Then he starts targeting criminals who look like the killer. It can’t be a coincidence.

Jean nods. 

OFFICER JEAN DEWOLFF

(nodding)

You’re right, George. I talked to the wrestling studio. They said Spider-Man vanished after that night. He just dropped off the face of the earth the same day Ben Parker was murdered.

Captain Stacy looks up, his eyes widening with realisation.

CAPTAIN STACY

(piecing it together)

So Spider-Man quits the same day Ben Parker is killed, and now he’s targeting criminals matching Walter Hardy’s description. It’s not a stretch to think he might be someone close to the Parkers.

Jean adds another piece to the puzzle.

OFFICER JEAN DEWOLFF

(supporting)

And if he’s using a police scanner, he could be tracking Hardy down himself.

Captain Stacy lets out a deep breath, the weight of the situation pressing on him.

CAPTAIN STACY

(resolutely)

We can’t let this turn into a vigilante revenge mission. We need to talk to the Parkers. They might know something that can help us, or at the very least, they need to be safe. I’ll go. You head over to the station and keep an eye out for any chatter. 

Jean nods, agreeing with his plan.

OFFICER JEAN DEWOLFF

(decisively)

Let’s go. We need to get to the bottom of this before it escalates any further.

Captain Stacy stands, his determination evident in his posture. They head out together, their destinations clear. 

INT. PARKER RESIDENCE - NIGHT

The cosy living room of the Parker residence is filled with a warm, comforting light but there is a sombre tone. Captain Stacy stands by the door, his expressions serious yet polite as he moves to speak with MAY PARKER , who looks slightly concerned but composed. Her face is streaked with red from tears. 

CAPTAIN STACY

(gently)

Mrs. Parker, I’m here to ask a few questions. Is Peter home? I need to speak with him.

May nods, her worry evident but her trust in the cops clear.

MAY PARKER

(sadly)

He’s been up in his room all week. You’re welcome to go check.

Captain Stacy nods, then makes his way towards the stairs. The house is quiet, save for the soft creaking of the wooden steps as he ascends.

CUT TO: INT. PETER’S ROOM - NIGHT

Captain Stacy reaches Peter’s room. The door is slightly ajar. He pushes it open, revealing a room in disarray. Papers and notes are scattered across the desk, covered in sketches and diagrams labelled "Webshooters." The bed is unmade, with the remnants of a ripped web cape draped across it.

Captain Stacy’s eyes widen as he takes in the scene. He moves closer to the desk, picking up one of the notes and reading it quickly.

CAPTAIN STACY

(whispering)

Web-shooters? 

Captain Stacy gasps, understanding dawning on him.

CAPTAIN STACY

(seriously)

He’s a kid. Spider-Man is a kid. 

He glances around the room, worry etched on his face.

Captain Stacy knows what the world is like for people like Peter. It’s dangerous. The way people react around mutants is just one example. He remembers how the world called Charles Xavier a cult leader just because he took in the mutant kids who were kicked out of their home. 

Captain Stacy knows what he has to do. 

He works quickly, gathering up the notes and diagrams and hiding them in Peter’s closet. He takes the ripped web cape and tucks it under the bed. Protecting Peter’s secret is his new priority. A kid like him getting exposed may be the one of the worst things that could ever happen to him. 

After ensuring that the room looks as normal as possible, he heads back downstairs, his expression carefully neutral.

INT. PARKER RESIDENCE - LIVING ROOM - NIGHT

As Captain Stacy goes back to the living room, his radio crackles to life. He pauses, listening intently.

DISPATCHER (V.O.)

(over radio)

All units, we have a 10-20 on a suspect matching Walter Hardy’s description. Suspect is reportedly hiding out in an abandoned warehouse on the east side. Approach with caution.

CUT TO: EXT. ROOFTOP - NIGHT

Hours have passed since Peter last moved from his perch on the billboard. He remains still, listening to the police scanner. The same transmission crackles through, catching his full attention.

Peter’s eyes narrow behind his mask. This is what he’s been waiting for. Without hesitation, he stands up, his resolve hardening.

He fires a webline and swings off the rooftop, his silhouette disappearing into the night as he makes his way towards the warehouse.

CUT BACK TO: INT. PARKER RESIDENCE - LIVING ROOM - NIGHT

Captain Stacy’s eyes widen. If he is right… If Peter is Spider-Man, he would be heading to the warehouse too. He knows he needs to be there to protect him… or stop him from doing something he might regret for the rest of his life. 

INT. ABANDONED WAREHOUSE - NIGHT

The dimly lit warehouse is filled with an eerie silence, broken only by the distant sounds of police sirens and muffled voices outside. WALTER HARDY stands alone, his breath ragged and his hands trembling. Dried blood stains his clothes, a reminder of the man he murdered, just a week ago. He leans against a crate, a wave of nausea washing over him as he grapples with the reality of what he’s done. 

The weight of his actions presses heavily on him, a stark violation of his personal code. He clenches his fists, trying to steady himself, unaware of the presence lurking above him.

CUT TO: PETER PARKER (SPIDER-MAN) - DANGLED ABOVE

High above, PETER PARKER (SPIDER-MAN) hangs silently from the rafters. His costume is clearer now than it was before. It’s ripped and web swinging to the warehouse didn’t help. The mask remains perfectly intact, hiding his determined expression. Walter’s reflection can be seen in the lenses. He watches Walter with a predatory intensity, his muscles coiled and ready to strike.

CUT TO: POLICE OUTSIDE THE WAREHOUSE

Captain Stacy directs the officers to surround the building, his plan to contain the situation without storming in just yet.

CAPTAIN STACY

(firmly)

Hold positions. We need to be sure before we move in.

CUT BACK TO: INSIDE THE WAREHOUSE

Walter’s head snaps up as he senses a presence. But before he can react, Peter drops down silently behind him. In a swift, fluid motion, he delivers a powerful kick to Walter’s back, sending him crashing into the wall. The sickening sound of a bone snapping echoes through the warehouse.

Walter cries out in pain, collapsing to the ground, his eyes wide with shock and fear. Peter stands over him, his fists clenched, anger radiating from every fibre of his being.

WALTER HARDY

(gasping)

What… Spider-Man? What are you-

Peter interrupts, his voice a low, dangerous growl.

PETER PARKER (SPIDER-MAN)

(quietly)

Murderer. 

Walter stifles a gasp of pain, from both the pain in his broken arm and the reality of his actions. 

WALTER HARDY

(softly, crying)

I didn’t mean to. 

Peter’s anger flares. 

PETER PARKER (SPIDER-MAN)

(angry, shouting)

YOU DIDN’T MEAN TO? YOU’RE A KILLER!

Walter’s tears flow freely, his voice desperate, his guilt rising. 

WALTER HARDY

(crying)

Please! I have a daughter! I have a family!

Peter grips him by his bad arm. 

PETER PARKER (SPIDER-MAN)

(furious)

SO DID BEN PARKER! HE DOESN’T GET TO GO HOME! HE DOESN’T GET TO SEE THEM AGAIN! WHY SHOULD YOUR FAMILY GET TO SEE YOU?

He grabs Walter and shoves him into the window. The glass shatters. Light from outside fills the warehouse and floods Walter’s face. 

POLICE OFFICER (V.O.)

(Over a speakerphone)

There’s someone in the warehouse with him! It’s some guy wearing a mask. 

Peter ignores the sound but then he gets his first good look at the killer’s face, or rather… his second look. 

PETER PARKER (SPIDER-MAN)

(in disbelief)

I-I know you. You’re that guy.

He remembers his first fight, coming down from the high of beating the champion Crusher Hogan. Most of all, he remembers the criminal in front of him, robbing a store. He remembers letting him go. 

Peter stands frozen, his mind reeling from the realization that Walter Hardy, the man he let go, is the same one responsible for his uncle’s death. Walter, sensing Peter's hesitation, seizes the moment to plead for his life, his voice trembling with desperation.

WALTER HARDY

(pleading, desperate)

Please, let me go. I promise, I'll turn myself in. Just... let me go.

Peter's grip on Walter's arm tightens, his emotions a whirlwind of anger, guilt, and confusion. He looks into Walter's eyes, seeing the fear and regret. The anger in him simmers, but something holds him back—a part of him that doesn’t blame Walter. A part of him that blames himself. 

PETER PARKER (SPIDER-MAN)

(struggling)

Turn yourself in. Now.

Walter nods frantically, tears streaming down his face. He stumbles to his feet, clutching his broken arm, and limps towards the exit, every step laboured with pain and remorse. Peter watches him go, his mind a tumultuous storm of emotions. Horror fills him. 

CUT TO: POLICE OUTSIDE THE WAREHOUSE

Captain Stacy stands with his officers, his eyes scanning the building. He catches a glimpse of movement as Walter emerges from the warehouse, his hands raised in surrender. The officers move in quickly, surrounding him.

OFFICER JEAN DEWOLFF

(commanding)

Get on the ground! Hands behind your head!

Walter complies, sinking to his knees, his expression one of utter defeat. The officers cuff him, their movements swift and efficient.

Walter weakly complies, his energy drained from the ordeal. The officers guide him towards a waiting police car, careful with his injured arm.

CUT BACK TO: INSIDE THE WAREHOUSE

It’s been a few hours. The police have gone but a car silently rolls back into the parking lot near the warehouse. Captain Stacy steps out. 

Spider-Man, mask off, sits on the edge of the rooftop, sobbing uncontrollably. His shoulders shake with each sob, his pain evident in every fibre of his being. The weight of the world seems to rest on his young shoulders, and for a moment, he is nothing more than a broken, vulnerable teenager, filled with hate, anger, grief and self-loathing. 

Captain Stacy's footsteps echo as he makes his way to the rooftop. Peter hears the sound and looks up, eyes wide with fear. He scrambles to grab his mask, but Captain Stacy raises a hand, halting his movements.

CAPTAIN STACY  

(Speaking gently)  

I already figured it out earlier today, Peter, and I'm not going to tell anyone.

Peter's hands tremble as he holds the mask. His breath catches in his throat, and he looks at Captain Stacy with a mixture of relief and despair.

PETER PARKER  

(Voice breaking)  

It's all my fault... I let him go. I could have stopped him. I let him go and he killed my Uncle. It’s all my fault. 

Tears stream down Peter's face, his guilt and anguish pouring out. Captain Stacy's expression softens, and he takes a step forward, closing the distance between them.

CAPTAIN STACY  

(Voice filled with compassion)  

Peter, listen to me. It's not your fault.

Peter's knees buckle, and he sinks to the ground, his sobs growing more intense. Without hesitation, Captain Stacy kneels beside him, wrapping his arms around Spider-Man in a comforting embrace. He holds Peter tightly, his own eyes glistening with unshed tears.

PETER PARKER  

(Sobbing)  

I’m so sorry Uncle Ben. I’m so sorry. 

CAPTAIN STACY  

(Whispering)  

It’s going to be alright, kid. It’s going to be alright.

Peter clings to Captain Stacy, his sobs slowly subsiding as he takes solace in the Captain's words. The two of them remain there, on the rooftop.

ROLL CREDITS.

Chapter Text

INT. CITY STREET - NIGHT

Chaos reigns. A towering building is ablaze, flames licking the night sky, casting an ominous orange glow. Thick, acrid smoke billows from shattered windows. The camera closes in on a WOMAN on an upper floor, her desperate screams barely audible over the roar of the fire. Her eyes are wide with terror, hands clutching at the air as if seeking salvation.

EXT. CITY STREET - CONTINUOUS

Down below, People are a whirlwind of motion, bumping into each other, their faces masks of fear and panic. Children cling to their parents, tears streaking down soot-covered cheeks. Cries for help resonate, creating a cacophony of human despair. SIRENS wail in the distance, promising relief but still too far away.

Suddenly, the crowd collectively gasps. All eyes turn skyward as a figure in red and blue swoops in, a silhouette against the inferno's fiery backdrop. He moves with fluid grace, his suit catching the light of the flames. Confusion and curiosity ripple through the onlookers.

BYSTANDER

(confused, pointing)

Who's that? 

Out of the crowd comes J. JONAH JAMESON, the editor of the Daily Bugle, steps forward. He’s a man in his early 50s, with a shock of silver hair, meticulously groomed into a flat-top. His bushy mustache quivers with every breath, and his brow is perpetually furrowed, deep lines etched across his forehead from years of barking orders and chasing stories.

Jameson wears a sharp, dark suit, his tie slightly askew from the chaos. Despite the panic around him, he exudes a gruff authority, as if he's seen it all and is unimpressed by mere catastrophe. His eyes narrow, magnified by the glinting lenses of his horn-rimmed glasses. Suspicion and a touch of disdain mix in his gaze as he watches the unfolding scene.

The figure lands in a crouch, the ground cracking slightly under his impact. He straightens, revealing SPIDER-MAN for the first time. His stance is firm, his eyes—behind the mask—flickering with determination and a hint of sorrow. He surveys the burning building, then the terrified crowd.

Without uttering a word, Spider-Man shoots a web at a nearby lamppost and swings back into the heart of the blaze. His movements are precise, deliberate, a stark contrast to the chaos around him. He disappears into the building, leaving the crowd in stunned silence.

INT. BURNING BUILDING - NIGHT

The inferno inside is worse than the view from the outside. Spider-Man swings into a corridor choked with smoke, his enhanced senses allowing him to navigate through the chaos. Flames lick at the walls, and the heat is almost unbearable. 

SPIDER-MAN

(thinking)

Okay, just like the movies... only it's real. And on fire. I can do this. 

He lands awkwardly on the scorched floor, wincing as he nearly slips on the debris. His eyes scan the area, spotting a family huddled in a corner, trapped by the flames. The mother holds her son close, trying to shield them from the heat.

SPIDER-MAN

(coughing through the smoke)

Don't worry! I'm here to help!

Despite his confident words, there's an edge of nervousness in his voice. He shoots a web to create a barrier, momentarily holding back the flames. 

He rushes to the family, his movements a bit clumsy but determined. He scoops up the son first, wrapping him in his webbing for protection.

SPIDER-MAN

(talking to himself)

Okay, Spidey. Just get him out safely. No pressure.

He swings him out through a broken window, landing him gently on a lower rooftop. As he returns for the parents, he hesitates, unsure of his strength.

FATHER

(eyes wide)

Please, you have to save my wife!

SPIDER-MAN

(slightly panicked)

I got this. I... I got this.

He lifts the MOTHER and the FATHER, his muscles straining under the effort. He isn't used to this kind of weight, and it shows in his trembling arms.

SPIDER-MAN

(struggling)

Hold on tight. We're almost there!

He swings them out just as the floor beneath collapses, narrowly escaping with his charges. They land on the same rooftop, Spider-Man dropping to his knees, exhausted but relieved.

MOTHER

(teary-eyed)

Thank you. Thank you so much.

SPIDER-MAN

(breathing heavily)

Just doing what I can... to help.

The inferno rages on, and the heat becomes almost unbearable. Spider-Man swings back inside, the acrid smoke stinging his eyes and filling his lungs. Despite his exhaustion, he pushes forward, driven by the cries for help still echoing through the building.

Spider-Man navigates through the burning debris, his suit scorched and smudged with soot. He stumbles upon an ELDERLY COUPLE trapped beneath a fallen beam. The WOMAN is unconscious, and the MAN is struggling to lift the heavy timber.

He shoots a web to secure the beam, using all his strength to lift it just enough to free the couple. His hands tremble from the effort, but he manages to pull them out, one by one.

SPIDER-MAN

(gritting his teeth)

Almost... got it.

He carries the WOMAN in his arms and helps the MAN to his feet. They move slowly, the MAN limping and leaning heavily on Spider-Man for support.

SPIDER-MAN

(encouragingly)

You're doing great. Just a little further.

They make their way through the smoke-filled hallways, Spider-Man's senses on high alert for any signs of collapse. He spots a window and quickly webs it open, the fresh air rushing in a welcome relief.

SPIDER-MAN

(tired but determined)

Okay, hold on tight.

He secures the MAN with a web line and holds the WOMAN close as he swings out of the building, landing them safely on the ground below. The ELDERLY MAN, tears of gratitude in his eyes, hugs Spider-Man tightly.

ELDERLY MAN

(voice cracking)

Thank you, young man. You saved our lives.

SPIDER-MAN

(smiling under his mask)

Just doing my part.

Having saved the elderly couple, Spider-Man swings down to the ground, landing gracefully amidst the crowd. His gaze scans the worried faces, the flickering light of the flames illuminating his mask.

SPIDER-MAN

(raising his voice, urgent)

Is anyone still inside?

The crowd murmurs, and a WOMAN steps forward, tears streaming down her face. She clutches at her chest, desperation evident in her eyes.

WOMAN

(crying out)

My kid! My kid is still up there, on the top floor!

SPIDER-MAN

(resolute)

I’m on it!

Without hesitation, Spider-Man shoots a web and swings back into the blazing building, his heart pounding. He navigates through the smoke-filled corridors, calling out as he searches.

SPIDER-MAN

(shouting)

Hello? Where are you?

CUT TO:

EXT. CITY STREET - CONTINUOUS

The WOMAN, now alone, looks around, smirking. She glances back at the burning building, then swiftly slips away into the shadows, disappearing into the night. Her actions go unnoticed by the panicked crowd.

CUT BACK TO:

INT. BURNING BUILDING - STAIRWELL

Spider-Man lands on a stairwell, the metal steps trembling under his weight. He hears the groans of the structure, every second ticking by increasing the danger. He glances around, desperate to find a way out. He can see the flames advancing, consuming everything in their path.

SPIDER-MAN

(to himself)

Think, Peter, think! There has to be a way!

He spots a narrow window across the landing. It's his best chance. He shoots another web, swinging across the stairwell just as a section of the ceiling crashes down where he stood.

SPIDER-MAN

(urging himself on)

Almost there!

INT. BURNING BUILDING - TOP FLOOR

He lands on the top floor, the heat almost unbearable now. He races through the hallways, still calling out, hoping against hope.

SPIDER-MAN

(shouting, desperate)

Kid? Please, answer me!

He tears open doors, dodging falling debris and the ever-encroaching flames. His suit is scorched, and the exertion is taking its toll, but he doesn't stop. He can't.

Just as he reaches the end of the hallway, a massive beam falls, blocking his path. He stops, staring at it in frustration and despair.

SPIDER-MAN

(to himself, angry and worried)

No... no, no, no!

He turns around, realizing he's out of time. He shoots another web and swings back the way he came, determined to get out before it's too late.

EXT. CITY STREET - CONTINUOUS

Spider-Man bursts out of a top-floor window, soaring through the air as the building crumbles. He lands on the ground, rolling to absorb the impact. He springs to his feet, eyes searching the crowd.

SPIDER-MAN

(apologetic, desperate)

I couldn’t find the kid! I’m so sorry—

But the WOMAN is nowhere to be seen. The crowd murmurs, looking around in confusion.

SPIDER-MAN

(to himself, confused)

Where did she go?

The realization hits him hard. He stands there, breathing heavily, the weight of the situation sinking in. Did he fail to save the kid? Where was the woman from before? 

The fire continues to rage behind him, the building now a skeletal frame of its former self. The crowd's murmurs turn into a low hum of disbelief and speculation. Spider-Man, feeling the burden of both the lives saved and the unanswered questions, steps back from the scene.

Firefighters finally arrive, rushing to contain the blaze. They spare curious glances at the costumed hero, some with admiration, others with wariness. Spider-Man watches them for a moment, his thoughts racing.

As he turns to leave, a young boy steps forward from the crowd, looking up at Spider-Man with wide eyes. He’s covered in soot and Spider-Man realizes that it’s the kid he saved earlier. 

YOUNG BOY

(tentatively)

Are you... are you a hero?

Spider-Man looks down at the boy and finds himself unable to answer the question. 

SPIDER-MAN

(gently)

No-I’m… I don’t know. 

The boy looks back up at him. 

YOUNG BOY

(gratefully)

You saved my mom and dad. I think that makes you a hero. 

Spider-Man doesn’t know what to say. 

Shouldn’t a hero have stopped Walter Hardy? 

Shouldn’t a hero have saved Ben Parker?

INT. MIDTOWN HIGH SCHOOL - MORNING REGISTRATION - DAY

The classroom is filled with the typical chatter of teenagers settling into their seats. PETER PARKER, looking tired and distracted, takes his usual spot at the front. He stares at his notebook, but his mind is clearly elsewhere, replaying the events of the previous night.

LIZ ALLEN sits a few rows back, her chin resting on her hand as she gazes dreamily at FLASH THOMPSON, who is sprawled lazily in his seat. FLASH is busy ripping out pages from his notebook, clearly uninterested in the proceedings.

SHA SHAN NGUYEN, sitting near Peter, is engrossed in her phone, tapping away at messages. She doesn’t spare a glance in Flash’s direction, focused entirely on her screen.

MR HARRINGTON, the homeroom teacher, stands at the front of the room, calling out names for attendance.

MR HARRINGTON

(calling out)

Allen, Liz.

LIZ

(present, absently)

Here.

MR HARRINGTON

(calling out)

Nguyen, Sha Shan.

SHA SHAN

(present, distracted)

Here.

SALLY AVRIL is chatting animatedly with her friends, occasionally glancing at her phone for updates.

MR HARRINGTON

(calling out)

Avril, Sally.

SALLY

(present, with a smile)

Here!

Across the room, HARRY OSBORN is leaning back in his chair, looking cool and collected. His demeanor changes subtly as he glances at Peter, concern flickering in his eyes. He watches Peter for a moment, worrying about his friend but says nothing.

MR HARRINGTON

(calling out)

Osborn, Harry.

HARRY

(present, nonchalant)

Here.

CLAYTON COLE, engrossed in a comic book, barely looks up when his name is called.

MR HARRINGTON

(calling out)

Cole, Clayton.

CLAYTON

(present, distracted)

Yeah, here.

KENNY KONG, seated next to his friends, is cracking jokes and laughing loudly. He nods when his name is called, not breaking from his conversation.

MR HARRINGTON

(calling out)

Kong, Kenny.

KENNY

(present, chuckling)

Here!

CINDY MOON sits quietly, her attention focused on the front of the class, a slight smile on her face as she listens to the roll call.

MR HARRINGTON

(calling out)

Moon, Cindy.

CINDY

(present, politely)

Here.

MR HARRINGTON

(calling out)

Parker, Peter.

PETER

(startled, snapping out of his thoughts)

Here.

MR HARRINGTON continues down the list, his voice a monotonous backdrop to Peter’s racing thoughts. Peter fidgets with his pen, his eyes glazing over as he stares at his notebook. His mind is filled with the chaos and flames from the burning building. He can still hear the woman's desperate plea, see the terrified faces of those he rescued, and feel the weight of the lives he couldn't save. Could he have done more?

FLASH THOMPSON, clearly bored, leans back in his chair, balancing it on two legs. He makes a paper airplane out of pages from his notebook and launches it across the room. It sails over the heads of the students and lands on MR. HARRINGTON's desk.

MR HARRINGTON

(without missing a beat)

Thank you, Mr. Thompson, for that spectacular demonstration of aerodynamics.

The class snickers, but Mr. Harrington continues the roll call, seemingly unbothered by Flash's antics. Liz giggles at Flash's mischief, her eyes twinkling with admiration. Flash gives her a wink, basking in the attention. Sha Shan rolls her eyes. 

Peter, meanwhile, continues to fidget, his mind replaying the events over and over.

MR HARRINGTON

(clearing his throat)

Alright, before we head off to our first classes, I have an announcement. We'll be having a new student joining us this school year. Please make them feel welcome when they arrive.

The door opens and a stunningly pretty blonde girl walks in, catching everyone's attention. She has a confident stride and a warm smile. The light catches her short, blonde hair, making it seem like liquid gold. She has subtle pink highlights in her hair and a leather jacket draped over her figure. Her bright blue eyes sparkle with curiosity. 

MR HARRINGTON

(gesturing to the new student)

Class, please welcome Gwen Stacy.

GWEN STACY

(smiling)

Hi, everyone.

Peter's eyes widen as he recognizes her. This was the girl he’d saved from a mugger the night he’d found Uncle Ben’s killer. His heart skips a beat, and he can't take his eyes off her.

He wonders if there is any connection to Captain Stacy, the cop who figured out his identity. 

MR HARRINGTON

(pointing to an empty seat next to Peter)

Gwen, you can take the seat next to Peter.

Gwen makes her way to the seat and sits down next to Peter, who can feel his face flush. He tries to focus on his thoughts, but they keep drifting back to her and the events of that night. It’s a stark reminder of what he considers his worst mistakes. 

Gwen looks at him out of the corner of his eye. Something about him seems familiar but she can’t seem to place it. 

The bell rings, signaling the end of the registration period. The students start packing up their things, ready to leave for their first class.

INT. MIDTOWN HIGH SCHOOL - CAFETERIA - DAY

The bustling cafeteria is filled with students chatting and laughing as they enjoy their lunch. PETER PARKER and HARRY OSBORN, trays in hand, sit together at an empty table near the window, grateful for a moment of solitude. The sun filters through the windows, casting a warm glow on their faces.

As they begin to eat, Peter and Harry are noticeable as the only ones sitting at their table, contrasting with the crowded surroundings. A voice interrupts their quiet moment.

GWEN STACY

(cheerful)

Mind if I join you?

Peter looks up to see GWEN STACY standing there, tray in hand and a friendly smile on her face. 

PETER

(slightly flustered)

Uh, sure. Go ahead.

GWEN sits down across from Peter, setting her tray down and giving both Peter and Harry a warm smile.

Harry looks at Peter out of the corner of his eye, a small smirk forming on his lips. 

GWEN

I'm Gwen, by the way. Gwen Stacy. We met briefly this morning.

PETER

(nodding, trying to seem casual)

Yeah, I remember. I'm Parker. Peter Parker. And this is Harry Osborn.

HARRY

(friendly, outgoing)

Nice to meet you, Gwen.

There's a brief, awkward silence as Peter fidgets with his food, not quite sure what to say. Gwen seems to sense his discomfort and decides to break the ice.

GWEN

So, Peter, what's your favorite subject?

PETER glances up, hesitating, but Harry jumps in to fill the silence.

HARRY

(smiling)

Pete’s a big fan of biology. He's really into it.

GWEN

That's cool. I'm really into science too. My dad's a detective, so I guess I got my curiosity from him. 

HARRY

(nodding)

Wow. Must be pretty intense having a dad in law enforcement.

GWEN

(nods)

Yeah, it's definitely interesting. He’s got a lot of stories. 

Peter nods, still feeling a bit guarded. He can't help but glance at Gwen occasionally, his mind flashing back to that night.

GWEN

(changing the topic)

By the way, what do you guys think about this new guy that’s been showing up? Spider-Man? 

Peter stiffens slightly, avoiding eye contact, while Harry jumps in.

HARRY

(enthusiastic)

I think he's doing the right thing. New York needs someone like him, you know? With all the craziness going on, it’s good to have someone looking out for us. 

Peter looks over at Harry and smiles. 

GWEN

(sincerely)

I agree. He actually saved my life once. I was caught in a mugging, and Spider-Man just swung in and wrapped up the mugger in these webs he was shooting. 

Harry raises an eyebrow and glances at Peter through the side of his eye, noting Peter's reaction.

PETER

(muttering)

Yeah, he's... something else.

GWEN

(gently)

Yeah, I'm really grateful for what he does. It’s not easy being a hero.

Peter remains quiet, not wanting to draw more attention to himself but he seems to have a negative reaction to the word hero. Gwen doesn’t notice but Harry does. He realizes the conversation is making Peter slightly uncomfortable and moves to change the subject. 

HARRY

(nods, steering the conversation)

So, Gwen, what do you like to do for fun?

GWEN

I love playing drums in my spare time. It’s a great way to blow off steam. How about you guys?

HARRY

(grinning)

Well, I dabble in a bit of everything. Keeps life interesting.

GWEN

(curious)

What about your dad, Harry? What's he like?

HARRY's smile falters slightly, but he quickly recovers, now more alert.

HARRY

He's a bit closed off, you know? But he’s just busy with work, I guess. What about you, Gwen? You said he's a police captain?

GWEN

(nodding)

Yeah, he's always busy with cases. Right now, he's been buried in files about that woman who died in the burning building last night. It's been tough on him.

Peter's eyes widen, and he looks at Gwen more intently. It’s the first he’s hearing of this news. 

PETER

(trying to sound casual)

A woman died in that fire? That’s awful. Did they find out anything about it?

GWEN

(sighing)

Not much yet. My dad's been really stressed about it. They still don’t know how the fire got set off. He mentioned something about investigating the cause, but they're still piecing things together.

HARRY

(leaning forward, genuinely curious)

That must be really hard. Do you think it was an accident or something else?

GWEN

(shaking her head)

I don't know. My dad didn't go into details, but he seems really determined to find out what happened.

Peter feels a pang of guilt. He didn't know someone had died in the fire, and the realization starts to eat away at him.

PETER

(trying to learn more)

Do you know who the woman was?

GWEN

(nodding)

Yeah, my dad mentioned she was a scientist. Her name was Jane Newton.

The bell rings, signaling the end of the lunch period. Peter, Gwen, and Harry stand up, trays in hand.

GWEN

See you both in class, Peter and Harry.

PETER

(smiling, but with a hint of worry)

Yeah, see you, Gwen.

HARRY

(waving)

Catch you later, Gwen.

As they part ways, Peter feels a mix of curiosity and guilt. Gwen's information has intensified his concern, and he knows he needs to find out more. 

INT. PETER AND HARRY’S WAREHOUSE - EVENING

The warehouse stands dimly lit, filled with old storage boxes and abandoned items. Dust motes dance in the sparse beams of daylight filtering through cracked windows, casting long shadows across the vast, silent space. 

PETER sits on an old crate, a laptop balanced on his knees, the blue light from the screen illuminating his furrowed brow. HARRY, nearby, absentmindedly sifts through the dusty contents of a storage box, each item a potential trigger for a nostalgic memory.

HARRY

(looking around, a hint of nostalgia in his voice)

You know, Pete, we used to think this place was a fortress when we were kids. We could turn it into something pretty cool again. Maybe a base or something? Y’know, for those superheroics you’ve been doing?

PETER

(distractedly, his mind elsewhere)

Yeah, maybe.

As Harry continues to explore the warehouse, he catches sight of Peter scrolling through various articles online. A small advertisement on Peter's screen catches Harry’s eye.

HARRY

(suggestive)

Hey, there's a photo competition at the Daily Bugle. They want to see who can get the first good picture of Spider-Man. 

Harry smirks at Peter. 

HARRY

(grinning)

Reckon you could enter? Might be some fun.

PETER

(shaking his head, dismissively)

Maybe, not sure. It’s not really my focus here. 

Harry senses Peter's preoccupation and decides not to press further. Peter's attention quickly returns to his research on Jane Newton. He scrolls through more articles and documents, piecing together information about her. Suddenly, he stops, his eyes widening in recognition. There’s a photo of her at the top of the screen. 

PETER

(surprised)

Jane Newton... I recognize her. She was outside the building that night. She said her son was still inside.

HARRY

(sitting down next to Peter, concerned, leaning in)

Are you sure?

PETER

(nods, troubled, the memory flooding back)

Yeah, I'm sure. She was desperate. By the time I got out, she was gone... and I couldn’t find any kid inside. 

HARRY

(peering at the laptop screen, frowning)

Wait a minute... that’s Jane Newton? I recognize her! My dad had a ton of meetings with her in the past. He was really interested in her work and wanted to hire her, but she kept turning him down.

PETER

(looking up, confused)

Your dad wanted to hire her? For what?

HARRY

(nodding, recalling the details)

She was doing cutting-edge research for the Baxter Foundation. My dad thought her work could put Oscorp ahead of the game. 

Peter's confusion deepens. 

PETER

(frowning)

So she was involved in some pretty important research with Baxter? The building wasn’t anywhere near a Baxter Foundation site. Not close enough to justify the commute anyways. Why was she in there?

HARRY

(shaking his head)

I don’t know.

Peter continues to scroll through the article, looking for more information. He suddenly stops, his expression shifting from confusion to shock.

PETER

(reading aloud)

The obit says she has no surviving family... and never had a son.

HARRY

(eyes widening)

No son? Then why did she tell you there was one?

Peter pressed his forehead into his hands. 

PETER

(shaking his head, deeply troubled)

I don't know. None of this makes sense.

Peter takes a deep breath. Suddenly, a thought strikes him.

PETER

(seriously)

Harry, what if your dad wasn’t the only one who wanted the information Dr. Newton had? What if someone else wanted it badly enough to organize the fire to get to her?

HARRY

(furrowing his brow)

You think someone set the fire on purpose to get to her? It's possible, I guess. If her research was that valuable, it could make sense. 

PETER

(nodding, determined)

Yeah. We need to find out who else might have been after her work. This is bigger than we thought.

Peter thinks for a while before his eyes light up with an idea. 

PETER

(serious, determined)

Harry, I think we should talk to someone at the Baxter Foundation. Maybe they can give us more information about Jane Newton and what she was working on. It might give us a clue to who would try and kill her. 

HARRY

(interested)

Alright, but do you have any idea who to talk to? I mean, the Baxter Foundation is huge. Who would know the specifics of her work?

PETER

(smirking)

Jane Newton was doing cutting-edge research; if we want real answers, we need to talk to someone with authority, someone who is guaranteed to understand the full scope of what she knows. There’s only one place to go. Straight to the top. 

HARRY

(starting to realize, eyes widening)

You mean...

PETER

(nodding, determined)

Yeah, I do. 

HARRY

(surprised)

You want to talk to Reed Richards? Pete, do you realize who Reed Richards is? He's the smartest man alive! He’s a founding member of the Fantastic Four!

Peter chuckles

PETER

(laughing)

I think they’re all founding members to be honest.

Harry throws his arms up in exasperation. 

HARRY

Not the point! How is Peter Parker, a high school student, going to get an audience with Mister Fantastic?

PETER

(smiling, with confidence)

Peter Parker won't. But Spider-Man will.

HARRY

(skeptical)

Spider-Man’s not even in the same league! The Fantastic Four battles cosmic threats! You help grandmas across the street! How are you even planning to approach him? Just show up and hope he listens?

PETER

(confident)

Something like that. Sometimes the direct approach works best. 

HARRY

(nodding slowly)

Alright, Pete. If you think Spider-Man can do it, then I'm with you all the way. Just… be careful. Richards is no ordinary guy. He's got a lot on his plate, and you don’t want to come off as just another kid with a wild story.

PETER

(agreeing, reassuring)

I know, Harry. It’ll be fine.

EXT. BAXTER BUILDING - EVENING

The towering Baxter Building stands majestically against the night sky, its upper floors illuminated with a faint, otherworldly glow. PETER, donned in his Spider-Man suit, is seen scaling the sleek, glass-covered facade with ease. The city lights of New York twinkle below him as he climbs higher.

SPIDER-MAN

(to himself, determined)

Alright, just gotta get inside and find one of the world’s most famous superheroes. No big deal... right?

As he reaches an open window on one of the upper floors, he carefully slips inside. The room is dark, filled with high-tech gadgets and scientific equipment that glint faintly in the dim light. Spider-Man moves cautiously, his senses on high alert.

Suddenly, a series of beeps and clicks echo through the room. Red lights flicker on, casting an eerie glow. Before he can react, a transparent plexiglass cage descends from the ceiling, trapping him.

SPIDER-MAN

(sighing, with a hint of irony)

And here I told Harry it'd be fine.

Taking a deep breath, Spider-Man decides to take matters into his own hands. He channels his strength and smashes through the plexiglass with a powerful kick. Shards fly in all directions as he breaks free.

Just then, the door bursts open and the Fantastic Four rush into the room, their faces a mix of surprise and determination.

First to enter is BEN GRIMM (AKA THE THING). A massive hulking beast of a thing, his massive, rock-like frame dominates the space. 

Next is REED RICHARDS (MISTER FANTASTIC). His ability to stretch his body into any shape imaginable is only limited by his already boundless imagination.

Following closely behind is SUE STORM (INVISIBLE WOMAN) Reed's fiancée. A shimmering blue light surrounds her. 

Lastly, JOHNNY STORM (THE HUMAN TORCH) enters the room with flames dancing around his body. Johnny is known for his fiery temper and even hotter superpowers which makes him a magnet for fans. Unfortunately, he knows it.

THE THING

(grinning)

An intruder! Looks like I’m gonna have to escort you from the premises... the hard way.

SPIDER-MAN

(raising his hands, trying to explain)

Wait, I just need to talk to Reed Richards! It's about—

Before he can finish, Ben Grimm steps forward, his massive fists ready for action. He lunges at Spider-Man but holds back, aware of Peter's smaller size. Spider-Man, agile and quick, dodges easily and uses Ben's momentum against him, throwing him aside with a well-placed kick.

SPIDER-MAN

(smirking, trying to calm the situation)

Sorry, big guy, but  you know how it is. Places to be, people to talk to! Can we—

Reed Richards stretches his arms, forming an elastic cage around Spider-Man, trying to trap him.

MISTER FANTASTIC

(calmly)

Let's not make this harder than it needs to be.

SPIDER-MAN

(webbing Reed's arms to the ceiling, still trying to explain)

Thanks for the hand, but I really need to talk to y— 

Sue Storm becomes invisible and tries to sneak up on Spider-Man. A sharp buzzing rattles his head alerting him to her presence. He is thrown off for a second but quickly recovers, shooting webs, trapping her before she can get close.

INVISIBLE WOMAN

(startled, appearing again, struggling against the webs)

How did you—?

SPIDER-MAN

(grinning, still attempting to talk)

Trade secret Ms Storm. Listen, it's important that I—

Johnny Storm surrounds Spider-Man in a circle of fire, flames dancing and crackling around him. Spider-Man reacts quickly, jumping onto the ceiling to avoid being hit. 

HUMAN TORCH

Alright bug boy, come down here and fight like a man!

Peter hangs off the ceiling, clearly laughing behind the mask. 

SPIDER-MAN

(grinning)

I don’t suppose I could convince you to come up here and fight like a spider?

Reed Richards, observing the fight, notices that despite Spider-Man's defensive moves, he hasn't actually harmed any of them. He signals for the team to stop.

MISTER FANTASTIC

(raising a hand)

Hold on. Everyone, stand down.

The team pauses, watching Spider-Man carefully.

MISTER FANTASTIC

(approaching Spider-Man)

You didn’t come here to fight, did you?

Peter throws his hands up in exasperation. 

SPIDER-MAN

That’s what I’ve been trying to say but Rocky Balboa over there thought it was ‘clobberin’ time’ and things just got out of hand!

Johnny grumbles in annoyance. 

HUMAN TORCH

(questioning)

So do I fry him or what?

Peter’s eyes widen behind the mask. 

SPIDER-MAN

(frantic)

No! Let’s not fry the arachnid! I taste horrible smoked!

Johnny ignores him, lighting a finger on fire. 

HUMAN TORCH

(smirking)

You sure? People tell me I’m a whiz on the grill.

Peter is almost tempted to let Torch fry him for that terrible joke but decides against it. 

The tension in the room has simmered down after the brief skirmish. Peter drops from the ceiling and takes a look around. He is now standing in a wide-open space filled with high-tech gadgets and scientific equipment, still in his suit but noticeably more relaxed. The Fantastic Four gather around, curious and ready to listen.

Reed stands at the forefront, his expression serious and thoughtful. Sue and Ben stand close by. Ben seems to have a slight look of respect on his face. Anyone that can piss off Johnny is a win in his books.  Johnny leans against a nearby wall, arms crossed, a scowl on his face.

REED RICHARDS

Alright, Spider-Man. What's so important that you had to break into the Baxter Building?

SPIDER-MAN

(sighs, then begins)

Sorry about that. It's about one of your employees. Jane Newton. She died in a fire last night in a building that she had no business being in. I think that someone organized the fire to get information from her about her research at the Baxter Foundation. I've been looking into it, trying to piece everything together. I just need some help to figure out who might have done it. 

SUE STORM

(nodding)

Jane's research was incredibly important. If someone targeted her, we need to find out who and why.

SPIDER-MAN

(relieved)

Exactly. I remember her from the night of the fire. She was frantic, saying her son was inside. 

Reed frowns

REED RICHARDS

(confused)

Dr Newton didn’t have any family. 

Spider-Man nods. 

SPIDER-MAN

(nodding)

I know. It just makes it more confusing. 

JOHNNY STORM

(skeptical, but listening)

So you think someone set the fire on purpose?

SPIDER-MAN

Yes. And they might still be out there, trying to get their hands on whatever information she had. I just need your help to dig deeper. Find out who could have killed her.

Reed Richards nods, considering Spider-Man's words.

REED RICHARDS

Jane's work was indeed valuable. If there's a chance she was targeted, we can't ignore it. We'll help you, Spider-Man.

SUE STORM

(smiling warmly)

Why don't you stay for food? We can discuss more details and figure out our next steps together.

Spider-Man's eyes widen behind the mask. 

SPIDER-MAN

(blushing slightly)

Food? Uh, sure. That sounds great. Thanks, everyone.

BEN GRIMM

(chuckling)

Yeah, Spidey, you earned it after that little tussle. 

He turns to Reed. 

BEN GRIMM

Strong little fella’ this guy. 

Johnny, standing by with a look of mild annoyance, rolls his eyes but says nothing.

The five of them walk through the sleek, futuristic hallways of the Baxter Building, heading towards the dining hall. The walls are adorned with various high-tech gadgets and cutting-edge scientific equipment, each one a testament to Reed Richards' brilliance.

As they pass by a particularly impressive contraption, Peter's eyes light up with genuine awe.

SPIDER-MAN

(excitedly)

Wow, this place is incredible! 

Reed turns to Spider-Man. 

REED RICHARDS

(interested)

You like them?

Peter’s eyes light up behind the mask. 

SPIDER-MAN

(excited)

Yeah! I do some things like this in my free time. I manufactured my own webs and web shooters, but it's nowhere near the level of your stuff.

REED RICHARDS

(impressed, smiling)

You built your own web shooters? That's impressive. It takes a lot of skill to create something like those. I'd love to hear more about how you did it.

Peter beams at the compliment, feeling a surge of pride. 

SPIDER-MAN

(enthusiastically)

Thanks, Mr Richards! It took a lot of trial and error. The web fluid and the containment mechanism were the tricky parts, but I figured it out eventually.

As Reed and Peter engage in a lively discussion about their inventions, Ben chuckles. Sue looks on warmly, appreciating Peter's enthusiasm and Reed's genuine interest. It’s been a while since Reed has had someone new to talk to about these kinds of things. 

JOHNNY STORM

(annoyed, under his breath)

Great, now he's got Reed on his side too.

They continue walking, the atmosphere lightened by the budding friendship between Peter and Reed. They finally reach the dining hall, a spacious and elegantly designed room with a large table set for dinner. Peter looks in awe. This is infinitely more extravagant than anything he’s seen before, except maybe at Harry’s. 

SUE STORM

(smiling)

Welcome to our dining hall, Spider-Man. Make yourself at home. Let's continue our discussion over dinner.

INT. BANK - AFTERNOON

The bank's interior is bustling with activity as customers go about their business. Flash Thompson strides into the bank but something about him is off. His usually blue eyes now gleam with a strange green hue, giving him a menacing aura. He heads towards the line, his face set with determination and tension.

As he reaches the front of the line, the BANK TELLER gives him a curious look, noticing his youthful appearance.

BANK TELLER

(skeptically)

Shouldn't you be in school, young man?

Flash narrows his eyes, his jaw tightening. Without a word, he pulls out a gun from his letterman's jacket, the cold metal glinting ominously under the fluorescent lights. The teller's eyes widen in shock, and a hushed silence falls over the bank as people notice the weapon.

FLASH 

(voice steady, commanding)

Everyone down on the ground! Now!

He fires a few shots into the air, the deafening noise reverberating off the walls. Panic erupts as customers scream and drop to the floor, frantically seeking cover. The once orderly bank descends into chaos within seconds.

Nearby, a man clutches his child tightly, shielding them with his body. An elderly man behind the counter crouches low, his face pale with fear. The security guard, hand hovering above his radio, freezes as the young man's green eyes bore into him with an intense glare.

FLASH

(fiercely)

Don't even think about it!

The guard's hand hovers, uncertain and trembling. His heart pounds in his chest, adrenaline surging through his veins. Beads of sweat form on his forehead as he surveys the fear-stricken faces around him.

BANK TELLER

(voice trembling)

Please, just take what you want and go.

The young man's grip on the gun tightens, his resolve hardening. He strides to the teller's counter, pushing aside the frightened teller with a rough shove. Grabbing fistfuls of cash, he stuffs them into a bag with frantic speed. He looks around at the chaos he's caused, a grin spreading across his face.

FLASH

(smirking)

Thanks for the donation, pal.

Without another word, he bolts towards the exit, leaving the bank in disarray. His footsteps echo loudly as he sprints away, his heart racing with the thrill of his actions.

As he disappears into the crowded streets, the bank's occupants slowly begin to rise, their faces etched with a mix of relief and lingering fear. The security guard finally grabs his radio, calling for backup.

SECURITY GUARD

(into the radio)

This is Security at First National Bank. We need immediate assistance. The suspect is a young white male with blonde hair and green eyes wearing a Midtown High letterman’s jacket. 

EXT. MIDTOWN HIGH SCHOOL - FOOTBALL FIELD - AFTERNOON

The football field is alive with the energy of students practicing for the upcoming game. FLASH THOMPSON is among them, laughing and joking with his friends on the football team. They're in the middle of a scrimmage, the air filled with the sound of whistles and shouting coaches.

Suddenly, the sound of sirens cuts through the din, growing louder and more urgent. Flash and his friends exchange confused glances as police cars screech to a halt just outside the field. Officers pour out, their expressions grim and determined.

POLICE OFFICER #1

(shouting)

Flash Thompson, you're under arrest!

Flash's eyes widen in shock as the officers move towards him. His friends back away, stunned by the sudden turn of events.

KENNY KONG

(dazed)

What the hell is going on?

Flash stands his ground, his confusion quickly turning to anger. He raises his hands in protest as the officers reach him.

FLASH THOMPSON

(struggling)

I didn't do anything! What's this about?

POLICE OFFICER #2

(firmly)

You have the right to remain silent. Anything you say can and will be used against you in a court of law.

As the officers slap handcuffs on his wrists, Flash's teammates look on, bewildered and murmuring amongst themselves. The reality of the situation begins to sink in, and Flash's anger boils over.

FLASH THOMPSON

(furiously)

This is a mistake! I was here the whole time!

POLICE OFFICER #1

(tightening the handcuffs)

Tell it to the judge, kid.

Flash's protests are drowned out by the officers' voices as he's led towards the police cars. His friends cry out in anger in Flash’s defence but their voices remain unheard. 

INT. POLICE STATION - INTERROGATION ROOM - DAY

Flash Thompson sits at a cold, metal table, his wrists bound in handcuffs. His eyes are filled with confusion and frustration. The sterile, harsh lighting of the interrogation room only adds to the tension. Two police officers, Jean DeWolff and Stan Carter, stand across from him, one holding a clipboard and the other watching him intently.

JEAN DEWOLFF

(matter-of-factly)

We have security footage of you robbing First National Bank earlier today. 

The footage plays on a screen in front of Flash who looks at it in a mixture of confusion and anger. 

FLASH THOMPSON

(shaking his head, bewildered)

I don't understand... I don't remember going to the bank. I was at school with my friends.

STAN CARTER

(skeptical)

You sure about that, pal? We've got witnesses who saw you robbing the bank, and the surveillance footage clearly shows you with a gun. 

Flash's eyes widen in anger. He leans forward, his voice growing desperate.

FLASH THOMPSON

(pleading)

I swear, it wasn't me! I was at school. Check with my friends on the football team.

JEAN DEWOLFF

(nods, flipping through the clipboard)

We did. According to security recordings, you were out with your friends in the Midtown High School football team at the exact time of the robbery. 

Flash slumps back in his chair, his mind racing. Stan scowls. 

STAN CARTER

(frowning)

Look, kid, this isn't adding up. How the hell can you be in two places at once?

Flash's frustration boils over, and he slams his fists on the table, his voice rising in anger.

FLASH THOMPSON

(aggressively)

I don't know! This doesn't make any sense... I didn't rob that bank!

The officers exchange glances, their suspicion evident. Stan seems to be all for throwing the kid in Juvie but Jean tells him with a look to hear him out. 

JEAN DEWOLFF

(sighing)

Alright, we'll look into it. But if you're lying, this will only get worse for you.

As they leave the room, Flash is left alone in his anger. 

INT. HORIZON LABS - MAIN LAB - EVENING

Horizon Labs, a beacon of cutting-edge scientific research, stands tall under the bright daylight. The building's exterior is sleek and modern, with large glass windows showcasing the impressive technology within. However, today, the usually high-security facility is left vulnerable. 

The main lab is filled with state-of-the-art equipment and workstations cluttered with blueprints and prototypes. At the center, a large, reinforced vault houses the most sensitive and confidential research. The room is eerily quiet, with only the hum of machinery breaking the silence. 

Suddenly, the door to the lab is opened by a man in a lab coat with greying hair. His face is obscured by the lack of light. Moving with calculated precision, he navigates through the lab, using a fingerprint scanner to enter different doors and avoiding the security cameras with practiced ease. His movements are fluid and confident, betraying a deep familiarity with the lab's layout.

As he passes through one of the doors, the camera catches a glimpse of the names "Modell" and "Octavius" prominently displayed. On a desk nearby, a photograph sits in a frame, showing Max Modell, a slightly overweight balding man with a red beard, and Otto Octavius, a man in a lab coat with long greying hair and a full beard.

The vault's electronic lock beeps softly as it is opened. With a final click, the door swings open, revealing stacks of confidential research documents and experimental devices. The man swiftly begins to gather some of the items, including blueprints labeled with intricate scientific designs and a small, sophisticated computer chip. At the top of the blueprints is the title, Project Cerebro: HIGHLY CONFIDENTIAL. 

As the man works, he remains hyper-aware of his surroundings. The tension in the air is palpable, each second ticking by with agonizing slowness. The man slips out of the lab, leaving no trace of his presence.

EXT. HORIZON LABS - EVENING

The man in the lab coat exits the building. The camera follows him closely. He makes his way to a nondescript white van parked nearby. Once inside, he sits in the driver's seat, taking a moment to catch his breath.

The man reaches up with a steady hand to peel off his lab coat. The camera zooms in on his hands, revealing a set of white leather gloves. He pulls off the coat, and the camera slowly pans up his back.

Finally, the camera shifts to capture his face in the rearview mirror, and it is revealed to be one of the men in the photograph. Otto Octavius. His expression is one of determined satisfaction, a glint of triumph in his green glinting eyes. The van speeds off, leaving Horizon Labs robbed of its most prized research, the fate of Project Cerebro now shrouded in mystery.

INT. HORIZON LABS - MAIN LAB - DAY

The main lab at Horizon Labs is a hive of activity as police officers and investigators comb through the scene of the recent robbery. Captain GEORGE STACY stands at the center, overseeing the investigation with a keen eye. The lab is filled with evidence markers, and detectives are taking notes and photographs.

Otto Octavius, now with brown eyes, is pacing angrily, his face twisted in frustration. MAX MODELL stands nearby, trying to remain calm but clearly distressed by the theft.

OTTO OCTAVIUS

(fuming)

This is an outrage! How could this happen? Our most valuable research, gone! 

MAX MODELL

(sighing)

Years of work! Do you know how long it’s going to take to build it up again?

Captain Stacy approaches them, his expression serious but empathetic.

CAPTAIN STACY

We'll find whoever did this. We're already gathering evidence and reviewing security footage.

Suddenly, a figure swings into view, landing gracefully on the lab floor—it's SPIDER-MAN. Some of the cops instantly tense up, reaching for their weapons.

STAN CARTER

(stepping forward)

Hold it right there, vigilante!

SPIDER-MAN

(raising his hands)

Whoa, easy there! I'm just here to help.

Captain Stacy watches silently, assessing the situation. Jean DeWolff starts moving towards Spider-Man, ready to cuff him.

CAPTAIN STACY

(raising a hand to stop her)

Stand down, DeWolff. Let's hear him out.

Jean hesitates but obeys, stepping back. Spider-Man lowers his hands, relieved but still cautious.

SPIDER-MAN

Thanks, Captain. We heard about the robbery and came to see if I could help. 

CAPTAIN STACY 

(Questioning)

We?

Before anyone can respond, the doors swing open and the FANTASTIC FOUR enter, led by Reed Richards.

MISTER FANTASTIC

(serious)

We heard about the break-in. Spider-Man's here to help. So are we.

The presence of the Fantastic Four immediately changes the atmosphere. The rest of the cops, who were ready to pounce on Spider-Man, now lower their weapons and step back.

Captain Stacy approaches the Fantastic Four, a mix of curiosity and skepticism on his face.

CAPTAIN STACY

What brings the Fantastic Four into this investigation? Last I checked, you guys had no affiliation with Horizon. 

REED RICHARDS

Horizon Labs used to employ a brilliant scientist named Jane Newton. 

Captain Stacy's eyes widen in recognition.

CAPTAIN STACY

Jane Newton... She was the woman who died in that fire.

Reed nods, his expression serious. In the background, Spider-Man lowers his head. 

REED RICHARDS

Yes. We’ve speculated that the fire wasn’t an accident. It was an assassination. Shortly after her death, her former place of work is robbed? It’s not a coincidence. 

Captain Stacy processes this information, a grim look crossing his face. 

CAPTAIN STACY

We appreciate the help. You sure that Pe- The kid needs to be here? What’s he got to do with this?

Reed notices the slip but thinks nothing of it, refocusing on the task at hand. Spider-Man and Captain Stacy exchange a glance of understanding. 

REED RICHARDS

Spider-Man is the one who brought this to our attention. 

Captain Stacy raises an eyebrow, impressed. Stan Carter scoffs in the back. 

CAPTAIN STACY

Well we were just about to play the security tapes if you five want to join us. 

OTTO OCTAVIUS

I’d like to join too. I want to know what ignoramus thought it would be a good idea to steal my research. 

The room falls silent as Captain Stacy presses play. The footage shows a man in a lab coat entering the lab. He moves with precision, bypassing security systems effortlessly, as if he has access to the system. As he reaches the vault, the camera catches a glimpse of his face. It’s… Otto Octavius

OTTO OCTAVIUS

(Confused)

I-I don’t understand! I don’t remember this!

JOHNNY STORM

You sure about that, or are you really a master thief in disguise? It’s the perfect plan! If you own the place, you can take whatever the hell you want!

Otto turns to Johnny as if he’d just said the most idiotic thing possible… which he had. 

OTTO OCTAVIUS

(scoffing)

Blundering fool! My private vault was robbed! If I wanted to take something from it, I would have done so anytime you insolent brat! I wouldn’t need to steal!

Otto Octavius, visibly shaken, steps closer to the screen, his face a mix of confusion and anger.

OTTO OCTAVIUS

(confounded)

But how? How could someone impersonate me and get past my defenses?

Reed Richards is already replaying the footage, his analytical mind in overdrive.

REED RICHARDS

There must be something we're missing. Some clue that this isn't Otto.

Captain Stacy watches the interaction with a furrowed brow, deep in thought. Spider-Man and the Thing remain silent, observing the footage intently.

REED RICHARDS

See here, the way he bypasses the biometric scanner. Otto, could anyone else have had access to this level of clearance?

OTTO OCTAVIUS

(shaking his head)

Not without my explicit permission. This... this doesn't add up.

Captain Stacy watches the recording with a furrowed brow, deep in thought. Then, he points at the screen. It’s paused at the moment Otto’s face is captured. 

CAPTAIN STACY

Wait a minute. Otto, in this recording, you have green eyes. 

Otto goes silent for a moment.

OTTO OCTAVIUS

(frustrated)

I-what? I don’t have green eyes. 

CAPTAIN STACY

I've seen this before. Last night, just before the Horizon burglary, this kid, Flash Thompson, robbed a bank. 

Spider-Man looks up in surprise but manages to keep his mouth shut. 

CAPTAIN STACY

(continuing)

We asked all the eyewitnesses to provide a description of the guy and they all reported seeing his bright green eyes. Only one problem… Flash has blue eyes and had no memory of the robbery in the first place. 

Reed Richards looks back at the footage, deep in thought.

REED RICHARDS

It sounds like someone is using some sort of disguise or manipulation but they can’t seem to change their eyes. 

SPIDER-MAN

(incredulous) 

You mean someone who can disguise themselves that well? 

Reed nods. 

REED RICHARDS

We’ve seen a lot of things in this world Spider-Man. A shapeshifter isn’t too much of a stretch. 

SPIDER-MAN

So, this shapeshifter used Flash and the bank robbery as a distraction. While the cops were busy with that, they had free rein to rob Horizon Labs.

SUE STORM

(nodding)

Exactly. If they’re targeting specific research and technology, it makes sense that the Baxter Building could be next on their list. 

REED RICHARDS

We have some highly classified projects in progress. Dr Newton worked on quite a few of them. If they get their hands on that…

JOHNNY STORM

(muttering)

This just keeps getting better and better.

CAPTAIN STACY

Alright, Reed. What’s your plan?

REED RICHARDS

We need to stake out the Baxter Building. If this shapeshifter plans to strike again, we’ll need to be ready for them. 

He turns to Captain Stacy. 

REED RICHARDS

Captain, I suggest an upped level of security around the building. The five of us will lie in wait for our slippery friend. 

BEN GRIMM

(grinning)

Let’s give them a surprise they won’t forget.

SPIDER-MAN

I’m in. Let’s catch this guy before he can do any more damage.

REED RICHARDS

Good. We’ll need all the help we can get. Let’s head to the Baxter Building and set up our surveillance.

EXT. ROOFTOP OPPOSITE BAXTER BUILDING - EARLY AFTERNOON

The sun is high in the sky, casting a warm glow over the city. Spider-Man and Johnny Storm are crouched on the rooftop of a building opposite the Baxter Building. The skyline of New York stretches out around them, bustling with early afternoon activity. Spider-Man is on a call with Reed Richards, his voice low and steady.

SPIDER-MAN

(into comm)

Reed, we're in position. Ready when you are.

REED RICHARDS (V.O.)

Roger that, Spider-Man. Stay sharp. We'll keep you updated.

The call ends. Spider-Man takes his hand off the communicator and turns his attention to Johnny. The Human Torch is staring intently at the Baxter Building, his expression a mix of irritation and impatience.

The silence between them is thick, filled only with the distant sounds of the bustling city—honking cars, faint chatter, and the occasional siren. The sun reflects off nearby windows, casting a bright light on the two heroes. It should feel warm but there is an undeniable tension between the two, like two weapons waiting to clash. 

SPIDER-MAN

(casually)

Something on your mind, Matchstick?

Johnny finally breaks his silence, turning to face Spider-Man with a frustrated scowl.

JOHNNY STORM

(sighing)

You think you're better than me or something?

Spider-Man frowns beneath his mask, shaking his head slightly.

SPIDER-MAN

(confused)

What? What are you talking about?

Johnny crosses his arms, still looking unconvinced.

JOHNNY STORM

(grumbling)

Everyone in the Fantastic Four seemed to like you immediately. My sister, Reed, heck even Ben and he hates everyone! I spent ages earning their respect, and you just waltz in and get it handed to you on a silver platter. 

Spider-Man recoils in shock. 

SPIDER-MAN

(incredulous)

You’re kidding right? If anyone here gets to be jealous, it’s me!

JOHNNY STORM

(surprised)

Jealous? Why?

SPIDER-MAN

(earnestly)

Because everyone loves you. You're this charismatic, confident guy who always has people cheering for him. They look at you four like you guys can do no wrong. Me? People still look at me like they're waiting for me to screw up again.

Johnny's annoyance starts to fade as he considers Spider-Man's words.

JOHNNY STORM

(quietly)

I didn’t think of it like that. 

SPIDER-MAN

(nodding)

It’s okay. It’s not like I’ve earned the city’s respect like you guys have. I just showed up like a week ago. I can’t expect them to like me immediately. 

Johnny sits down on the edge of the building next to Spider-Man 

JOHNNY STORM

(reminiscing)

It wasn’t always like that. I know it seems like I’m this hotshot, which is mostly true, but it took a lot of time to get that reputation. 

He pauses for a second before speaking again. 

JOHNNY STORM

You know I used to be a child actor?

Spider-Man looks at Johnny. 

SPIDER-MAN

(surprised)

Really?

Johnny laughs. 

JOHNNY STORM

(slightly bitter)

You wouldn’t have known. I’ve made large strides trying to forget that part of my life. I got a role in this big production. A remake of Snow White. Got the part of Prince Charming. 

SPIDER-MAN

That’s impressive.

Johnny chuckles. 

JOHNNY STORM

(joking)

They said it was my good looks. 

The joking atmosphere dissipates almost immediately. 

JOHNNY STORM

The movie turned out terrible in the end and my performance did not help. The only person who got something good out of that was my co-star. Her performance was so good that she got scouted almost immediately for some medical drama. ‘Special Hospital’ or something. I’m not sure. I sorta lost interest after they recast her. 

SPIDER-MAN

I think my Aunt watches that one. 

JOHNNY STORM

My point is, after that, it was hard to get any respect anywhere. I couldn’t even escape it at school. It got so bad, I dropped out and started getting homeschooled. I just… couldn’t handle it. You know?

Peter looks down, knowing all too well what that’s like. 

PETER PARKER

(softly)

Yeah, I know. 

Johnny turns to Spider-Man with a smile. 

JOHNNY STORM

You know what bug boy? You’re not so bad. 

SPIDER-MAN

(sarcastically)

The highest praise imaginable coming from you. 

JOHNNY STORM

Yeah it’s a real honour. 

Johnny notices something Spider-Man has been tinkering with. It looks a little bit like a camera. 

JOHNNY STORM

What are you doing, Spidey?

SPIDER-MAN

I want to get photos of the attack when it happens. Also, I kind of want to get some photos of myself. 

JOHNNY STORM

(eyebrow raised) 

Any reason. 

Suddenly Spider-Man looks sheepish which Johnny didn’t think possible through the mask. 

SPIDER-MAN

(unintelligible murmuring)

…

JOHNNY STORM

(teasing)

Sorry, didn’t catch that.

SPIDER-MAN

(quietly, embarrassed)

There's a cash prize for photos of Spider-Man at the Daily Bugle.

Johnny bursts into laughter.

JOHNNY STORM

You're serious? You're setting up a camera to take pictures of yourself?

Spider-Man shrugs, a sheepish grin beneath his mask.

SPIDER-MAN

Hey, don’t knock it till you try it. 

Johnny, still chuckling, walks over to help Spider-Man with the camera.

JOHNNY STORM

I literally just told you I used to be an actor. I have enough experience with cameras. Here let me help you set up. 

With Johnny's help, they adjust the camera to get the best angles, making sure it’s positioned perfectly to capture any action that unfolds. Johnny gives Spider-Man pointers on lighting, framing, and striking dynamic poses.

JOHNNY STORM

(grinning)

Alright, bug boy. Just make sure you’re looking heroic when the time comes. Think “smoldering intensity.”

SPIDER-MAN

(deadpan)

I would pay you to never say those words ever again if I had any money. 

The two heroes share a laugh as they finish setting up the camera. 

INT. BAXTER BUILDING - HALLWAY - NIGHT

The bustling energy of the city outside fades away within the halls of the Baxter Building. Advanced technology hums softly, giving the space an almost serene atmosphere. 

A shadowy figure sneaks through the hallways, moving with a practiced, almost predatory grace. Their movements are fluid and precise, each step calculated to avoid detection. 

The figure reaches an inconspicuous door and softly pushes down the handle, taking care not to make a sound. The door creaks open, revealing a small, dimly lit room filled with various containers and equipment. A sink is seen in the corner. The air is cool and sterile. Everything in here must be kept in pristine condition. 

INT. BAXTER BUILDING - EMPTY ROOM - CONTINUOUS

The mysterious intruder steps into the room, eyes scanning their surroundings with laser focus. They approach a large container at the far end, which seems to be emitting a faint, frosty mist. The container's metal surface is cold to the touch.

With a quick, decisive motion, the figure grabs the handle of the container and swings it open. A thick cloud of icy mist wafts out, creating an almost otherworldly effect as it disperses into the room. 

Without hesitation, the figure reaches in and pulls out a brown paper bag. Written across it, in big bold capital letters, is the phrase: ‘DO NOT REMOVE’. The message is almost taunting in its simplicity. 

Just as they turn to leave, the sound of footsteps echoes through the hallway outside. The door bursts open, and two security guards stand there, eyes wide with shock.

SECURITY GUARD 1

Hey, stop!

The thief's eyes widen, and they bolt for the door, clutching the bag tightly. The first guard gives chase, shouting as they run through the hallways. The second guard runs hot on their tail. 

SECURITY GUARD 1

You can't take that! That's not yours!

The chase intensifies, the guards' heavy footsteps pounding against the sleek floors, while the thief's agile movements keep them just out of reach. The cold mist from the container still lingers in the air, creating an almost ghostly trail as the intruder races away. 

EXT. ROOFTOP OPPOSITE BAXTER BUILDING - NIGHT

Night has fallen over New York City, the skyline illuminated by a myriad of lights. The vibrant city below pulses with energy, despite the late hour. Spider-Man remains vigilant on the rooftop, his keen eyes scanning the area.

Suddenly, he notices a commotion inside the Baxter Building. Shadows dart through the windows, and the faint sound of someone giving chase reaches his ears. He tenses, immediately recognizing that something is wrong.

SPIDER-MAN

(urgently)

Johnny, wake up. Something's going down inside.

Johnny Storm, who had been dozing off against a vent, stays asleep, barely stirring. A loud snore is heard. 

JOHNNY STORM

(still half asleep)

C’mon Candice, you know it’s not the size that matters. 

Spider-Man rolls his eyes beneath his mask and gives Johnny a firm shove.

JOHNNY STORM

Wh- I’m awake! I’m awake. 

SPIDER-MAN

Come on, Matchstick! This is no time for a nap!

Johnny grumbles awake, rubbing his eyes and looking annoyed.

JOHNNY STORM

(grumpily)

What now, web-head? I was having a great dream.

SPIDER-MAN

Yeah, I bet. Look! There's something happening in the Baxter Building. We need to check it out.

Johnny squints in the direction Spider-Man is pointing, his annoyance quickly giving way to alertness as he sees the commotion. His eyes narrow, flames beginning to flicker behind his eyes.

JOHNNY STORM

(alright)

Alright, let's get moving. Time to show whoever this bozo is why you don't mess with the Fantastic Four.

INT. BAXTER BUILDING - HALLWAY - NIGHT

The chase continues through the winding hallways of the Baxter Building. The thief sprints at full speed, their footsteps echoing off the sleek floors. In their haste, they round a corner sharply and collide with a janitor wearing a brown jacket.

JANITOR

(grumbling)

Hey, watch where you're going!

The janitor stumbles back, momentarily dazed, as the thief regains their footing and takes off again down the hallway. The janitor mutters under his breath, dusting himself off. Just as he gets back to his feet, a security guard barrels around the corner, hot on the thief's trail, and inadvertently knocks the janitor down again.

SECURITY GUARD 1

C’mon man! Give that back!

The janitor groans, trying to pick himself up once more. Suddenly he hears footsteps, realizing someone else is coming down the hallway. He sidesteps, avoiding the second guard. 

JANITOR

(triumphant)

Hah! Not this time!

Suddenly, the window next to him slides open with a loud swoosh. The Human Torch, blazing with fiery intensity, rushes in, inadvertently knocking the janitor down yet again.

HUMAN TORCH

Sorry! Emergency!

The janitor, now thoroughly bewildered, struggles to stand once more. Just as he manages to get back on his feet, Spider-Man swings in through the open window with agile grace but doesn't see the janitor below. He lands right on top of the poor man, sending him crashing to the floor for the third time.

SPIDER-MAN

(startled)

Oh man, I'm so sorry! Are you okay?

JANITOR

(grumbling, but nodding)

Yeah, yeah. Typical. 

Spider-Man offers a hand to help the janitor up, his expression one of genuine concern. The janitor accepts, shaking his head.

JANITOR

(gruffly)

You folks really need to watch where you're going.

With that, Spider-Man gives a quick nod and dashes down the hallway, hot on the trail of the mysterious thief. 

The thief sprints through yet another hallway, their breath coming in short, desperate gasps. The sound of their footsteps echoes off the walls, creating a frantic rhythm. They glance over their shoulder, checking to see if the guards are still on their tail, but the hallway behind them is empty.

Relief starts to wash over the thief as they turn their head back to the front, only to come face-to-face with the Human Torch. Johnny stands in the middle of the hallway, flames flickering around him, a confident smirk on his face.

HUMAN TORCH

(smugly)

Going somewhere pal?

The thief screeches to a halt, eyes wide with shock and fear. They spin around to escape in the other direction, but before they can take more than a step, they find themselves ensnared by Spider-Man's webs. The sticky strands wrap around their legs, pulling them down to the ground.

SPIDER-MAN

(landing beside the thief)

Looks like your running days are over, buddy.

The thief struggles against the webs, but it's no use. Spider-Man's webbing holds them firmly in place. Johnny approaches, his flames dimming as he extinguishes them to avoid causing any harm.

HUMAN TORCH

(grinning)

Nice catch, Spidey.

Just as Spider-Man and the Human Torch secure the thief, two security guards rush in, their footsteps echoing in the now tense hallway. The first guard, visibly relieved, approaches them.

SECURITY GUARD 1

(thankfully)

Thank you so much! 

The second security guard remains silent, his eyes fixed on the thief. Spider-Man, sensing something off, feels a familiar tingling sensation in his head. Before he can react, the thief bursts into tears, dropping the paper bag.

THIEF

(teary-eyed, apologizing profusely)

I'm sorry! I was just so hungry I couldn't help myself!

Spider-Man and the Human Torch exchange bewildered looks. The first security guard steps forward and picks up the fallen paper bag. As he opens it, the contents are revealed—it's the security guard's lunch.

SECURITY GUARD 1

(ecstatic)

Yes! I knew it was you!

The 'thief' nods miserably, still sniffling.

THIEF?

(embarrassed)

I didn't mean any harm. I just didn't have any food, and I couldn't resist.

Spider-Man's head continues to buzz, the ringing growing stronger, despite the immediate situation being resolved. The pain seems confuses him. He hasn't felt anything like this before. At least, not this badly. 

HUMAN TORCH

(confused)

But… You’re not a shapeshifter?

The first security guard and the (not) thief look at Johnny in confusion.

(NOT) THIEF

(even more confused)

Wh- Huh? Shapeshifter?

The ringing in Spider-Man's head flares once again. He grips his head in annoyance. 

SECURITY GUARD 1

Thanks for helping us out Mr Storm. You too… uh. Sorry I don’t know who you are. 

Peter’s eyes widen behind the mask. 

SPIDER-MAN

(shouting)

Get down!

SECURITY GUARD 1

Your name is ‘Get down’?

Security Guard 2 pulls out a gun and rips off his sunglasses. Behind the glasses are two flashing green eyes. 

SECURITY GUARD 1

(confused)

Morris?

Security Guard 2, who is decidedly not Morris, pulls the trigger. Johnny is too slow to react and Peter is still unused to his senses attacking him like this. He raises an arm to shoot a web but is too slow. The bullet hits the first security guard in the foot. 

SECURITY GUARD 1

(in pain)

Agh!

The second security guard’s face morphs into a faceless sheet of white metal. It’s a blank slate with a mouth but he can be recognized. This is the man who Walter Hardy spoke with. 

This is the CHAMELEON. 

He smirks, taunting the heroes. 

CHAMELEON

прощайте, тупицы 

The mouth piece on the mask smirks as he fires a bullet behind him, shattering the window, before leaping out. 

Spider-Man jumps after him. 

EXT. SKYLINE ABOVE NEW YORK CITY - NIGHT

The wind rushes past as Spider-Man and the Chameleon plummet through the air, the city lights below turning into a blur of colors. In one swift motion, the Chameleon rips off his security guard outfit with a single, fluid tug. The clothes seem designed to be removed instantly, revealing a sleek black bodysuit underneath.

With a quick flick of his wrists, the Chameleon unfurls what looks like a glider, similar to that of a flying squirrel. The fabric catches the air, allowing him to start gliding smoothly away from the Baxter Building and into the sprawling maze of the city below.

Spider-Man, already in pursuit, swings his legs forward and shoots a web towards a nearby building. The web attaches securely, and he uses the momentum to propel himself forward, swinging through the air with fluid grace. The cityscape becomes a playground of obstacles as he navigates through skyscrapers and neon lights.

SPIDER-MAN

(shouting)

You're not getting away that easy!

The chase intensifies as Spider-Man swings from web to web, keeping pace with the gliding Chameleon. They weave through the urban jungle, dodging obstacles and narrowly avoiding collisions. The Chameleon uses his glider to make sharp turns and sudden dives, but Spider-Man's agility and quick reflexes keep him hot on the trail.

The night air is filled with the sounds of the city—honking cars, distant sirens, and the occasional cheer from pedestrians who catch a glimpse of the high-flying pursuit above them. Spider-Man's constantly feels the buzzing in his head but instead of hurting, this time it seems to be guiding him through the most perilous parts of the chase.

As they approach the heart of the city, the Chameleon attempts to lose Spider-Man by diving between two closely packed skyscrapers. But Spider-Man, with a burst of speed, swings down and around, cutting off the Chameleon's path.

SPIDER-MAN

(determined)

Give it up. There's nowhere left to run!

The Chameleon snarls, his glider flickering in the moonlight as he contemplates his next move. The rooftops and streets below offer little sanctuary as Spider-Man closes the distance, ready to bring the chase to an end.

EXT. ALLEYWAY - NIGHT

The chase continues above the city streets, with Spider-Man relentlessly pursuing the Chameleon. Timing his swing perfectly, Spider-Man fires a web that snags the Chameleon mid-glide. The sudden tug disrupts the Chameleon's momentum, causing him to spiral out of control.

The Chameleon crashes into a dumpster in a narrow alleyway, the impact sending a loud clanging noise echoing through the night. He groans in pain, disoriented from the fall. Spider-Man lands gracefully a few feet away, his eyes locked on the prone figure of his adversary.

SPIDER-MAN

(approaching)

Looks like your flight's been canceled.

Before the Chameleon can recover, Spider-Man quickly fires another web, pinning him to the wall of the alley. The sticky strands wrap around his arms and torso, immobilizing him completely. 

SPIDER-MAN

Who are you? Why are you doing this?

The Chameleon remains silent, a defiant smirk on his face.

SPIDER-MAN

(frustrated)

Answer me!

CHAMELEON

You want a name? Dimitri Smerdyakov.

SPIDER-MAN

Who is that? Is that your name?

CHAMELEON

(coldly)

That is the name of a dead man. All that's left is a ghost with nothing. A man with nothing who can become anything—a Chameleon.

SPIDER-MAN

(seriously)

Well, Chameleon, whatever you were trying to do? It’s done. You're coming with me. 

The Chameleon's smirk widens as he taunts Spider-Man.

CHAMELEON

(smirking)

Oh really? I think not.

With a sinister grin, the Chameleon hits a concealed button on his suit. The distant sound of an explosion rumbles from the direction of the Baxter Building, followed by a plume of smoke rising into the night sky.

Spider-Man's eyes widen in horror as he realizes the gravity of the Chameleon's plan. The tension in the alleyway escalates as he is faced with an impossible choice.

CHAMELEON

(laughing, triumphant)

Who is it going to be, Spider-Man? Me or them?

The Chameleon's laughter echoes through the alleyway, a chilling reminder of the danger at hand. Spider-Man knows what he has to do, even if it results in the Chameleon getting away. 

He raises an arm and shoots a web, swinging off towards the Baxter Building. 

EXT. BAXTER BUILDING - NIGHT

The Baxter Building stands amidst chaos, flames licking the night sky as smoke billows from the windows, staining the city skyline with an ominous cloud. Sirens blare from all directions as emergency vehicles converge on the scene, their flashing lights reflecting off the nearby buildings, casting eerie, flickering shadows. Amidst this chaotic backdrop, the Fantastic Four springs into action, their coordinated efforts a testament to their experience and unity in the face of danger.

Johnny Storm, the Human Torch, hovers above the inferno, his body ablaze with an intense, controlled fire. His face is a mask of concentration as he uses his pyrokinesis to create a barrier of flame, holding back the worst of the blaze and creating pockets of safety for those trapped inside. His fiery aura lights up the night, the heat radiating off him in waves as he fights to keep the fire at bay.

JOHNNY STORM

(gritting his teeth)

Not on my watch!

INT. BAXTER BUILDING - HALLWAYS - NIGHT

Inside the building, the hallways are a nightmare of thick smoke and falling debris. Visibility is low, and the acrid smell of burning materials stings the eyes and throat. Despite the harrowing conditions, Sue Storm and Reed Richards work with determined precision, guiding evacuees through the smoke-filled corridors.

Sue, her face set in a mask of calm determination, extends her force fields around groups of panicked people, shielding them from the falling debris and intense heat. Her barriers shimmer with an ethereal blue light, a stark contrast to the fiery chaos around them.

SUE STORM

(this way)

Keep moving! Stay close!

Beside her, Reed Richards uses his elastic abilities to stretch his limbs, reaching through gaps and around obstacles to pull stragglers to safety. His elongated arms and legs maneuver through the wreckage with practiced ease, his eyes scanning the smoke for any sign of those still in danger.

REED RICHARDS

Stay together! Almost there!

INT. BAXTER BUILDING - INTERIOR - NIGHT

Deeper inside the building, Ben Grimm, the Thing, moves with the relentless determination of a bulldozer. His granite-like skin provides a natural shield against the flames and falling debris. He lifts massive pieces of wreckage as if they were weightless, his immense strength a vital asset in the frantic rescue efforts.

BEN GRIMM

(determined)

Come on! Let's get you outta here!

His deep, gravelly voice cuts through the din, providing a beacon of reassurance to those he helps. He carries people to safety, his powerful arms a sanctuary amidst the chaos.

INT. BAXTER BUILDING - NIGHT

Further inside the building, the scene is no less dire. We cut to a lone shot of the janitor from before, wearing his distinctive brown jacket. He is trapped under a fallen piece of the wall, his face contorted in pain and fear as he struggles to free himself. The fire creeps closer, the heat becoming unbearable. His breaths come in short, desperate gasps, each one a struggle against the smoke filling his lungs.

JANITOR

(struggling to breathe)

Help... someone...

Suddenly, out of nowhere, like a beacon of hope piercing the darkness, a red and blue blur swings in. He moves with swift, agile grace, his every movement a blend of speed and precision. His suit is torn yet still stands out vividly against the backdrop of flames, a symbol of hope amidst the chaos.

SPIDER-MAN

(reassuring)

Hang on, I've got you!

With effortless strength, Spider-Man lifts the broken pieces of the building off the janitor, the debris falling away as if it were nothing. The janitor's eyes widen in relief and gratitude, his panic subsiding as he feels the firm, reassuring grip of his rescuer.

Spider-Man scoops the janitor up in one arm, the other arm shooting out a web to a nearby building. In one fluid motion, he leaps from the ground, the webbing pulling them both away from the encroaching flames. The air rushes past them as they soar through the air, the heat of the fire a fading memory.

EXT. ROOFTOP OPPOSITE BAXTER BUILDING - NIGHT

We switch to a shot of Peter's camera set up on the building opposite. It's been steadily flashing photos for the past few minutes since Spider-Man and the Human Torch went off to take down their greatest enemy, The Lunch Thief, each image capturing the unfolding drama in stark detail. The camera, meticulously positioned, clicks away with mechanical precision, its lens focused on the heart of the action.

The camera flashes once more, capturing a breathtaking shot of Spider-Man mid-swing. In one hand, he grips the web line; in the other, he cradles the janitor, holding him close to ensure his safety. The background is a tableau of roaring flames and billowing smoke, the burning Baxter Building framing the scene with dramatic intensity.

In this singular moment, the image of Spider-Man is one of pure heroism. His body is poised in mid-air, muscles taut and focused, every fiber of his being dedicated to the rescue. The janitor, clinging to his rescuer, looks up with an expression of awe and gratitude, his life saved by the daring intervention of the masked hero.

The glowing flames create a halo of light around Spider-Man, highlighting the determination etched on his masked face. In the distance, the sounds of the city continue—sirens, shouts, the distant rumble of fire trucks—but in this moment, they all fade away, leaving only the image of PETER PARKER, THE AMAZING SPIDER-MAN, swinging to safety.

EXT. ROOFTOP OPPOSITE BAXTER BUILDING - NIGHT

Spider-Man sits on the edge of a rooftop, the cool night air doing little to soothe the frustration gnawing at him. Across the street, the Baxter Building stands in ruins, flames and smoke still rising from the wreckage. The scene is eerily quiet now, a stark contrast to the chaos that had ensued just hours before.

Spider-Man’s camera rests in his lap, and he sifts through the photos he managed to take during the chaos. Shot after shot reveals nothing but blurry images—indistinct figures moving through smoke, flames obscuring details, and the general haze of a night gone wrong. Each of them feels like a monument to his failure. 

Suddenly, a bright light descends from the sky, illuminating the rooftop with its fiery glow. Johnny Storm, the Human Torch, lands gracefully beside Spider-Man, his fiery aura blazing like an inferno before dimming to reveal his human form.

JOHNNY STORM

(blazing with energy)

Hey, Web-Head!

Spider-Man looks up, his eyes tired and filled with frustration. Johnny's upbeat demeanor is a stark contrast to the gloom hanging over Peter.

SPIDER-MAN

So, Reed and Captain Stacy ran a scan on Dimitri Smerdyakov. Turns out, the guy legally doesn't exist. He's like a ghost.

Spider-Man’s expression darkens further. He can't shake the feeling of failure gnawing at his insides.

SPIDER-MAN

(somber)

A ghost... yeah.

Johnny notices Spider-Man’s mood and his usual bravado softens. He takes a seat next to Spider-Man, the two of them looking out over the city.

JOHNNY STORM

What's up, man? You look like someone just stepped on a spider.

Spider-Man is silent for a moment, his mind replaying the events of the night. He wasn't able to stop the Chameleon from blowing up the building, and worse, the Chameleon had escaped. A short flashback fills his mind—returning to the alleyway where he had webbed the Chameleon, only to find a few strands of webbing left behind. The Chameleon had slipped through his fingers.

SPIDER-MAN

(bitterly)

I couldn't stop him, Johnny. The Chameleon blew up the building, and he got away. 

Spider-Man’s fists clench around the camera, frustration and guilt evident on his face. Johnny places a hand on his shoulder, his tone turning serious.

JOHNNY STORM

Hey, look... we can't win every time, Web-Head. All we can do is keep moving forward.

Spider-Man looks at Johnny, seeing the genuine concern and understanding in his eyes. He takes a deep breath, trying to let go of the weight on his shoulders. As he sifts through the photos, one in particular catches Johnny's eye.

JOHNNY STORM

(seeing the photo)

Hey, I like this one.

The photo shows Spider-Man swinging from a web in one hand, carrying the janitor from before in the other. The photo beautifully shows everything about what Spider-Man is, who Spider-Man is. He’s a hero, and he’s here to stay. 

Spider-Man can’t deny it. It’s a good one. 

SPIDER-MAN

(slightly smiling)

Yeah, I guess that one's not too bad.

Spider-Man turns to Johnny, the events of the day still heavy on his mind.

SPIDER-MAN

Y’know, we didn't exactly hit it off at the beginning of today. Can we just put that behind us?

JOHNNY STORM

Like, start again?

Spider-Man takes a shaky breath, like he’s steeling himself to do something important. 

SPIDER-MAN

(seriously)

Yeah

With a resolute nod, Peter reaches up and removes his mask, revealing his true identity. As he does, the first light of dawn begins to break over the horizon, casting a soft, golden glow across the city. 

PETER PARKER

Hey. It’s nice to meet you. My name’s Peter Parker. 

The sun rises behind them, signifying the dawn of a new friendship and new beginnings. He extends his hand to Johnny, a gesture of friendship and trust. Johnny, taken aback but genuinely touched by the gesture, watches the sunrise for a moment. The warmth of the new day washes over them, dispelling the shadows of the night's events. He smiles and takes Peter's hand, shaking it firmly.

JOHNNY STORM

Nice to meet you, Peter Parker. 

The two heroes sit in companionable silence, watching the sun rise over the city. Despite the night's failures, a new friendship is forged, and with it, a renewed sense of hope and determination.

INT. PETER'S HOUSE - EARLY MORNING

A week has passed since the Baxter Building incident. Peter Parker, clad in his Spider-Man suit, swings in through the window of his home, taking great care not to be seen. The early morning light casts long shadows across the room as he slides the window shut behind him. He moves quickly, throwing on some clothes over his suit. 

INT. PETER'S HOUSE - LIVING ROOM - EARLY MORNING

Peter quietly makes his way downstairs, expecting the house to be still. As he enters the living room, he finds Aunt May sleeping on the couch, her gentle snores filling the air. His heart warms at the sight, but the warmth quickly turns to ice when his eyes land on a figure sitting in the chair next to her.

The Chameleon, now dressed in a three-piece suit, white leather gloves, and his mask, sits calmly, a gun in his hand aimed directly at Aunt May. Peter's eyes widen in shock, but he remains silent, not wanting to wake her.

CHAMELEON

(smoothly)

You know, no one has interfered in my business quite like you have, Mr. Parker. 

With a casual flick of his wrist, the Chameleon tosses a newspaper at Peter's feet. The front page of the Daily Bugle blares the headline: WHO IS THE SPIDER-MAN? The article, written by J. Jonah Jameson, features a photo of Spider-Man. In the corner, in very small lettering, are the words: Photographed by Peter Parker

Peter's heart sinks as he sees the photo. He tries to deny the accusation, his voice barely a whisper.

PETER PARKER

I'm not...

The Chameleon interrupts him, raising a finger to his lips in a mocking gesture.

CHAMELEON

(sharply)

Shh. It's a nice photo, Peter. How much did you get paid for it? Ten bucks? Maybe fifteen? Everyone knows Jonah's a miser.

The Chameleon pulls a photograph from his pocket, his expression darkening.

CHAMELEON

(smirking)

I wonder how much he would pay for this one.

Peter's eyes widen in horror as he looks at the photograph. It's a candid shot of him sitting next to the Human Torch, his mask off, his identity exposed. The Chameleon leans forward, his voice low and menacing.

CHAMELEON

I'm leaving New York. There's not much left for me here anyway. But if I ever decide to return, you'll stay out of my business if you want to keep that picture out of sight.

Peter's fists clench at his sides, a mix of fear and anger boiling within him.

PETER PARKER

(defiantly)

I'm going to stop you.

The Chameleon laughs, a cold, mirthless sound.

CHAMELEON

Really? You're a kid playing dress-up. How do you think she'd feel if she found out?

He gestures with his gun towards Aunt May, sleeping peacefully on the couch.

CHAMELEON

She's already been sleeping on the couch since her husband died because she can't bear being in that room without him. How do you think she'll feel when she finds out her nephew is out there risking his life every night?

Peter's resolve crumbles as he realizes the truth of the Chameleon's words. He backs off, knowing he's been beaten. The Chameleon smiles, satisfied.

CHAMELEON

Good boy.

As the Chameleon rises to leave, he pauses at the door, a final taunt on his lips.

CHAMELEON

You know, it's ironic that you, of all people, would get these powers considering...

Peter's brow furrows in confusion and anger.

PETER PARKER

Considering what?

The Chameleon stops, a cruel grin spreading across his face.

CHAMELEON

Oh, you don't know? Well, isn't that just delicious. Oh well, I must be off.

With that, he leaves the house, his face shifting into that of someone forgettable, allowing him to move undetected among the outside world. Peter watches him go, a deep sense of dread settling in his chest.

ROLL CREDITS.

Chapter Text

EXT. PARK - DAY

The sun shines brightly over Midtown Park, casting a warm glow over the lush greenery. It's nearing Christmas time, and the park is adorned with festive decorations—strings of lights twinkle on the trees, and colorful ornaments hang from every branch. A light snow is falling, covering the ground in a soft, white blanket. The students of Midtown High are bundled up in warm clothes, their breath visible in the chilly air. Laughter and chatter fill the air, blending with the sounds of birds and distant traffic.

In the middle of it all stands Flash Thompson, the boisterous ringleader of the group. His loud, joking demeanor draws the attention and laughter of his friends. 

FLASH THOMPSON

(grinning)

Did you hear what happened to Mr. Harrington? He tried to catch a frisbee and ended up falling into a trash can! Here, I got a video. 

The group bursts into laughter as Flash pulls the video up on his phone. Kenny Kong and Liz Allen join in, with Kenny trying to stifle his laughter, a hint of guilt in his eyes, but he can't help but chuckle along.

KENNY KONG

(half-heartedly)

Come on, Flash, give the guy a break...

Despite his words, Kenny still laughs at Flash's jokes. Liz Allen, meanwhile, cheers wholeheartedly, her eyes sparkling with amusement as she looks at Flash with a dreamy expression.

Across the park, Peter Parker sits in the corner with Harry Osborn and Gwen Stacy. Peter's thoughts are distant, still reeling from the Chameleon’s revelations. Gwen, noticing Peter's distraction, shoots a disapproving look in Flash's direction.

Across the park, Peter Parker sits in the corner with Harry Osborn and Gwen Stacy. The three of them are wrapped in scarves and winter coats, trying to keep warm. Peter's thoughts are distant, still reeling from his encounter with the Chameleon over a month ago. Gwen, noticing Peter's distraction, shoots a disapproving look in Flash's direction.

GWEN STACY

(annoyed)

I can't stand that guy. Does he ever shut up?

HARRY OSBORN

(shaking his head)

He's always like this. 

Gwen scowls in disgust, her eyes narrowing slightly as she watches Flash continue to hold court. Peter, seemingly lost in his own thoughts, barely registers the conversation around him.

Suddenly, Peter feels a sharp pain and a ringing in his head. He recognises this feeling but is still unsure of what it really means. He looks up, scanning the distance, trying to pinpoint the source of the disturbance.

PETER PARKER

(turning his head)

Something's going on...

In the distance, he spots a police chase, with two men in a truck being pursued by multiple squad cars. It’s far away enough that the others can’t see it but his heightened senses let him see it perfectly. His mind races as he calculates his next move. He turns to Harry, whispering urgently.

PETER PARKER

(whispering)

Cover for me.

Without waiting for a response, Peter slips away from the group, heading towards a nearby alleyway. He moves quickly, ripping off his shirt to reveal the Spider-Man costume underneath. In one fluid motion, he scales the wall, disappearing from sight.

CUT TO:

EXT. PARK - DAY

Back in the park, Harry tries to cover for Peter with an incredibly half-baked excuse.

HARRY OSBORN

Uh, Peter... he had to go to the bathroom. Really bad. 

Flash rolls his eyes, clearly unimpressed and not really caring about Peter's sudden disappearance.

FLASH THOMPSON

(smirking)

Whatever, who cares? Who needs Parker anyways?

The group resumes their conversation, mostly indifferent to Peter's absence. However, Gwen seems a bit suspicious, her eyes narrowing as she watches the alleyway where Peter disappeared.

GWEN STACY

(muttering to herself)

What are you up to, Peter?

EXT. NEW YORK CITY STREET - DAY

The bustling streets of New York are suddenly disrupted by the roar of a speeding truck. A logo for MasonTech is displayed proudly on the side, but the reckless driving indicates the vehicle is far from its intended use.

Inside the truck, two men are seated, their laughter echoing through the cabin. Their excitement is palpable, like adrenaline junkies on the ultimate thrill ride.

Behind the wheel is Jackson Brice, a white bald man with a rugged beard. He sports a yellow shirt beneath a black sleeveless jacket, the ensemble completed by a beanie perched on his head and black gloves covering his hands. His eyes shine with a wild joy as he navigates the truck through the streets, dodging traffic with reckless abandon.

Next to him, in the passenger seat, sits Herman Schultz, a dark skinned individual whose outfit mirrors Jackson’s. 

The truck swerves around corners and barrels through intersections, leaving a trail of chaos in its wake. Pedestrians scatter, and cars screech to a halt to avoid collisions. The city's noise blends with the rumble of the truck's engine and the raucous laughter of its occupants.

Suddenly, two police cars blaze into the scene, sirens wailing and lights flashing. Leading the chase is Officer Jean DeWolff. Bullets fly as the officers try to take out the truck's tires, but Jackson's erratic driving makes it nearly impossible.

INT. POLICE CAR - DAY

Officer Jean DeWolff grips the steering wheel tightly, her eyes locked on the speeding truck ahead. Beside her, her partner reloads his firearm, ready for another attempt to stop the vehicle.

OFFICER JEAN DEWOLFF

(urgently)

Hold on Roberts, we're not letting them get away!

OFFICER ROBERTS

(gritting his teeth)

I'm on it!

EXT. NEW YORK CITY STREET - DAY

HERMAN SCHULTZ 

(excitedly) 

Hey, Jackie, I've got an idea! We got a shit ton of stuff from Masons! Why don’t we use it to waste these pigs!

He roots around in the back, searching for something useful amidst the crates and gadgets. His hands finally land on a gauntlet-like device, his eyes lighting up with mischief.

HERMAN SCHULTZ

(excitedly)

Oh yeah, this’ll do the trick!

As Herman fumbles with the device, the truck takes a sharp turn, and he's thrown into the wall, groaning in frustration.

HERMAN SCHULTZ

(wincing)

Hey Jackie! Watch it, pal!

Jackson just laughs, clearly enjoying the chaos they're causing. The police cars continue their pursuit down a crowded street, weaving through traffic with sirens blaring.

OFFICER JEAN DEWOLFF

(shouting over the noise)

They're not slowing down! Stay on them!

The truck swerves around another corner, narrowly missing a row of parked cars. Herman finally gets the gauntlet ready and steps towards the back of the truck. He opens the rear doors, and the wind whips through the cabin, throwing him off balance. 

OFFICER ROBERTS

(determined)

We have to stop them before they hurt someone!

Officer DeWolff accelerates, closing the gap between the police car and the truck. Herman glances back and sees the pursuing officers. He grins, hefting two gauntlets in his hands, like gatling guns.

OFFICER JEAN DEWOLFF

(spotted)

He's got something!

Herman hits a button, and a blast of sonic energy erupts from the right gauntlet. The sound waves ripple through the air, creating visible distortions as they travel. The police car swerves, narrowly avoiding the blast.

HERMAN SCHULTZ

(cheering)

Whoo!

OFFICER ROBERTS

(yelling)

Jean, look out!

The truck makes another sharp turn, and Herman is thrown against the side, momentarily losing his grip on the gauntlet. Jackson takes the opportunity to floor the gas pedal, speeding up as they head towards a busy intersection.

OFFICER JEAN DEWOLFF

(determined)

We can't let them get to the intersection! Too many civilians!

The police car barrels down the street, sirens blaring and lights flashing. Pedestrians scatter, and cars screech to a halt to avoid the speeding vehicles. Herman recovers and steadies himself, aiming the left gauntlet at the police car once more.

He fires another blast of sonic energy, and this time it hits its mark. The police car is lifted off the ground, flipping through the air in a slow-motion arc. Officer DeWolff and Officer Roberts brace themselves for impact. 

OFFICER JEAN DEWOLFF

(grimacing)

We're hit!

The second police car comes to a screeching halt to avoid the flipped car, unable to continue the chase. 

Suddenly the car stops midair. Jean DeWolff looks in the rear view mirror to see Spider-Man, straining under the weight of the car. With a grunt of effort, he gently sets it down on the street, saving the officers inside. He then swings after the truck, his eyes narrowed in determination as he chases the robbers.

Jackson Brice and Herman Schultz continue their wild ride through the streets of New York, with Jackson at the wheel and Herman at the back of the truck. Herman sees a shadow pass over him, causing him to look up. Suddenly, they hear a distinct thump above them, causing their smiles to falter.

JACKSON BRICE

(frowning)

What the heck was that?

He looks out the side window. To his shock, Spider-Man is hanging upside down, peering in through the window with a mischievous grin.

SPIDER-MAN

(grinning)

Hey, my name is Spider-Man! You can call me Web-Head, you can call me Amazing, just don’t call me late for dinner. You get it?

Jackson's eyes widen in anger and fear. He quickly pulls out a gun and aims it at Spider-Man. However, Spider-Man's senses kick in just before the trigger is pulled. In a flash, he shoots a web, trapping the bullet in the gun and causing it to backfire. The force of the backfire knocks Jackson out, slumping him against the steering wheel.

SPIDER-MAN

(tut-tutting)

You really shouldn't play with guns, buddy. You could’ve taken your arm off!

Herman scrambles to take control of the wheel, trying to keep the truck on course. Spider-Man, still hanging upside down, knocks on the window to get Herman's attention.

SPIDER-MAN

(mockingly)

Hey, pal! Did you know the speed limit here is actually, like, 30? I think you're a little over that.

HERMAN SCHULTZ

(panicking)

Get off my truck, you maniac!

Herman swerves the truck from side to side, trying to shake Spider-Man off, but the hero clings on effortlessly.

SPIDER-MAN

(casually)

You know, all this zigzagging isn't good for your tires. Or your health, for that matter.

Herman, frustrated, reaches for the gauntlets in the back, but before he can use them, Spider-Man leaps onto the hood of the truck. He shoots a web at the brakes, causing the vehicle to screech to a halt. The sudden stop throws Herman off balance, and he tumbles out of the side of the truck, clutching the gauntlets he had been using.

HERMAN SCHULTZ

(grunting)

I'm outta here!

He scrambles to his feet and starts sprinting down the street, the stolen gauntlets clutched in his arms. Spider-Man swings after him, determination etched on his face.

SPIDER-MAN

(calling out)

Hey, where's the fire? Oh wait, it's just you running scared.

Herman glances back, panic in his eyes as he sees Spider-Man gaining on him. He ducks into an alleyway, hoping to lose his pursuer among the maze of narrow passages. Spider-Man swings high above, using his webbing to leap from building to building, keeping Herman in sight.

Herman emerges from the alley onto a busy street, weaving through traffic and causing chaos as cars honk and swerve to avoid him. Spider-Man lands on the roof of a nearby car, his eyes locked on Herman.

SPIDER-MAN

(mockingly)

You're not making this easy for yourself, you know! I mean, for me? Sure. It’s a breeze, but you?

Herman reaches into his jacket and pulls out one of the gauntlets. He turns and fires a blast of sonic energy at Spider-Man, forcing the hero to dodge and flip out of the way. The blast hits a parked car, sending it flying into the air. 

SPIDER-MAN

(yelling)

Hey! Watch where you're aiming that thing!

Spider-Man swings low, firing a stream of webbing to catch the car before it hits anyone. He waves at the family inside. 

SPIDER-MAN

You okay folks?

Spider-Man turns to follow Herman into the alley, but when he reaches the end, Herman is nowhere to be seen. Spider-Man swings up to the rooftops, scanning the area, but he’s gone

SPIDER-MAN

(softly)

Where did he...? 

Frustrated but determined, Spider-Man continues to search, knowing that Herman can't have gone far. Meanwhile, the second police car arrives on the scene, just in time to apprehend Jackson, who was slowly regaining consciousness.

OFFICER JEAN DEWOLFF

(relieved)

We got one of them, at least. Good work, Spider-Man.

Spider-Man swings back down to join the officers, shaking his head.

SPIDER-MAN

(sighing)

The other dude slipped away. I'll keep looking, though.

OFFICER ROBERTS

(confused)

Hey ain’t we supposed to arrest this guy?

SPIDER-MAN

And that’s my queue to leave. Good luck finding the other guy!

With that, Spider-Man swings away, determined to leave before the situation gets more inconvenient for him, leaving the police to handle the apprehended Jackson Brice. 

INT. NEW YORK CITY POLICE DEPARTMENT - DAY

The busy NYPD precinct is abuzz with activity. Officers move in and out, phones ring constantly, and the hum of conversations fills the air.

INT. CAPTAIN STACY'S OFFICE - DAY

Captain George Stacy sits at his desk, holding a phone to his ear. Papers are strewn across his desk, each one related to the Chameleon cases. His face is a picture of focus and determination as he talks.

CAPTAIN STACY

(into phone)

Listen, I understand the gravity of the charges against Flash Thompson, Morris Bench, and Otto Octavius. But you have to understand, it wasn't them. We have evidence. It was a shapeshifter. We've got Reed Richards from the Fantastic Four helping with the case. He can testify to what we're saying.

He listens intently, nodding occasionally, though the frustration is clear on his face. Suddenly, a commotion erupts outside his office door. He frowns, glancing up towards the noise.

CAPTAIN STACY

(into phone)

I'm sorry, Mr. Murdock, but I'm going to have to call you back.

He hangs up the phone and stands just as the door bursts open. A man, around fiftyish with silver balding hair, storms in. Officer Jean DeWolff and Officer Stan Carter rush in behind him, looking apologetic.

JEAN DEWOLFF

(sheepishly)

I'm sorry, Captain, I tried to stop him.

The old man, his face red with anger, steps forward, pointing an accusing finger.

OLD MAN

This is an outrage! You people are incompetent!

Captain Stacy looks at him, confused and slightly irritated.

CAPTAIN STACY

I'm sorry, who are you, and why are you here?

PHIN MASON

My name is Phin. Phin Mason.

Captain Stacy's eyes widen slightly in recognition.

CAPTAIN STACY

(realization dawning)

You're the owner of MasonTech? The company whose truck was stolen?

PHIN MASON

Yes! And your blundering idiots down in the bullpen did not return all of my stolen technology!

STAN CARTER

(hotly)

Oh that’s rich!

Captain Stacy raises an arm, gesturing for Stan to calm down and for Mason to take a seat.

CAPTAIN STACY

Alright, Mr. Mason. Let's take this from the top. What exactly is missing?

Phin nods vigorously, still visibly agitated.

PHIN MASON

It's a prototype sonic technology built into a portable emission unit. 

JEAN DEWOLFF

(frowning, has no idea what he’s talking about)

We returned everything we found, Mr. Mason. Maybe you misplaced something?

Phin's face turns an even deeper shade of red.

PHIN MASON

Misplaced? Are you implying I don't know my own inventory? I know exactly what was taken and what was returned!

Captain Stacy steps in, raising his voice to keep the situation from escalating further.

CAPTAIN STACY

Let's all stay calm. If the tech is missing, it means the escaped robber, Herman Schultz, must have taken it. Can you describe the missing tech and what it could be used for?

PHIN MASON

It's a prototype sonic technology. I designed it to be used in air travel as an alternative method of propulsion. It should be able to move the vehicle through the sky. Unfortunately, I hadn’t managed to give it enough power for a functioning aircraft but it would definitely have enough to lift a few tonnes at the least.

Jean DeWolff's eyes widen in recognition.

JEAN DEWOLFF

That's what those gauntlets were! They flipped a police car during the chase.

Phin points a finger at Jean, his voice rising.

PHIN MASON

Exactly! And now they're out there in the hands of a criminal because of your department's incompetence!

Captain Stacy's expression turns grim as he realizes the potential danger of the stolen tech. He raises a hand to cut off further arguments, clearly not wanting to get into it in the middle of his office. 

CAPTAIN STACY

(nodding)

Alright, Mr. Mason. We understand the severity of the situation. We'll do everything in our power to get your technology back and make sure it doesn't fall into the wrong hands.

Phin Mason turns back to the captain. The tension in his shoulders remains.

PHIN MASON

It’s already in the wrong hands, Captain. Get it back before it does any more damage. 

CAPTAIN STACY

You have my word. We'll find it.

As Phin Mason leaves the office, Stan Carter turns back to Captain Stacy. 

STAN CARTER

Please tell me we’re not gonna actually go along with this? We should be catching that goddamn vigilante instead!

He grabs his phone from his pocket, showing a digitized version of J. Jonah Jameson’s ‘WHO IS SPIDER-MAN’ article. 

STAN CARTER

Some people are actually thinking this guy’s a hero! He’s a masked lunatic!

JEAN DEWOLFF

That ‘masked lunatic’ is the only reason we were able to get back any of Mason’s tech at all! Did you want that guy to get angrier?

Jean turns to Captain Stacy

JEAN DEWOLFF

We should assemble a task force to get that tech back. I’ve seen what it can do and it does not belong on the streets. 

Captain Stacy turns to Jean DeWolff, determination clear in his eyes.

CAPTAIN STACY

Put a pin in that DeWolff. I’ve got a different idea. 

Jean looks disappointed but nods anyway. The scene fades out as Captain Stacy returns to his desk.

INT. MIDTOWN HIGH SCHOOL CAFETERIA - DAY

It's lunch time at Midtown High, and the cafeteria buzzes with the usual clamor of teenage conversations and laughter. Peter Parker sits alone at a table, his tray of food barely touched as he texts his friend, Harry Osborn, who was pulled out of school for a work function of his father's.

ON SCREEN: Peter's phone display shows the text conversation with Harry.

HARRY OSBORN (TEXT)

Can't believe Dad pulled me out for this. So boring.

PETER PARKER (TEXT)

Hang in there, man. Catch up later.

Suddenly, Harry's texts stop. Peter sees the "typing" indicator disappear. A few moments later, his phone buzzes again.

HARRY OSBORN (TEXT)

Got caught texting. Mendell’s taking my phone. Talk later.

Peter sighs and puts his phone down. He looks around the cafeteria and notices Flash Thompson making his way toward him, a predatory grin on his face. From a distance, Gwen Stacy watches with concern.

Peter tenses, readying himself for a confrontation. His past interactions with Flash usually ended with him being stuffed in a locker. There isn’t one nearby but Peter knows Flash is resourceful when he wants to be. 

FLASH THOMPSON

(tauntingly)

Hey Parker.

PETER PARKER

(defensively)

What?

FLASH THOMPSON

I got one thing to ask you, pal.

Peter tries to make himself look smaller, hoping to avoid trouble. Flash stops in front of him, his grin widening. 

FLASH THOMPSON

How the hell did you get such a good photo?

Peter blinks in confusion, as do many of the students in the cafeteria. Did Flash just... compliment him? 

Flash pulls his phone out of his pocket and scrolls through his camera roll. He clicks a photo and shows it to Peter. 

FLASH THOMPSON

This one!

PETER PARKER

(confused)

Flash, this is your mugshot.

FLASH THOMPSON

(equally confused)

What?

He looks at his phone in confusion, realizing he’s shown the wrong photo. 

FLASH THOMPSON

No! That’s not it! Hold on. 

He scrolls for a minute whilst everyone else sits patiently. Even Mr Harrington has come down to the student cafeteria to watch. 

Finally he pulls up the correct photo. 

FLASH THOMPSON

(showing his phone)

Aha! Here it is! Check out the photo creds. 

Flash shows a screenshot of the article from the Daily Bugle: WHO IS SPIDER-MAN? And zooms in on the main photo of the article. In the corner, it reads: "Photographed by Peter Parker"

FLASH THOMPSON

There’s no way someone like you got that photo on your own, so you must know Spider-Man! You've got to introduce us. The guy is the coolest!

PETER PARKER

(acting confused)

What? Introduce you? I don't know him. I just used a long lens to get that photo.

Flash's expression darkens, frustration replacing his earlier surprise. In a fit of anger, he grabs a nearby drink and throws it in Peter's face before storming off.

FLASH THOMPSON

(angrily)

Whatever, Parker. You're useless.

Mr Harrington quickly stands up. 

MR HARRINGTON

Bullying is not allowed at this fine institution Mr Thompson!

FLASH THOMPSON

What ‘fine institution’? You guys serve prison food for lunch! Look at this slop!

Mr Harrington sits down, unable to argue back, mostly because he agrees.

MR HARRINGTON

(muttering to himself)

Teach kids, they said. It’ll be fun, they said. I’m never listening to Rob again in my life. 

Gwen quickly approaches Peter, concern etched on her face. She hands him some paper towels to clean himself off.

GWEN STACY

(softly)

You okay?

Peter wipes his face dry, trying to regain his composure.

PETER PARKER

(nodding)

Yeah, I'm fine. Thanks, Gwen.

Gwen gives him a reassuring smile as Peter continues to clean himself up. 

Now drying off the last of the drink Flash threw at him, he looks up to see Gwen still standing nearby, concern etched on her face. She hesitates for a moment, then speaks.

GWEN STACY

Hey, Peter. Do you want to hang out after school today?

Peter looks up, a bit surprised by the offer, but then shakes his head apologetically.

PETER PARKER

Oh, I wish I could, but I have plans with Harry later today. He’s been at this work thing for his dad all day and needs to get out of the house after that so I agreed to meet up with him. 

Gwen nods, understanding but still wanting to spend time with Peter. She quickly thinks of another suggestion, her face lighting up with excitement.

GWEN STACY

What about next week? There's the Stark Expo happening just before Christmas Eve. We could go check it out together.

Peter's eyes light up with joy at the idea.

PETER PARKER

That sounds amazing! I'd love to go!

Gwen's cheeks flush, but he remains oblivious to the fact that she's asking him on a date. He grins widely, the excitement palpable in his voice.

PETER PARKER

I've always wanted to see the Stark Expo!

Gwen smiles back, her heart fluttering at Peter's enthusiasm.

GWEN STACY

Great! It's a date then. I'll see you there.

Peter nods eagerly, still not catching the hint.

PETER PARKER

Absolutely! I can't wait.

Gwen smiles as she leaves the cafeteria. Peter goes back to eat his food but pauses for a second, his brows furrowed in thought. 

PETER PARKER

(confused)

Wait, date?

INT. PETER AND HARRY’S WAREHOUSE - LATE AFTERNOON

The warehouse that Peter Parker and Harry Osborn have been using has undergone a significant transformation. The storage boxes and cobwebs have been cleared out, and basic equipment is now set up and running. The electricity is back online, casting a warm, industrious glow over the space.

Peter is tinkering with a small, red spider-shaped device, his brow furrowed in concentration. As he works, he's also animatedly talking to Harry, who leans against a nearby workbench, listening.

PETER PARKER

(rambling)

So, when Gwen said 'It's a date,' do you think she actually meant a date, like a date date? Or was she just saying that as a figure of speech? I mean, what if I show up and she expects something more formal and I'm just there in my regular clothes? Oh, should I get flowers! What if—

HARRY OSBORN

(chuckling)

Relax, Pete. Just go with the flow. If she asked you out, it was because, for some reason, she liked your dorky ass. On a date, she’s gonna want to see that dorky ass. Not someone else. 

PETER PARKER

Somehow that made both zero and complete sense. 

Peter continues to fiddle with his device, which produces short bursts of noise each time he tests it. He frowns, clearly dissatisfied with the result.

PETER PARKER

(slightly panicking)

But what if I mess it up?

HARRY OSBORN

(grinning)

Dude, just be yourself. An idiot could tell she likes you. 

Peter tries the device again, but it still emits the annoying noise. He sighs in frustration. Harry looks around the warehouse, an idea forming in his mind. He gestures to the space, his eyes sparkling with excitement.

HARRY OSBORN

You know, we should totally turn this place into our secret base. Think about it, a headquarters for all our operations. We could call it... the Spider Cave!

Peter, still tinkering with the spider-shaped device, responds absentmindedly.

PETER PARKER

Uh-huh. Yeah, sure.

HARRY OSBORN

Or maybe... the Spider's Nest?

Peter tries the device a few more times, each time it still emits the annoying noise. He sighs in frustration.

PETER PARKER

No, that's not right.

HARRY OSBORN

(grinning)

I've got it! How about "The Web"? It’s short and snappy! It’s perfect!

PETER PARKER

Yeah, "The Web." Sounds good.

HARRY OSBORN

(smiling)

Awesome. "The Web" it is. Our very own secret base.

HARRY OSBORN

(curiously)

What are you working on, anyway?

PETER PARKER

(focused)

I'm making a device that can be picked up by my Spider-Sense.

HARRY OSBORN

(interested)

Spider-Sense? What's that?

PETER PARKER

(explaining)

It's this buzzing or ringing feeling I get in my head whenever I'm in danger. Like when I was rescuing people from that burning building or when I was being shot at by that guy in the truck this morning.

HARRY OSBORN

(startled)

You were shot at?

PETER PARKER

(nodding)

Yeah, that was just before they threw a car at me.

HARRY OSBORN

(bewildered)

... What even is your life now, man?

Peter ignores this and continues to adjust the device.

PETER PARKER

(smiling)

Crazy, right? But I want to make this so it can act as a tracer that communicates with me via my Spider-Sense. Next time I’ll be able to catch any criminal I come across. I just need to get the frequency just right…

Peter tests the device again, his eyes lighting up as it finally works without emitting the noise. A sudden buzz rings through his head. 

PETER PARKER

(excitedly)

There we go! Now we're talking.

Harry shakes his head in amazement, clearly impressed by Peter's ingenuity.

HARRY OSBORN

(smiling)

Just make sure to bring that big brain of yours to the Stark Expo. Gwen's gonna love it.

Peter grins but suddenly his phone starts to ring, breaking the silence of the warehouse. He glances at the screen and sees that it's a call from Captain George Stacy. With a mix of curiosity and concern, he quickly answers.

PETER PARKER

(into phone)

Hello, Captain Stacy?

Harry’s eyes widen. Captain Stacy calling Peter right after Gwen asked Peter out on a date? Not good. Peter seems to have the exact same thought. 

CAPTAIN STACY (V.O.)

Peter, we need to meet in person. It's important.

PETER PARKER

(slightly fearful)

Um… sure, Captain! Where?

EXT. RYKERS POLICE TRANSPORT - DAY

A police transport vehicle from Ryker's Island is cruising down a desolate road, flanked by armed guards. Suddenly, a figure in a yellow and brown suit appears in the distance. The man's arms are adorned with two gauntlets that begin to hum ominously. 

With a swift movement, the man releases sonic blasts from the gauntlets, busting open the doors of the transport and knocking out the guards with a powerful wave of sound.

The figure leaps inside the transport and heads straight for a prisoner restrained in the back. The prisoner is revealed to be Jackson Brice. Initially, Jackson is resistant, confusion and fear flashing across his face. 

JACKSON BRICE

(struggling)

Who the hell are you?

The man in the supersuit takes off his mask, revealing himself to be Herman Schultz.

HERMAN SCHULTZ

(smiling)

Hey, Jackie.

Recognition dawns on Jackson's face, and his demeanor changes instantly. He does a complete 180, his eyes lighting up with relief and affection.

JACKSON BRICE

(grinning)

Herman! Knew you wouldn’t leave me behind!

HERMAN SHULTZ

(scoffing)

Course I wouldn’t, partner!

Without hesitation, Jackson kisses Herman full on the mouth. He then grabs onto Herman, who uses the sonic gauntlets to boost himself into the air, leaping away from the transport with Jackson clinging to him. 

JACKSON BRICE

(yelling)

See ya round, suckers!

The two disappear into the horizon, leaving the wrecked transport and stunned guards behind.

EXT. ROOFTOP - NIGHT

Captain George Stacy and Spider-Man stand on a dimly lit rooftop, the city skyline glowing in the distance. The wind whistles softly, adding an air of tension to their conversation. Captain Stacy finishes recounting the recent events of the breakout.

CAPTAIN STACY

(serious)

...and that's how Herman managed to break Jackson Brice out of the transport. We're dealing with some serious tech here, Spider-Man. We need your help tracking them down.

SPIDER-MAN

(nodding)

Alright. Let's start with Phin Mason. He made the tech, right? Maybe he knows how to stop it. 

CAPTAIN STACY

Yeah, that’s right. He's our best lead.

Spider-Man seems relieved, a thought visibly crossing his mind.

SPIDER-MAN

(relieved)

For a second, I thought you were going to talk about—

CAPTAIN STACY

(curious)

Talk about what?

SPIDER-MAN

(quickly)

Nothing, Cap! On an unrelated note, you wouldn't happen to have a daughter at Midtown High, right?

CAPTAIN STACY

(surprised)

Yeah, Gwendy. Why?

SPIDER-MAN

(slightly panicking)

Oh, no reason.

Spider-Man mutters to himself, his voice barely audible.

SPIDER-MAN

(to himself)

Oh, I'm so screwed.

Captain Stacy raises an eyebrow, but decides to let it go, focusing on the task at hand.

CAPTAIN STACY

Alright then. Let's head to MasonTech and see what we can find.

EXT. MASONTECH - DAY

MasonTech is a small, unassuming shop in a less affluent section of New York. Captain Stacy walks up to the door and knocks firmly while Spider-Man hides a little further away in the shadows, trying not to be seen.

Suddenly, Spider-Man is hit by a baseball. A kid runs over to collect the ball, stopping short when he realizes who he just hit.

KID

(awestruck)

Spider-Man?!

Spider-Man gives the kid a friendly wave, putting a finger to his lips to signal silence. The kid goes speechless.

CUT TO CAPTAIN STACY

The door to MasonTech opens, revealing a young college student with dark skin and braids. He is lean and wearing an oversized shirt labeled: MASONTECH: The Ultimate Tinkerers.

CAPTAIN STACY

Where's Phin Mason?

COLLEGE STUDENT

(nonchalant)

Out.

CAPTAIN STACY

And you are?

COLLEGE STUDENT

I'm his assistant. You needed something?

CAPTAIN STACY

We need to talk about the stolen sonic technology from yesterday.

COLLEGE STUDENT

(smirking)

I helped design the sonic tech. I can help you with that.

CAPTAIN STACY

And your name is?

HOBIE BROWN

Hobie. Hobie Brown. Come on inside.

Captain Stacy holds up a hand to wait and looks over to where Spider-Man was supposed to keep a low profile. Instead, Spider-Man is seen playing baseball with some kids, wearing a helmet and a pitcher's glove.

KID

One more round Spider-Man!

CAPTAIN STACY

(sighing incredulously)

Oh you gotta be kidding me...

He turns back to Hobie.

CAPTAIN STACY

Can we just wait for a minute? 

Hobie looks on with an amused expression

HOBIE BROWN

Sure. I got all day. 

INT. MASONTECH - DAY

The interior of MasonTech is a fascinating mix of innovation and chaos. The space is filled with workbenches cluttered with various gadgets and prototypes in different stages of completion. On one shelf, a series of prototype grapplers labeled For Window Cleaners sit next to a pile of miniature drones tagged Personal Assistant - VEDOMI. Over by the corner, hydraulic lifters meant for heavy lifting lie in pieces, waiting to be assembled. There are even some advanced lockpicks labeled For Locksmiths scattered among the tools.

Hobie, Spider-Man, and Captain Stacy are sitting at a workbench filled with blueprints, circuits, and components. Hobie is explaining how the shock devices work.

HOBIE BROWN

These gauntlets use sonic vibrations to generate shockwaves. I could probably whip up a device capable of shutting them down, but the method requires someone to get in close.

SPIDER-MAN

(nodding)

I can help with that. I'm good with tech.

CAPTAIN STACY

(sighing)

Alright, I'll step outside for some fresh air. Call me when you nerds are done.

Captain Stacy steps outside, leaving Hobie and Spider-Man to their work. Spider-Man visibly relaxes once the captain is gone. Hobie takes note but doesn’t say anything yet. 

Spider-Man shifts slightly, trying to figure out how to make small talk. 

SPIDER-MAN

So… how did you end up working for MasonTech?

Hobie smiles, leaning back in his chair.

HOBIE BROWN

I was always into tech, you know? Ever since I was a kid, I loved taking things apart and figuring out how they worked. My mom used to say I could fix anything with duct tape and a screwdriver.

Spider-Man grins, his interest piqued.

SPIDER-MAN

Sounds like you were born to be a tinkerer.

HOBIE BROWN

Yeah, I guess you could say that. I worked my way up through various internships and part-time jobs. Eventually, I met Phin Mason, and he saw potential in me. Gave me a chance to work on some really cool projects.

Hobie gestures to the workspace around them. Spider-Man notices a device labeled CI among the clutter.

SPIDER-MAN

(pointing)

What's that one for?

HOBIE BROWN

Oh, that? It's for cushioning and insulation. We were working on a way to make buildings more resistant to vibrations and shocks. You'd be surprised how useful that can be in a city like this. That one was more Phin than me. 

SPIDER-MAN

(nodding)

I bet. So, what's your goal here? I mean, there’s got to be some sort of endgame to this. 

HOBIE BROWN

We're trying to get something to display at the Stark Expo. If we get noticed, we can get better funding. 

Hobie sobers up. Spider-Man feels the conversation might be going a different place than he’d expected. 

HOBIE BROWN

I just… My mom’s got cancer, y’know. Dad’s not been around for years and someone needed to pay for it. If we can get better funding, we’ll get more customers. More customers means more chance I can save her life. 

SPIDER-MAN

(softly)

I'm sorry to hear that. I hope you get the funding you need. If there’s anything I can do to help… I can put in a good word with Reed Richards if you want?

Hobie shrugs, trying to remain positive.

HOBIE BROWN

Nah. I’d rather do it on my own merit, y’know?

SPIDER-MAN

Yeah, I get that. 

HOBIE BROWN

So what about you man? What’s your story? You seemed a bit nervous around the old man back there. 

SPIDER-MAN

Well, it's hard to say much without giving away too much. But let's just say, I'm not sure if I’m dating his daughter or not. 

HOBIE BROWN

(baffled)

Wait, what?

Before Hobie can ask for more details, Captain Stacy barges back in, urgency clear on his face.

CAPTAIN STACY

We just got word—two individuals matching the description of the suit Herman Schultz was wearing have been seen robbing a bank.

HOBIE BROWN

Suit? He only stole the gauntlets!

SPIDER-MAN

Two? Did they split the gauntlets?

Hobie panics slightly. 

HOBIE BROWN

The jammer’s not done yet!

An expression of determination crosses Spider-Man’s face. 

SPIDER-MAN

I’ll go. I’ll try to slow ‘em down. You keep working on the jammer. 

Hobie nods as Spider-Man rushes through the door. 

EXT. BANK - DAY

The sun is high in the sky as chaos erupts outside a bustling bank in downtown New York. Two figures, Herman Schultz and Jackson Brice, both wearing the sonic gauntlets and outfits, are causing havoc. Civilians scream and run for cover, the sound of breaking glass and crumbling concrete echoing through the streets.

SPIDER-MAN

(swinging in)

Alright, party crashers, it's time to bounce!

Before Spider-Man can make a witty remark, Jackson spots him and fires a shockwave, sending Spider-Man flying backward. He crashes into a lamppost and lands on the street, groaning in pain.

JACKSON BRICE

(laughing)

Look what we have here! Spider-Man decided to join the fun!

HERMAN SCHULTZ

(focused)

Keep your guard up, Jackie. He won't stay down for long.

Spider-Man quickly recovers, flipping back onto his feet and leaping toward the bank. He shoots webs at the building, trying to stabilize it as pieces of debris fall from the facade. The Shockers, meanwhile, continue their rampage, sending shockwaves through the air and causing massive amounts of collateral damage.

SPIDER-MAN

(sarcastic)

You guys ever heard of a subtle entrance?

Herman smirks and fires a shockwave at Spider-Man, who narrowly dodges it by flipping over a car. The shockwave hits the car, flipping it over. Spider-Man fires webs to catch it before it crashes into the storefront. 

HERMAN SCHULTZ

(coldly)

We're not here to be subtle.

Spider-Man swings forward, attempting to web Herman's gauntlets, but Jackson intercepts with a shockwave, sending Spider-Man crashing into a nearby bus. The bus tips over, causing more panic among the civilians.

SPIDER-MAN

(gritting his teeth)

Alright, let's try this again.

He shoots a web at a light pole, pulling himself up and swinging back toward the Shockers. This time, he aims for Jackson, webbing his gauntlets and yanking them downward. Jackson struggles, but Herman quickly reacts, sending another shockwave to free Jackson from the webs.

JACKSON BRICE

(angrily)

Get off me, bug!

SPIDER-MAN

(mockingly)

Bug? Really? That's the best you got? Spiders aren’t even bugs!

The fight intensifies as Spider-Man tries to keep the civilians safe while simultaneously disarming the Shockers. He leaps and dodges, using his agility to avoid the devastating shockwaves. At one point, he manages to web Jackson's feet to the ground, but Herman quickly frees him with another shockwave.

SPIDER-MAN

(to himself)

I need to disable those gauntlets. Hurry up Hobie. 

Spider-Man spots a fire hydrant nearby and swings toward it. He yanks the top off with his webbing, sending a powerful jet of water toward the Shockers. The water temporarily disrupts their gauntlets, causing them to sputter and lose power.

SPIDER-MAN

(grinning)

Let's see how you handle this!

Spider-Man takes advantage of the distraction, swinging in and kicking Jackson hard in the chest, sending him flying into a parked car. Herman regains control of his gauntlets and fires a shockwave at Spider-Man, who dodges and lands on the side of the bank building.

HERMAN SCHULTZ

(furiously)

You'll pay for that, Spider-Man!

Herman sends a shockwave at the building, causing chunks of masonry to fall. Spider-Man quickly webs the falling debris, trying to keep it from hitting the panicked civilians below.

SPIDER-MAN

(shouting)

Everyone, get back!

A woman and her child are trapped under a fallen piece of rubble. Spider-Man swings down, lifting the heavy debris with his enhanced strength and helping them to safety.

WOMAN

(teary-eyed)

Thank you, Spider-Man!

SPIDER-MAN

(nodding)

Get to safety. I'll handle these guys.

He swings back into the fray, narrowly dodging another shockwave from Herman. Spider-Man lands a powerful punch on Jackson, who stumbles back but manages to fire off a shockwave in retaliation. The shockwave knocks Spider-Man off balance, but he quickly recovers, flipping backward and landing gracefully.

SPIDER-MAN

(mockingly)

Is that all you got?

JACKSON BRICE

(furious)

Shut up!

Jackson fires another shockwave, but this time Spider-Man is ready. He shoots a web at the buildings around, using it to slingshot himself upward and out of the shockwave's path. He lands on a lamppost, balancing precariously as he assesses the situation.

SPIDER-MAN

(to himself)

Okay, think. How can I take these guys down without causing more damage?

JACKSON BRICE

(laughing)

Try this on for size!

The gauntlets come to life, charging up a larger sonic blast than ever before. Herman and Jackson fire a synchronized shockwave at Spider-Man, sending him crashing through a wall into a nearby building.

SPIDER-MAN

(groaning)

That... hurt.

HERMAN SCHULTZ

(yelling)

Let's get out of here, Jackson. We've got what we need.

JACKSON BRICE

(nodding)

Right behind you.

The Shockers retreat, using their gauntlets to blast through walls and make their escape. Spider-Man struggles to get back on his feet, feeling the strain of the fight.

SPIDER-MAN

(to himself)

Gotta... stop them...

He stumbles out of the building, but it's too late. Herman and Jackson are already gone, leaving behind a trail of destruction and confusion.

JEAN DEWOLFF

(arriving on scene)

Spider-Man! What happened?

SPIDER-MAN

(weakly)

They... got away. 

JEAN DEWOLFF

(grimly)

We'll get them next time. Just hang in there.

Spider-Man nods weakly as he fires a web-line and zips out of the street. 

INT. MASONTECH - DAY

Hobie is hunched over a workbench at MasonTech, meticulously working on the device designed to dampen the shockwave gauntlets. The room is filled with various tools and half-finished gadgets. The TV in the corner suddenly blares to life with a breaking news report showing the chaotic scene at the bank, where Spider-Man is battling the Shockers.

CAPTAIN STACY

(alarmed)

I should be there. Keep working on the dampener, Hobie. I'll head to the scene and see what I can do.

Hobie nods, barely glancing up as Captain Stacy rushes out the door. Determined, he continues working on the dampener, but frustration mounts as he hits a roadblock. Tools clatter to the floor, and Hobie slams his hand against the wall in exasperation.

To his surprise, the wall shifts inwards like a secret door. Hobie hesitates for a moment, then pushes the hidden door open, revealing a concealed room. Inside, he finds an array of advanced technology and scattered notes. 

INT. HIDDEN ROOM - DAY

Hobie's eyes widen as he takes in the sight. In the center of the room stands a humanoid-looking device, seemingly powered down. Intrigued, Hobie approaches the device and notices a button on its back. With a mix of curiosity and apprehension, he presses the button.

The room's lights flicker as the robot hums to life, its eyes glowing an eerie blue. Sparks dance around its joints, and a low, mechanical whirring fills the air. The robot's head tilts up slowly, its eyes locking onto Hobie with an almost sentient awareness.

The robot's servos whine softly as it takes its first step forward, its movements fluid and almost human-like. Hobie watches in shock and awe, realizing the immense technological breakthrough he's just uncovered.

VEDOMI

(mechanically)

VEDOMI system: online. How can I assist you today?

Hobie stares in awe at the technological marvel in front of him. Had Mason been hiding this the entire time?

Hobie quickly snaps out of his awe, remembering his mission. 

HOBIE BROWN

Can you help me out with this dampener for the shocker gauntlets? 

The moment Hobie mentions the word "help," VEDOMI reacts immediately. Hobie is barely able to finish the sentence when the robot stands up straight. It raises its arm, palm facing upwards, and an interactive holographic display emerges, casting a blue glow around the room.

HOBIE

(awed)

Whoa...

The holographic display is a touch screen filled with information on a multitude of different projects. Hobie hesitantly reaches out and touches the first entry.

INSERT – HOLOGRAPHIC DISPLAY

A symbol like a triangle with an eye in the center appears, labeled: MIRAGE - QB.

BACK TO SCENE

HOBIE

Mirage... what's that?

The display shifts, showing complex diagrams and schematics. Hobie quickly scrolls through, his brow furrowing with concentration. He moves to the next entry.

INSERT – HOLOGRAPHIC DISPLAY

The next entry is a set of images titled PROJECT CEREBRO . They appear to be scans of documents and blueprints involving neural chips, with the tag at the end saying for CC.

BACK TO SCENE

HOBIE

(reading)

Project Cerebro... neural science? What the heck is this?

Hobie swipes again, revealing another section titled SILICOKINESIS, which appears to be unfinished. The incomplete notes and designs only add to his confusion and concern.

HOBIE

(confused)

Silicokinesis? None of this makes any sense...

Hobie’s fingers hover over the last entry. He taps it, and the display changes to reveal detailed schematics and data on the Shocker Gauntlets. But what catches his attention is the accompanying information on the Shocker Suits.

INSERT – HOLOGRAPHIC DISPLAY

A full file on the Shocker Suits appears, detailing their design to insulate the user when using the Shocker Gauntlets. 

BACK TO SCENE

HOBIE

(startled)

Wait, we never designed these suits... 

He looks closer and sees the tag TINKERER on the file. A whirl of thoughts come to him. 

MASONTECH: The Ultimate Tinkerers. 

Tinkerers

The realization hits him hard, making him step back in shock.

HOBIE

(to himself)

Mason... Mason's been helping the Shockers this whole time. He must have staged the heist of the gauntlets.

The weight of his discovery sinks in. He swipes through the display again, seeing the extent of Mason’s work and its implications. The holographic display flickers, reminding Hobie of the urgency of the situation. Determined, he steps back up to the display.

HOBIE

We need to shut this down. VEDOMI, show me everything you have on the Shocker Gauntlets and Suits.

The robot’s display expands, providing even more detailed information. Hobie’s mind races as he processes the data, formulating a plan to counter the technology Mason has provided to the Shockers.

HOBIE

(nodding to himself)

Alright, VEDOMI. I’m going to stop the Shockers and you’re going to help me.

VEDOMI

(robotic voice)

Of course. What do you need?

With newfound determination, Hobie starts working on the dampener with the crucial data now at his fingertips. 

INT. THE WEB - LATE AFTERNOON

Harry walks into their shared warehouse, now seemingly turned into their very own secret base, glancing around the eerie, desolate space.

HARRY OSBORN

(calling out)

Hey Pete, why'd you call me here?

He steps further inside and his eyes widen as he spots Peter lying on the ground, his Spider-Man suit torn and battle-worn. Peter is without his mask, staring blankly at the ceiling.

HARRY OSBORN

(rushing over)

Peter! Are you okay?

Peter slowly sits up, wincing at the pain from his recent battle. He looks defeated, his eyes reflecting the weight of the loss.

PETER PARKER

(disheartened)

I... I couldn't beat them, Harry. The Shockers... they were too much.

Harry kneels beside Peter, his concern deepening. He tries to lift Peter's spirits with a reassuring smile.

HARRY OSBORN

Hey, it's okay. You'll get them next time. You're Peter Parker, remember? You always bounce back.

Peter shakes his head, struggling to find the strength to believe Harry's words.

PETER PARKER

(defeated)

I don't know, Harry. They were so strong... So many people were getting hurt. Someone might have died. 

A look of anger briefly crosses his face. Harry catches it, concern darting through his head. It’s not the first time Harry has wondered why Peter is doing this. Is it really to help people? Or is it penance for his uncle? 

Harry places a hand on Peter's shoulder, offering support.

HARRY OSBORN

You don't have to do it alone. You've got me. We'll figure this out together. 

Peter takes a deep breath, trying to absorb Harry's encouragement. He nods slowly, determination beginning to flicker in his eyes.

PETER PARKER

(sighing)

You're right. I can't give up now. 

Harry helps Peter to his feet, and the two share a moment of silent understanding. Peter's resolve strengthens as he looks around the warehouse, reminded of why he fights.

HARRY OSBORN

(grinning)

There you go. Now go show those Shockers what Spider-Man can really do.

Peter smiles, the fire returning to his eyes. He pulls his mask back on and adjusts his torn suit.

PETER PARKER

Thanks, Harry. I needed that.

With renewed determination, Peter swings out of the warehouse, out of sight. 

We see Harry once more looking out at the skylight that Peter left from. There’s a smile on his face but the moment Peter leaves, it falls. 

His friend is going out there, every day, every night, non-stop. Is it vengeance? 

Is it really about responsibility? He turns his head to the laptop on one of the desks. Harry didn’t realize it but a news report from The Fact Channel of the fight has been playing for some time. 

HARRY OSBORN

What is-

He sees a recording of the fight playing. The tagline underneath reads: SPIDER-MAN: HEROIC HELPER OR MALICIOUS MENACE?

Harry looks at the tagline in confusion. Menace? Pete might have fit that description when he was seven years old and hadn’t eaten in four hours but now?

He raises the volume, curious about the ongoing coverage of the fight.

REPORTER (ON TV)

The Shockers arrived at the bank earlier today, demanding money from the officials. When their demands were not met, they quickly resorted to violence, causing extensive damage to the surroundings.

The screen cuts to footage of the destruction, with shattered windows and debris littering the streets. The reporter's voice continues to narrate over the chaotic scenes.

REPORTER (ON TV)

We're now joined by a guest speaker, J. Jonah Jameson, Chief Editor of the Daily Bugle, and the writer of the now famous article, Who is the Spider-Man?

The screen switches to J. Jonah Jameson, seated in his office, looking as stern and uncompromising as ever.

J. JONAH JAMESON

(speaking firmly)

Thank you Lola. Let's get one thing straight: I did not have a true opinion on who Spider-Man truly is before today. That was the crux of my previously mentioned article and it’s what I will be talking about now. 

Spider-Man is a person who has come out of nowhere and said to our city: ‘I will protect you’. But why? Why does he want that? We already have people who protect and serve us. Good people! They were blue uniforms. They wear badges. 

Now I know what you’re thinking. Not all of the police are good people. This is completely true but we know that and when we catch them, we know who is upholding the law and who isn’t. 

With Spider-Man, we have no guarantee. Why? 

Spider-Man wears a mask. 

Do you know who else wears masks? 

Jameson pauses for dramatic effect, revelling in the spotlight he’s received. 

J. JONAH JAMESON

Robbers. Murderers. Criminals. 

A masked ‘hero’ defeats the purpose of what a hero is. 

When a real hero makes a mistake, they deal with the consequences of their actions. People like the Fantastic Four or the X-Men are perfect examples. I’ve always been on the side of mutants. Just as long as the ones parading around as heroes let us know who they are . 

Jameson pauses to take a breath, calming himself for a second. 

J. JONAH JAMESON

However, I could be wrong. Spider-Man could just be a good person trying to do the right thing and until today? I gave him the benefit of the doubt. All my opinions I have voiced on him in the past were completely bias free. Objective rather than subjective. 

Now, looking at the scene at the bank, we have more information on who Spider-Man is. 

His presence here very clearly does more harm than good. Before he showed up, the Shockers were throwing around non-lethal attacks, causing damage, yes, but nothing catastrophic. They were making noise. 

The footage shifts to the moment Spider-Man arrives on the scene, followed by the intensified chaos and destruction.

J. JONAH JAMESON (V.O.)

The moment Spider-Man entered the fray, they were no longer just making noise . Their attacks grew more focused and destructive. Look at the footage! 

The screen displays Spider-Man dodging shockwaves, buildings crumbling around him.

J. JONAH JAMESON (V.O.)

Spider-Man's involvement escalated the situation. In the eyes of some people, it wouldn't be too far of a stretch to say that he might even be in league with the Shockers or at least, have some kind of history with them. How else do you explain the sudden shift in their tactics?

The footage cuts back to Jameson, who leans forward, his eyes intense.

J. JONAH JAMESON

This so-called hero attracts chaos where he goes. It's time people stop glorifying this menace and start holding him accountable for the destruction he leaves in his wake. The first step to doing so is to take off that mask. 

Harry's eyes narrow at Jameson's words, anger bubbling up inside him. 

HARRY OSBORN

(angrily)

Menace? Seriously, Jonah?

He looks back at the skylight, where Peter had just swung out, determination now mixed with concern for his friend. 

HARRY OSBORN

(murmuring)

Why were you listening to this Peter? 

INT. MASONTECH - LATE AFTERNOON

Spider-Man swings into MasonTech, landing gracefully and spotting Hobie hard at work. He approaches, the tension of the day's events still evident in his posture.

SPIDER-MAN

Is it ready?

Hobie turns, a determined look on his face. He holds up the dampener device, ready for action, but remains tight-lipped about the other discoveries.

HOBIE BROWN

Yeah, it's ready.

He hands the device over to Spider-Man. 

HOBIE BROWN

I've been scanning for any sightings of the Shockers. If they show up, we'll know.

Spider-Man looks impressed and curious.

SPIDER-MAN

How'd you manage that?

HOBIE BROWN

(playing it off)

I just managed.

Cut to a shot of Hobie's laptop, which is downloading all the information from the VEDOMI servers onto a flash drive. The screen displays detailed notes on how to track the sonic technology, and a progress bar shows the scanning process.

INSERT – LAPTOP SCREEN

The display shows intricate diagrams and data streams, the title Tracking Sonic Technology prominently visible. The scanning process is actively underway, with lines of code and search results flashing by.

BACK TO SCENE

Spider-Man nods, accepting Hobie's explanation for now. 

The scene ends with a close-up of Hobie's laptop screen displaying a message in bold letters: MATCH FOUND.

EXT. INDUSTRIAL YARD - LATE AFTERNOON

Under the cover of night, a group of workers are busy loading high-tech containers into a heavily armored truck. The workers move with a sense of urgency and precision, each container representing valuable and sensitive equipment.

DONALD MENKEN, a stern man in a business suit, oversees the transfer, his eyes scanning the area with practiced vigilance. His presence adds an air of authority and tension to the scene.

DONALD MENKEN

(to the workers)

Be careful with those containers. Any damage, and we’ll all be answering to the big man. Understood?

WORKER 1

(nodding)

Yes, sir. We’ve got it under control.

One of the workers almost trips, but manages to steady himself, prompting a look of frustration from Menken.

DONALD MENKEN

(annoyed)

Watch your step. We can’t afford any mistakes tonight.

Security personnel are stationed around the yard, their presence reinforcing the importance of this operation. The guards are equipped with high-powered rifles and patrol the perimeter with laser focus.

GUARD 1

(to Menken)

All clear on the perimeter, sir. No signs of any disturbances.

DONALD MENKEN

Good. Stay alert. We can’t take any chances.

Four men, heavily armored and wearing so much protective gear that their faces are completely obscured, approach the truck. Their identities hidden, they move with a disciplined, almost military precision.

GUARD 2

(nodding to the armored men)

Load up. We’re on a tight schedule.

The armored men silently enter the truck, their movements synchronized and efficient. Menken watches them closely, a satisfied yet wary expression on his face.

The back doors of the truck are pushed shut, revealing the green OSCORP logo emblazoned on the rear. The logo glints in the dim light. 

WORKER 2

(secures the doors)

Doors are secure. We’re ready to roll out.

DONALD MENKEN

(nodding)

Excellent. Let’s get moving.

The truck rumbles to life, the engine's growl cutting through the night. With the security detail in place and the transfer complete, the truck rolls out of the yard. 

The scene ends with a lingering shot of the OSCORP logo, as the truck disappears around the corner. 

EXT. CITY STREETS - NIGHT

The armored truck travels down the empty city streets, its cargo safely secured. Inside the truck, the four heavily armored guards stand vigilantly, their weapons ready. The dim interior is filled with the hum of the engine and the occasional clinking of metal.

Suddenly, a loud crash echoes from the roof of the truck, startling the guards. Three of them look upwards, their eyes narrowing as they see an imprint of a person in the metal roof.

GUARD 1

What the hell is that?

The guards brace themselves, their grips tightening on their weapons. The fourth guard, however, slowly begins to lower his weapon from the ceiling.

GUARD 2

Stay sharp. This could be an ambush.

The fourth guard lets out a low chuckle. He reaches up, ripping his mask off and revealing his face to the other guards. It’s JACKSON BRICE. 

Before the other guards can react, Jackson pulls his gun on the first guard and fires a shot, hitting him in the face. The bullet shatters the goggles on the mask and exits through the back of his skull. 

The remaining two guards, shocked and confused, scramble to respond. One of them raises his weapon to fire, but Jackson moves quickly, knocking the gun out of his hands.

The guard lunges at Jackson, but Jackson deftly sidesteps, delivering a powerful punch to the guard's stomach. The guard doubles over in pain, but manages to grab Jackson's leg, pulling him down. The two grapple on the floor, each trying to gain the upper hand.

Meanwhile, the other guard fumbles to retrieve his weapon. Just as he aims at Jackson, Jackson kicks the guard he's grappling with into the other guard, causing them both to crash into the side of the truck.

JACKSON BRICE

(struggling)

You guys should have just stayed down.

With a swift movement, Jackson pulls out a knife and slashes at the guard closest to him, cutting through the cloth covering his neck. The guard lets out a cry of pain, collapsing to the ground. The last remaining guard, desperate, charges at Jackson with a roar.

Jackson meets him head-on, the two exchanging a series of brutal blows. The confined space makes it difficult to maneuver, but Jackson's ruthlessness give him the edge. He grabs the guard by the collar and headbutts him, dazing him.

JACKSON BRICE

(grinning)

Time to end this.

Jackson shoots the guard at point-blank range, the force of the blast sending the guard crashing into the wall of the truck. Jackson stands over the fallen guards, breathing heavily but victorious.

At that moment, the metal roof of the truck rips open with a screech, and HERMAN SCHULTZ in his Shocker gear drops down into the truck, a heavy bag slung over his shoulder. He lands beside Jackson and tosses the bag to the floor.

HERMAN SCHULTZ

(grimly)

We don't have much time, Jackie.

Jackson kneels and unzips the bag, revealing his Shocker equipment inside.

JACKSON BRICE

We’ve got enough.

Herman's gauntlets hum with power as he aims them at the rear door of the truck, preparing for their next move.

Jackson quickly suits up in his Shocker gear, the familiar hum of the technology filling the air. Herman watches the rear door, his gauntlets at the ready, prepared to blast it open on Jackson's signal.

Jackson adjusts his gauntlets and nods to Herman.

JACKSON BRICE

(smiling)

On three.

Herman nods, and the two prepare to execute their plan.

JACKSON BRICE

One... Two... Three!

Herman unleashes a powerful blast from his gauntlets, shattering the rear door of the truck. The doors fly open and the Shockers are immediately met with a barrage of gunfire. SUVs trailing the truck open their side windows, and guards inside open fire on the Shockers. Bullets ricochet off the pavement and the armored truck, creating a chaotic scene.

JACKSON BRICE

(shouting)

Cover me!

Jackson returns fire, his Shocker gauntlets emitting powerful blasts that send the SUVs skidding. Herman, meanwhile, scans the truck's interior, searching for the right score.

HERMAN SCHULTZ

(loudly)

Would have been helpful if the old man told us what it looked like!

Jackson continues to fend off the guards, his blasts creating a barrier between them and Herman. He ducks behind a container for cover, then pops up to unleash another volley of shockwaves at the approaching SUVs.

JACKSON BRICE

(grimacing)

Hurry up, Herman!

Herman frantically searches through the boxes, tossing aside ones that are of no interest to him. He opens a few, glancing at the contents before moving on. Jackson's fight becomes more intense as the guards start to coordinate their attacks, flanking him on both sides.

Jackson fires a concentrated shockwave at an SUV, causing it to flip over and crash into a lamppost. One of the guards manages to get close enough to fire a shot that grazes Jackson's arm, but he barely flinches, retaliating with a powerful blast that sends the guard flying.

HERMAN SCHULTZ

(urgently)

It has to be here somewhere!

Jackson delivers a spinning kick to a guard who had sneaked up on him, then uses his gauntlets to blast another guard through the side of the truck. He glances back at Herman, who is still rummaging through the boxes.

HERMAN SCHULTZ

(excitedly)

Finally!

Herman's eyes lock onto a box labeled VULTURE. He grabs it and opens it, revealing a device with straps, similar to that of a backpack.

Just as Herman reaches for the device, webs wrap around his arm, pulling him upwards through the hole he made in the ceiling. Herman struggles against the webs, but they hold firm.

SPIDER-MAN

(tauntingly)

Going somewhere, Shocker?

Spider-Man pulls Herman out of the truck, leaving Jackson to face the remaining guards alone. Jackson glances up, momentarily distracted by the appearance of Spider-Man, but quickly refocuses as the guards press their attack.

Jackson braces himself and unleashes a massive shockwave, clearing a path through the remaining guards. He then looks up through the hole in the roof, seeing Herman being dragged away by Spider-Man.

JACKSON BRICE

(frustrated)

Herman!

With the guards momentarily subdued, Jackson scrambles to grab the VULTURE device, but another webline catches Jackson’s hand and pulls him out of the truck as well. 

Outside, Spider-Man throws the Shockers into a nearby alleyway, away from the rest of the chaos. 

The two Shockers find themselves cornered in, with Spider-Man blocking the entrance.

JACKSON BRICE

(enraged)

You're gonna pay for that, bug!

Jackson launches a powerful shockwave, but Spider-Man leaps upwards out of the way, landing on a wall. The shockwave slams into the alley wall, cracking the bricks and sending debris flying.

SPIDER-MAN

Is that the best you got?

Herman responds with another shockwave, aiming higher this time, but Spider-Man flips off the wall and swings towards him with a webline. As he closes in, he delivers a flying kick to Jackson's chest, knocking him back. The force sends Jackson skidding across the ground, but he quickly recovers and fires another blast.

Spider-Man uses the narrow alley to his advantage, bouncing from wall to wall, dodging the shockwaves. He shoots webs at the ground, pulling himself into a rapid spin to avoid a particularly powerful blast. As he spins, he manages to slap a device onto Herman's right gauntlet. Herman, caught off guard, shoves Spider-Man off into the back of the alley.

HERMAN SCHULTZ

(annoyed)

Get off me!

Spider-Man rolls to his feet, narrowly avoiding another shockwave from Jackson. He takes a moment to catch his breath, his eyes darting between the two Shockers.

He shoots a web at a nearby dumpster, yanking it towards himself and using it as a shield against Jackson's next blast. The shockwave smashes into the dumpster, denting it but allowing Spider-Man to close the distance. He leaps over the dumpster, delivering a powerful kick to Jackson's face.

JACKSON BRICE

(gritting his teeth)

Bastard!

Jackson swings a gauntleted fist at Spider-Man, who ducks and counters with a series of rapid kicks to Jackson's midsection. The impact forces Jackson to stumble back, but he quickly regains his footing, firing another shockwave that Spider-Man narrowly dodges.

Meanwhile, Herman rushes at Spider-Man from the side, trying to catch him off guard. Spider-Man reacts just in time, shooting a web at Herman's feet, tripping him up and sending him crashing to the ground.

SPIDER-MAN

(grinning)

Nice try, but you'll need to be faster than that!

Herman growls in frustration, ripping the webbing off his feet and getting back up. He charges at Spider-Man again, this time more cautiously. Jackson joins in, and the two Shockers coordinate their attacks, trying to corner Spider-Man.

Spider-Man flips and twists, using his agility to stay one step ahead. He launches webs at the walls, pulling himself up and over the Shockers, landing behind them. He quickly attaches another device to Jackson's gauntlet, then leaps back to avoid their retaliatory strikes.

The Shockers, unaware of the devices, prepare a large combined blast. Spider-Man, now with a plan in mind, pulls out a detonator and hits the button. There's no explosion, but the devices short out the shock gauntlets.

Herman's gauntlets fizzle out and start sparking. He rips them off, grunting in pain from the static shock. 

HERMAN SCHULTZ

(frustrated)

What the hell?

With Jackson, it's a different story. His gauntlets are a newer model and continue to work but still spark. He starts barraging Spider-Man with a constant sonic barrage.

Spider-Man shoots webs at the walls of the alley, pulling himself up and out of the direct line of fire. Jackson adjusts his aim, but Spider-Man is already moving, using the narrow space to his advantage. He swings from side to side, dodging the blasts and getting closer to Jackson.

Spider-Man lands a kick on Jackson's chest, sending him stumbling back. Jackson recovers quickly, firing another shockwave, but Spider-Man flips over it, landing behind Jackson. He delivers a powerful punch to Jackson's back, but the armor absorbs most of the impact.

JACKSON BRICE

(grinning through the pain)

You're gonna have to hit harder than that!

Herman, now without his gauntlets, tries to tackle Spider-Man, but the web-slinger dodges, sending Herman crashing into a pile of trash cans. Spider-Man turns his attention back to Jackson, who is already preparing another barrage.

SPIDER-MAN

(thinking)

Why didn’t it work? I gotta figure out a way to take those gauntlets out for good...

Spider-Man launches a web at Jackson's gauntlets, trying to jam them. Jackson fires another shockwave, but Spider-Man ducks and rolls, the blast narrowly missing him. The webbing starts to short-circuit the gauntlets further, sparks flying as the systems overload.

Jackson roars in frustration, his gauntlets sputtering but still functional. He fires a desperate barrage of sonic blasts, but Spider-Man is already in motion, leaping and swinging around the alley. He lands a solid kick to Jackson's head, sending him sprawling.

SPIDER-MAN

(to himself)

Now for the finishing touch...

Spider-Man leaps towards Jackson, delivering a series of rapid punches and kicks. Jackson tries to fight back, but his gauntlets are malfunctioning, and his movements are sluggish. Spider-Man grabs Jackson by the arm, pulling him into a spin and throwing him against the alley wall.

Jackson slumps to the ground, dazed. Spider-Man quickly webs him up, ensuring he can't escape. He turns to Herman, who is struggling to get back to his feet.

SPIDER-MAN

(grimly)

And you're next.

Herman tries to charge at Spider-Man, but the web-slinger easily sidesteps him, delivering a powerful kick to Herman's side. Herman collapses, gasping for breath.

SPIDER-MAN

(grinning)

You guys really need to work on your teamwork.

Spider-Man moves to web up Herman but is suddenly hit from the back by another sonic barrage. Jackson, bloodied but not beaten, stands behind him. 

He lets out a yell of anger and raises the power. Spider-Man weakly raises his hands to his ears, crying out in pain. 

SPIDER-MAN

(in anguish)

Agh!

Jackson doesn’t let up. He starts to laugh, a heavy, maniacal laugh. His gauntlet sparks even more. 

JACKSON BRICE

You like that, bug? YOU LIKE THAT?

Spider-Man is weak. He can’t stand and the attack won’t stop. He raises his head by the briefest inch, an effort which takes everything from him, and sees the gauntlets. They’re destabilizing. 

SPIDER-MAN

(weakly)

Y-your gaunt-

He can’t finish. The pain, it’s too much. 

Herman sees it too. He sees the gauntlets overloading. His eyes widen in fear. 

The sonic barrage stops and so does the sparking for a brief second. Jackson looks at the gauntlets in confusion and then he realizes. 

HERMAN SHULTZ

(softly)

Jackie?

Jackson can’t respond fast enough. 

The gauntlets on Jackson's arms begin to spark uncontrollably once more, the overloaded circuits struggling to handle the surging energy. The high-pitched whine of malfunctioning electronics fills the alley, growing louder by the second. Suddenly, with a deafening crack, the right gauntlet's casing splits open in a fiery display, sending fragments of metal and wiring flying in all directions.

The left gauntlet follows suit, erupting in a fiery burst. Flames lick at Jackson's arm as the device disintegrates, the once formidable weapon now reduced to a smoldering wreck. Sparks and shrapnel rain down around him, the acrid smell of burnt circuitry and scorched metal permeating the air.

His screams are present for a second before he’s engulfed in the flame. There is nothing left except ashes and blood. 

Herman's cries of anguish fill the air, each one more intense than the last. He pounds his fists on the ground, his primal screams resonating through the night. The alley seems to close in around him. 

He turns in a rage to Spider-Man who lies weakly on the ground. 

HERMAN SHULTZ

(in anger)

This is on you! You fucking murderer!

Spider-Man lies in shock. He didn’t mean… Anyone could see the gauntlets weren’t working anymore. Why didn’t he just stop? Why didn’t he just…

Spider-Man turns to Herman and looks at his hands, now bare of material after having shed the gauntlets. Bare of anything except a small golden band. 

He turns back to the burnt corpse before him. Beneath the wreckage of the gauntlets he sees it again. A small golden circle, resting on a charred finger. 

A wedding ring. 

A pit forms in Spider-Man’s stomach. 

SPIDER-MAN

I didn’t-

Shultz lashes out, kicking Spider-Man down onto the ground. 

HERMAN SHULTZ

(seething with rage)

I can’t kill you. Not with my bare hands and the cops’ll be here sooner or later but know this. One day, I will fucking kill you bug. 

He spits out every word with contempt and Spider-Man lays there and takes it. Shultz turns around and walks. 

HERMAN SHULTZ

One day. Just you wait. 

INT. THE WEB - EVENING

Peter Parker is lying on a web hammock in The Web, watching an interview with J. Jonah Jameson on The Fact Channel. The room is dimly lit, adding to the somber atmosphere.

ON TV SCREEN

J. Jonah Jameson, his face stern and unyielding, addresses the camera with conviction. Beside him, footage of the aftermath of Jackson Brice's death plays, the scene chaotic and grim. The alleyway is charred and the remains of a body are being carried away in a body bag. A clip of them zipping up the body is seen but the contents are pixelated. Even his face didn’t escape the explosion. 

J. JONAH JAMESON

Ladies and gentlemen, this is the kind of chaos that Spider-Man leaves in his wake. The footage you're seeing is the aftermath of an incident involving Jackson Brice, one half of a criminal duo known as The Shockers. 

The footage shows emergency personnel attending to the scene, the remnants of the battle clear. Jackson Brice's body lies in the rubble, a stark reminder of the night's violence. Jameson's voice continues, filled with righteous indignation.

J. JONAH JAMESON

For weeks, we've allowed this masked vigilante to operate above the law, to make a mockery of our justice system. Look at this! Look at the destruction, the lives disrupted, and tell me that this is the work of a hero. No, this is the work of a criminal, a menace who believes himself to be above accountability.

The camera cuts to an interview with a witness, their faces marked by fear and confusion.

WITNESS 2

I heard the noise and looked out my window. It was chaos. Spider-Man was fighting those guys, but it didn't look like he was in control. People were scared.

BACK TO JAMESON

Jameson leans forward, his eyes narrowing as he speaks directly to the audience.

J. JONAH JAMESON

In the past, I’ve stated I was a little rocky on what kind of masked hero spider-man is. Well, now I've finally made up my mind about what category he should be put into—the kind that puts him behind bars. This man is a criminal and from what we can see here, an indirect killer. How many more have to die before people see the truth about Spider-Man.

BACK TO SCENE

Peter watches the broadcast in his torn-up Spider-Man suit, barely held together by webbing. His mask lays discarded on the ground. Tears stream down his face. 

Harry, sitting beside Peter, looks at his friend with concern.

PETER PARKER

(whispering)

He's right. Jameson's right.

Harry shakes his head vehemently, his voice filled with determination.

HARRY OSBORN

Don't listen to some old hack with a shitty moustache, Peter. What happened to Jackson was not your fault. It was Jackson's own mistakes. You can't control that any more than you can bring people back from the dead.

Peter's shoulders sag under the burden of his guilt. He looks away, his voice barely audible.

PETER PARKER

I became Spider-Man to stop this! To stop people from dying! It hasn't even been a year and I'm already failing.

His voice breaks. 

PETER PARKER

(softly)

I'm sorry, Uncle Ben.

Harry’s heart breaks for his best friend, the closest thing to a brother he has but he keeps himself steady. For Peter. He places a reassuring hand on Peter's shoulder, his tone gentle yet firm.

HARRY OSBORN

Peter, you aren't perfect. Nobody is. You just gotta keep improving, and maybe next time, it'll end better.

Peter looks up at Harry, his eyes searching for hope. The weight of his responsibility still hangs heavy, but Harry's words offer a glimmer of solace.

The two friends sit in silence, the glow of the TV screen casting a soft light on their faces. The world outside continues to turn, but in this moment, they find a brief respite from the relentless tide of expectations and judgment. Just two friends. Just two brothers. 

EXT. CEMETERY - 2 DAYS LATER - NIGHT

From a distance, we see a small funeral gathering. The attendees are few, their figures standing solemnly by a freshly dug grave. The sky is overcast, casting a grey pallor over the scene, as if even the heavens mourn. The scene is silent, the words spoken at the funeral inaudible to us. 

CAMERA ZOOMS OUT

We see HERMAN SCHULTZ standing behind a tree, watching the funeral from afar. His face is etched with sorrow, the weight of his grief evident in his posture. Snow falls gently around him, melting before they even hit the ground. As the ceremony concludes, the few attendees begin to leave, their heads bowed in respect. The soft rustle of leaves underfoot is the only sound that accompanies their departure.

Once everyone has left, Herman hesitates before stepping forward. His footsteps are heavy, each one a struggle against the pain that weighs him down. He approaches the tombstone, the silence of the cemetery amplifying his solitude. Kneeling in front of it, Herman’s face crumples, and he allows himself to release the pent-up anguish. Tears stream down his face, his sobs echoing in the still air.

The camera shifts to reveal the name on the tombstone: JACKSON BRICE. The simplicity of the marker stands in stark contrast to the boiling emotions within Herman. 

Herman sits in front of the tombstone, his body wracked with sobs. He reaches out a trembling hand to touch the cold stone, tracing the letters of Jackson’s name. The connection they shared, now severed by death, leaves an aching void in his heart. 

In the distance, the soft footsteps of an old man approach. PHIN MASON steps into view, his expression somber. He walks with a deliberate slowness, each step respectful of the grief he is about to intrude upon. As he reaches Herman, he gently places a hand on his shoulder, offering silent comfort in a moment of profound despair.

Herman looks up, his tear-filled eyes meeting Mason’s. The grief in his gaze is met with understanding and empathy. Phineas stands silently, sharing in the sorrow without needing words.

HERMAN SHULTZ

He didn’t deserve this. He was a good man. 

Mason scowls. 

PHIN MASON

‘Nothing ever ends poetically. It ends and we turn it into poetry. All that blood was never once beautiful. It was just red’. 

Herman looks at Mason with confusion. 

HERMAN SHULTZ

Wh-what does that mean?

PHINEAS MASON

It’s a quote by Kait Rokowski. It means you mustn’t romanticize something after it is no longer with us. Do not disrespect your husband's memory by turning him into something he wasn’t. He was a criminal. Just. Like. Us. Honor him. Do not erase him. 

Herman looks back at the grave in front of him. 

HERMAN SHULTZ

How?

PHINEAS MASON

By getting your revenge. Furthermore, I have a way. 

Herman looks up, curious. 

HERMAN SHULTZ

What way?

Mason smiles. He knows he has him now. 

PHINEAS MASON

I asked you to steal from the OSCORP transport. What I didn’t tell you was who told me to ask you. I think that it’s time you meet my employer. 

Mason gestures in front of him. Herman looks past the grave marker. In the distance, a figure stands, cloaked in the shadows of the night. 

HERMAN SHULTZ

(panicking)

I-I didn’t notice- He’s here? 

The figure steps forward. A man mountain of muscle, clad in a black trenchcoat. Adorning his finger is a blood diamond signet ring. His skin is bone white, like a skeleton given life. He is hard as marble. He is cold as ice. What else could you call him?

PHINEAS MASON

Of course he is. This is a graveyard. Where else would you find a Tombstone?

ROLL CREDITS.

Chapter Text

EXT. STARK EXPO - DAY

The scene opens on a bustling Stark Expo, decked out in festive Christmas decorations. A large stage stands at the center, with an enthusiastic ANNOUNCER in a Santa hat presenting the introduction to the annual event.

ANNOUNCER

Welcome to the annual Christmas Stark Expo! We're thrilled to showcase the latest and greatest in innovation and technology. Later on, we’ll be showcasing which three technologies are going to win this year’s expo but in the meantime, get ready to be amazed!

The camera pans across the excited crowd, capturing a diverse mix of people. Families with children, tech enthusiasts, and curious onlookers all gather to witness the marvels on display. Among the crowd, we see PETER PARKER and GWEN STACY, standing together and chatting animatedly. Nearby, a blonde photographer snaps pictures, capturing the excitement of the event.

The camera shifts to the rows of stalls lining the expo grounds, each boasting unique inventions and cutting-edge technology. The festive atmosphere is palpable, with Christmas lights twinkling and holiday music playing softly in the background.

One stall stands out with a colorful sign that reads “MasonTech”. PHINEAS MASON, the Tinkerer himself, oversees the stall, showcasing an array of gadgets and devices. HOBIE BROWN, attending to the stall, glances at Mason shiftily out of the corner of his eye but remains quiet. He picks up a small bag from behind the stall and leaves through the back. 

Nearby, another stall is run by OSCORP, featuring a display of antigravity technology. The main attraction is a sleek jetpack, which hovers effortlessly in mid-air. The OSCORP representatives demonstrate the jetpack's capabilities, floating above the ground and performing agile maneuvers, drawing an interested crowd.

As the camera continues to move through the expo, we see a variety of other stalls, each displaying inventions more marvelous than the rest. 

- Pym Technologies: Showcasing the latest in size-altering technology, with a demonstration of shrinking and enlarging objects, much to the delight of the onlookers.

- Hammer Industries: Displaying advanced weaponry and combat exoskeletons, complete with live demonstrations of their firepower. ‘All blasters set to stun’ is their motto. 

- Baxter Foundation: Featuring a stunning display of a sleek, futuristic flying car. The car hovers gracefully, performing aerial maneuvers that leave the crowd in awe.

The expo is a vibrant hub of creativity and innovation, with each stall offering a glimpse into the future of technology. As the festivities continue, the camera focuses back on Peter and Gwen, who are eagerly exploring the various exhibits

Their next stop is the Baxter Foundation stall, where a sleek, futuristic flying car hovers gracefully above the ground. 

GWEN STACY

(excitedly)

Look at that, Peter! A flying car! Can you believe it?

PETER PARKER

(grinning)

It's amazing. 

As they marvel at the flying car, Peter's superhearing picks up a conversation between some Stark employees nearby. They are standing off to the side, their expressions a mix of frustration and resignation.

EMPLOYEE 1

(sighing)

I can't believe the boss isn't here for this. 

EMPLOYEE 2

Yeah, he's off in Afghanistan doing some weapons display. Mr Hogan said he won't be back for a few more days.

Peter glances at Gwen, who is still fascinated by the flying car, then looks over to see HAPPY HOGAN, head of Stark security, talking with the employees. Happy looks stressed, clearly trying to manage the situation in Tony Stark's absence.

Peter and Gwen share a smile, then move on to the next stall. They approach the OSCORP exhibit, where a sleek jetpack hovers effortlessly, demonstrating the company's advancements in antigravity technology.

GWEN STACY

(whispering)

This is incredible, Peter! Look at how smooth it is.

PETER PARKER

(nods)

Yeah, it's amazing.

Peter silently recognizes the technology as part of the VULTURE tech he stopped the Shockers from stealing last week from the OSCORP transport. His mind races as he pieces together the connections. Just then, Gwen taps him on the shoulder.

GWEN STACY

Hey, I need to go to the bathroom really quickly. I'll find you later, okay?

PETER PARKER

(slightly distracted)

Sure, I'll be here.

Gwen heads off, leaving Peter to continue examining the exhibit. As he studies the jetpack, one of the scientists at the stall seems to recognize him.

SCIENTIST

(confused)

Richard?

Peter stops in his tracks, turning to face the scientist. He furrows his brow, recognizing the name.

PETER PARKER

I'm sorry, I'm not-

The scientist quickly apologizes, shaking his head.

SCIENTIST

Oh, I'm sorry. I thought you were someone else.

Peter gives a reassuring smile.

PETER PARKER

It's okay. I'm Peter, by the way. Richard Parker was my dad.

Peter extends his right arm to shake the scientist's hand but quickly realizes that the man is missing his right arm. He blushes and swiftly switches to his left hand.

PETER PARKER

(embarrassed)

Sorry about that.

The scientist smiles kindly and shakes Peter's hand with his left.

CURT CONNERS

It's all right. I'm Curt Conners. I knew your father. He was a good friend of mine.

Peter's eyes widen with curiosity and interest as he listens to Dr. Conners.

PETER PARKER

It's nice to meet you, Dr. Conners. I've heard a lot about your work. Your Isotope Genome Accelerator that you worked on was amazing!

Curt Conners looks at Peter with a mixture of nostalgia and sadness.

CURT CONNERS

I’m afraid I can’t take much credit for that. Your father was the real mastermind behind the project. It’s a terrible shame what happened. 

Peter smiles sadly. 

PETER PARKER

(softly)

Yeah. Ben used to tell me it was some accident at work. I never asked for the details. I just… a part of me wanted to know what happened but I never had the stomach to ask. 

Curt flinches, memories coming back to him of soldiers and mercenaries. Of Professor Warren’s betrayal, but he keeps his mouth shut. As much as he wants to say something, he knows what would happen if he told someone. 

CURT CONNERS

I’m afraid I don’t know much either.

Curt shifts uncomfortably. 

CURT CONNERS

(desperate to change the subject)

So, I assume you take after him in his passion for science then if your presence here is anything to go by?

Peter smiles, grateful for the chance to talk to someone who, despite having met just now, feels achingly familiar. This is someone who knew his dad and that makes all the difference. 

EXT. STARK EXPO - STAGE - DAY

The stage at the Stark Expo is being prepared for a special presentation. Some of the most impressive inventions are about to be given extra spotlight. The announcer steps up to the microphone, a smile on his face.

ANNOUNCER

Ladies and gentlemen, please direct your attention to the stage! It’s time for the tech showcase!

On stage, the antigrav technology from OSCORP, the Mirage Tech from MasonTech, and Pym Tech’s Pym Particles are highlighted. The crowd buzzes with anticipation, their eyes fixed on the incredible displays.

Peter stands near the front. Just then, Gwen returns, weaving through the crowd to reach him.

GWEN STACY

(excitedly)

I hope I didn't miss much!

Peter turns to her, about to respond, when suddenly, the lights shut out, plunging the entire expo into darkness. A murmur of confusion spreads through the crowd.

CROWD MEMBER 1

What's happening?

CROWD MEMBER 2

Is this part of the show?

The lights flicker back on. Before anyone can react, the SHOCKER drops down from the ceiling, his gauntlets crackling with energy. He fires sonic blasts in all directions, causing mass panic.

SHOCKER

(laughing maniacally)

No-one can say I don’t make an entrance!

The crowd erupts into screams and frantic movement as people try to escape the chaos. Peter and Gwen are separated in the commotion, pushed in opposite directions by the panicked crowd.

PETER PARKER

(shouting)

Gwen! Stay safe!

GWEN STACY

(shouting back)

Peter! Be careful!

Peter, now on his own, scans the area, his mind racing. He needs to find a way to stop the Shocker and restore order to the expo. The scene is a whirlwind of confusion and fear as the Shocker continues his rampage, leaving destruction in his wake.

Peter manages to slip away from the chaotic crowd, finding a secluded spot behind a stall. With practiced urgency, he rips off his clothes, revealing the Spider-Man suit underneath—still slightly torn from last week's fight with Shocker. He takes a deep breath and swings back into the fray.

Spider-Man swings into the now-dispersed crowd, landing on a nearby structure. It's just him and Shocker now. Shocker, noticing Spider-Man, stares at him in anger.

SHOCKER

(furious)

I wish I could kill you, but not now! I’ve got a job to do. 

Shocker uses his sonic blasts to propel himself into the air, aiming to escape. Suddenly, he's hit by a figure dressed in purple and black, mid-flight. The two of them crash into the wall, creating a thick cloud of dust.

Spider-Man watches, his senses on high alert. As the dust settles, he gets a good look at the new player. The figure is wearing a skintight suit, not dissimilar to Spider-Man's, but padded with Kevlar along most areas, leaving the joints free to move. On his forearms and hands are large, bulky mechanical claws, adding an intimidating edge to his appearance. He wears a hooded cloak over the suit, ripped at the ends, creating a jagged cape.

The new figure stands tall, his mechanical claws flexing menacingly. Spider-Man readies himself, unsure of the intentions of this unexpected ally—or perhaps, foe. Shocker, regaining his composure, glares at the new arrival.

SHOCKER

(warning)

Whoever you are, you're in for a world of hurt!

The new figure doesn't respond but launches himself at Shocker with surprising agility. Shocker fires a sonic blast, but the figure dodges, his claws slashing through the air. The clash of metal against the sonic gauntlets sends sparks flying.

The two engage in a fierce battle, the air filled with the sounds of clashing metal and sonic blasts. Shocker attempts to create distance, firing rapid blasts, but the figure is relentless, closing the gap with swift, precise movements.

SPIDER-MAN

(thinking)

Who the hell is this guy?

Spider-Man joins the fray, launching web shots to try and subdue Shocker. The three-way fight is chaotic, with Shocker trying to fend off attacks from both sides. The new figure's claws swipe at Shocker's gauntlets, causing them to spark and malfunction.

SHOCKER

(frustrated)

Get off me!

With a powerful blast, Shocker propels himself upwards, landing on the roof of the building. Spider-Man and the new figure waste no time, both launching themselves after him.

EXT. STARK EXPO ROOFTOP - DAY

The fight continues on the rooftop. Shocker, now cornered, fires a desperate barrage of sonic blasts. Spider-Man dodges skillfully, while the new figure uses his claws to deflect and parry the attacks.

Spider-Man and the new figure exchange a quick glance, an unspoken agreement to work together. They coordinate their attacks, Spider-Man launching webs to restrain Shocker while the new figure strikes with precision.

Despite their efforts, Shocker remains battle ready. He fights back with renewed ferocity, his sonic blasts creating shockwaves that shake the rooftop.

SHOCKER

(roaring)

You think you can take me down, you bastard? 

Spider-Man swings in, landing a kick on Shocker's chest, but Shocker retaliates with a powerful blast that sends Spider-Man sprawling. The new figure lunges at Shocker, his claws slashing, but Shocker deflects the blows with his gauntlets.

The rooftop battle rages on, each side refusing to give in. Shocker, realizing he's running out of time, decides to make a daring escape. He fires a massive sonic blast at the ground, creating a blinding explosion of dust and debris.

When the dust clears, Shocker is gone, having used the chaos to make his getaway. Spider-Man and the new figure stand on the rooftop, catching their breath, the silence a stark contrast to the intense battle they just fought.

SPIDER-MAN

(to the new figure)

Thanks but who are you?

The new figure doesn't respond, simply nods once before turning and leaping off the rooftop, disappearing into the city. Spider-Man watches him go, filled with questions about this mysterious ally and the events that just transpired.

EXT. STARK EXPO - MAIN AREA - DAY

Peter, now back in his civilian clothes, frantically searches the crowd for Gwen. He navigates through the lingering chaos, his eyes scanning every face. The expo grounds are still in disarray, with people milling about, trying to make sense of what happened.

GWEN STACY

(shouting)

Peter!

Peter turns to see Gwen rushing towards him. She throws her arms around him, hugging him tightly.

GWEN STACY

(breathless)

I couldn't find you earlier! I was so worried.

Peter holds her close, relieved to see she's safe.

PETER PARKER

(softly)

I'm here. I'm okay.

As they pull apart, the sound of a news broadcast catches their attention. Reporter KAT FARREL of the Daily Bugle is on the scene, microphone in hand, reporting the situation. Around them, the crowd is still buzzing with confusion and fear, fragments of conversation and panicked voices adding to the chaotic atmosphere.

KAT FARREL

(into camera)

In the midst of today's chaos, it's been confirmed that OSCORP’s antigrav technology was stolen during the fight. Authorities are blaming the Shocker, Spider-Man, and an unidentified masked vigilante who appeared on the scene.

The camera cuts to a shot of the crowd, many of whom are visibly upset and confused. The tension in the air is palpable, with people pointing fingers and exchanging heated words.

CROWD MEMBER 1

(angrily)

Jameson’s right! These so-called heroes cause more trouble than they're worth!

CROWD MEMBER 2

(defensively)

But Spider-Man saved my cousin from a fire once. He's not a criminal!

The camera focuses back on Kat Farrel. 

KAT FARREL

(on camera)

Furthermore, this mysterious figure in purple and black remains unnamed. Current authorities suspect that the three of them were in cahoots together, working to create a distraction whilst a mysterious fourth partner made off with the VULTURE tech. 

Suddenly, DR. CURT CONNERS steps into the frame, his expression determined and resolute.

CURT CONNERS

(interrupting)

That's not true! Spider-Man and the unknown vigilante had nothing to do with the theft. They were trying to stop it!

Kat Farrel looks taken aback but quickly regains her composure, determined to challenge his statement.

KAT FARREL

(skeptical)

Dr. Conners, with all due respect, how can you be so sure? We've seen them in the middle of the chaos!

CURT CONNERS

(angrily)

Because I was there! I saw them trying to protect people, not steal from them. We need to stop jumping to conclusions without knowing the full story!

KAT FARREL

(defiant)

But the evidence suggests otherwise. The antigrav tech is missing, and these vigilantes are always in the thick of things. How can we trust them?

CURT CONNERS

(frustrated)

We just need to be more logical with this. The evidence isn't complete. Just because they were there doesn't mean they were involved in the theft. They were fighting to keep people safe. You should be questioning the real criminals, not the ones trying to stop them.

The argument continues on live TV, drawing the attention of the surrounding crowd. People start murmuring and taking sides, the tension in the air escalating further. The scene becomes a heated exchange, with both Farrel and Conners passionately defending their viewpoints.

KAT FARREL

(pressing)

Dr. Conners, you have to admit that their presence raises questions. The public deserves answers!

CURT CONNERS

(resolute)

And they'll get them, but not by pointing fingers at the wrong people. We need to investigate thoroughly before making accusations. These people deserve better than to be condemned without proof.

The heated debate captivates the crowd, drawing more and more onlookers into the argument. Gwen grabs Peter's arm, her voice urgent and worried.

GWEN STACY

We should go. 

Peter nods, and they quickly make their way out of the crowd, weaving through the throng of people, leaving the heated debate behind. The tension and chaos of the expo fade into the background as they head towards a quieter area.

INT. NYPD PRECINCT - DAY

The police station is in utter chaos. Officers and staff are clamoring to find out what happened at the Stark Expo and who is responsible. Phones ring off the hook, and the cacophony of voices creates a tense, overwhelming atmosphere.

STAN CARTER

(shouting)

This is proof that we need an anti-vigilante task force! These masked lunatics are out of control!

JEAN DEWOLFF

(raising her voice)

Everyone, calm down! We need to figure out the facts before jumping to conclusions!

Amid the chaos, CAPTAIN STACY sits quietly at his desk, his face etched with worry. Gwen had gone to the expo with a friend (she didn't mention who), and he doesn't know if she's okay. He can't ask her because he's on the job, and the uncertainty gnaws at him.

Suddenly, a distorted voice cuts through the noise.

???

Enough!

Everyone goes quiet, turning to look up. Hanging from the rafters is the black-and-purple vigilante from the expo. Captain Stacy's eyes narrow; there's something familiar about him.

JEAN DEWOLFF

(wary)

Who are you?

The cloaked figure doesn't respond.

STAN CARTER

(angrily)

She asked you a question, you freak!