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Amazing Spider-Man Amazing Spider-Man Episode 1 (S1-E1) “Transformations, Literal and Otherwise” Based on the character created by Stan Lee Based on the comic book written by J. Michael Straczynski Screenplay adapted by Taylor Spearman Exterior—Night—Manhattan, New York City Open with a large establishing shot looking out over New York City. It is late at night and the lights of the city shine brightly and beautifully in the night. The camera sits and takes the shot in for several seconds. CUT TO: Exterior—Night—Peter’s Neighborhood, Manhattan The camera cuts to a small neighborhood somewhere in Manhattan. The camera focuses on a set of apartment buildings lined up next to each other on the street. The camera starts to slowly move in on one of the buildings, focusing in on a window high up on the building. As the camera moves in closer and closer, we hear a phone ringing off- screen. SFX: RIIIIINNNNGG. RIIIIIINNNGG. As the phone continues ringing, there is a click as the answering machine picks up. SFX: CLICK Peter: (OS) (Answering machine) Hi, this is Peter. I’m still settling into my new digs, so I’m either working, out foraging for good, or trapped under debris. Leave a message and I’ll get back to you when the dust clears. The answering machine beeps as the outgoing message comes to an end. SFX: BEEEEEP CUT TO: Interior—Night—Living Room, Peter Parker’s Apartment Inside the apartment of Peter Parker, the lights are dark. Moving boxes are scattered about as he has not finished unpacking. Several boxes are piled next to the bookcase that sits next to the window. The window itself has a sheet covering it due to the lack of shades. Sitting in the center of the living room is a small glass coffee table. On the coffee table sits the telephone and answering machine. Also, next to the phone, is a mask as well as two gloves, each belonging to Spider-Man. Over the answering machine is heard the sweet elderly voice of Peter’s Aunt May. Aunt May: OS) (Answering machine) Peter, this is your Aunt May. I know you’re going through a lot right now, with Mary Jane leaving, and the move, and…well, I just wanted to see if you were okay. From off-screen, we see a hand reach out and grab the gloves off of the table. CLOSE-UP: An unseen figure is seen slowly sliding the Spider-Man gloves onto his arms. His face is not seen, all that is seen are his arms. Aunt May: (OS) I know I shouldn’t be worried. And I’m not, really. That’s the thing about you, Peter. You’ve always had an inner strength. A will that has gotten you through so much difficulty in your life. This one, too, will pass. The camera moves behind the figure that, due to the darkness of the room, is yet to be fully revealed to us yet. The figure stands, in a full Spider-Man costume save the mask. The figure reaches out and picks the off the table, pulling it on over his head. Aunt May: (OS) Meanwhile, if you need to talk, you know where to find me. Goodnight, Peter. I’ll talk to you in the morning. SFX: BEEEEEEEEP The figure stands at the coffee table, looking down at the answering machine with his back towards the camera. Peter: (VO) She’s a good woman. I sometimes think there isn’t a sonar in existence that can sound out the depth of her compassion. But right now, that isn’t what I need. What I need… Exterior—Night—Manhattan The camera rises up through the sky quickly, scaling alongside a tall building in the heart of Manhattan. Peter: (VO) Is to get away and up and out. Camera reaches the top of the building. We are allowed our first full shot of Spider-Man as he stands on the edge of the rooftop. On his back is a pack made of webbing. Spider-Man leaps from the edge of the rooftop and dive bombs through the air towards the street below. He flattens his body to increase speed. Peter: (VO) Just…out. I don’t even care where I go. Just want to…go. Spider-Man suddenly pulls up and shoots a line of web from his wrist and swings away quickly. Spider-Man starts to swing with skill and style through the city heading towards the Washington Bridge. Peter: (VO) And I’m not gonna stop until I get tired. Spider-Man swings through the wires holding up the bridge with efficient grace and speed. He swings up and circles around to land on top of the beam holding the wires. Peter: (VO) Unfortunately, it takes a real long time for me to get tired. Spider-Man holds out both wrists and fires two web lines that he uses to pull towards the nearest building. Spider-Man lands on the building and runs across it with speed without slowing down. He leaps up onto a ledge and swings away to the next building. Peter: (VO) By that time I could be in New Jersey. The camera pulls back to an extreme wide shot of New York City, where Spider-Man can be seen as a small figure swinging in the distance. Peter: (VO) And I don’t even know anybody in New Jersey… Exterior—Day—Manhattan Spider-Man has been swinging all night. The sun is rising in the background. Peter: (VO) And here’s another thing. Cut to a large building that has been completely abandoned. Most of the windows have been broken in. A large sign at the top of the building reads: SCHEDULED FOR DEMOLITION SQUATTERS WILL BE PROSECUTRED. Spider-Man lands on the rooftop of the building. Peter: (VO) When I designed this suit, why the heck didn’t I design it with pockets? Anything I carry, I gotta carry it in a web-pouch. The Fantastic Four have pockets in their uniforms. Reed Richards’ alone are huge. But that’s because he has to carry trans-dimensional megadoodads and whirlydoos in them. Or maybe he’s just really happy to see Sue. Spider-Man crawls over the edge of the rooftop. He crawls down the side of the building before standing up and walking. Peter: (VO) ‘Course, if I had pockets, stuff would fall out of them every time I did this. Okay, so maybe I could have pockets with zippers. Maybe Velcro. Yeah, that’d work…I’d be creeping up behind somebody and have to get something out…ZZZZZZZZZZZZZZZZIP! Interior—Day—Condemned Building Spider-Man enters the building through one of the many broken windows. He breaks off more of the glass so as to not cut himself. Peter: (VO) “What’s that smear on the wall, Mommy?” “That used to be Spider- Man, honey.” “What killed him?” “A zipper. Some said Velcro but the Daily Bugle said it was a zipper and I believe the Bugle.” “Wow, he musta been real stupid, huh?” “Yes, honey, he was.” Spider-Man walks across the ceiling of a large room in the building that is falling apart. Peter: (VO) And why the heck am I thinking about pockets anyway? Because it’s easier than thinking about my life lately? Spider-Man holds his fist up and clenches it so tight with anger that it shakes. Peter: (VO) And why should that bother you, Peter? CUT TO: Outside the building, the camera focuses on a portion of the wall of the building. Peter: (VO) Oh, no reason. Spider-Man’s fist suddenly breaks through the stone wall of the building straight to the outside. MONTAGE: A montage is show of Spider-Man destroying the inside of the building, releasing his pent up anger. Several quick actions are seen: Spider-Man slamming his fists into the roof of the room, destroying the roof, slamming his fists into the walls, breaking the support beams throughout the room, etc. Peter: (VO) Everything’s fine. Everything’s just plain ducky. Except that whenever I’m really bugged about something and I really need to go pound a bad guy there’s never a bad guy around. But whenever I’m in a really good moon—yeah, like that happens more than twice a year— there’s always four or five bad guys, or a Sinister Six, or seven, or nineteen waiting to bust my chops and ruin my day and… Spider-Man takes one of the broken support beams and uses it as a bat to tear through the wall of the room. Peter: (VO) (Amused) …Bugged. Spider-Man. Heh. I made a funny. Spider-Man stops for a second and holds the beam on his shoulder. He looks around the room as a loud rumbling is heard. Peter: (VO) (Nervous) Errrmmm… Spider-Man slowly turns around. The entire building is starting to collapse around him due to his actions. Peter: (VO) Maybe I’d better go now. Exterior—Day—Condemned Building Outside, the demolition team of Rocco Demo has arrived to tear down the building. They are gathered just outside the fence surrounding the condemned building. Rocco, the foreman of the team, stands with a lit cigar in mouth, a hardhat on his head, and a clipboard in his hand. As Rocco yells instructions to the other workers, nobody sees Spider-Man swing out of one of the windows. Rocco: (Yelling) ALL RIGHT, GET THAT CRANE OVER HERE, WE GOT SIX HOURS TO TEAR THIS PLACE TO— Rocco is interrupted by the loud rumbling coming from the building behind him.
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