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. Rocco slowly turns around as the building starts to collapse in on itself.
Rocco stands in silence as the building completely collapses, leaving nothing standing behind except a giant cloud of smoke.
Rocco turns back towards his men and removes the cigar from his mouth.
Rocco: (Yelling) OKAY, LUNCH!
Exterior—Day—Midtown
(Peter Parker is a male in his mid-20s. He is handsome, but not overtly good looking. He is skinny but still has a strong muscular build. He has short brown hair.) Peter walks with his hands in his pocket towards a small diner called 4- STAR DINER.
Peter: (VO) I decide I need something to eat. So I pick a place pretty much by instinct. I’m not thinking about it.
Interior—Day—4-Star Diner
Peter walks through the front door of the diner, walking past a row of booths. At one of the booths is a group of high-school students eating an enjoying their day.
Peter: (VO) And maybe that’s why I ended up there. I wasn’t thinking. I was feeling.
As Peter passes the booth, it changes to a black-and-white flashback memory from Peter’s childhood:
A much younger Peter (skinny, frail, and wearing glasses) is trying to eat a burger with his friend Gwen while a group of bullies (Flash Thompson and Harry Osborn) are picking on Peter.
Peter: (VO) For some of the most important years of my life, this part of town was my home. Annoying as that sometimes was.
Young Flash: Hey, Parker! You gonna actually eat that burger? It’s got more gristle in it than you do!
Young Harry: (laughing) Haw-haw!
Gwen: You guys are such jerks.
Exterior—Day—Midtown
Peter walks out of the diner with a burger in hand and a drink in the other. He slowly eats his food as he instinctively merges with a large group of students heading in one direction.
Peter: (VO) The first few years I came to this school, I was the same as everybody else.
As Peter walks past a large group of students standing next to the school wall, the background changes to a black-and-white flashback. Standing amongst the students is a much younger and loser-like Peter.
Peter: (VO) Just one more high school student trying not to be noticed, not to look weird, worried that he’d never fit in.
Peter stops in front of the main steps leading to the entrance of the school. He looks around and takes in his surroundings as student after student move past him to get to class.
Peter: (VO) Then one day, a spider-bite made sure I was noticed. And that I would never fit in anywhere, ever again. Some things haven’t changed.
Camera pulls out wide for an establishing shot of the entire building of PS 108. The school is on its last leg, falling apart. The paint is peeling off and the walls are covered in graffiti.
Peter: (VO) But this place sure has.
Bully 1: (OS) Hey! Watch where you’re walking!
Peter looks over and sees a trio of thuggish bullies throwing the books of a nerdy kid to the ground and pushing him around.
Bully 2: Yeah, watch it, jerkface! (Uses foot to push nerdy kid to the ground)
The nerdy kid falls to the ground. He tries and scrambles to gather up all his fallen books and papers in his arms.
Nerdy Kid: (Frightened) Look, just…cut it out, okay? I didn’t do anything to you.
Bully 3: Yeah, but we’re going to do something to you, you stupid—
Peter: (OS) I wouldn’t advise that, guys. The trio of bullies turns around to see Peter standing behind them. Not intimidated, they immediately get up in Peter’s face.
Bully 2: That so? What’re you gonna do about it?
Bully 1: Yeah, you’re not a teacher, you’re not a cop, you can’t do squat, mister… you even touch me and I’ll yell for the cops and they’ll haul your sorry ass to jail, buddy, so just take off, okay?!
The trio turns away from Peter and walk into the open doors of the school building as the bell rings.
Bully 3: Jerk!
Bully 1: See you later, Joey, when your big Brother ain’t there to protect you.
Peter kneels down and picks up a few books for the nerdy kid (Joey).
Peter: You okay?
Joey stands up quickly with his books clutched close to his chest as he angrily snatches his papers from Peter.
Joey: No, I’m not okay…cause now they’re just gonna get me twice as bad later —and I hate them, my life sucks and you made everything worse and I gotta get to class…
Joey turns away from Peter and heads inside. He lowers his head as he prepares himself for another hard day. Peter watches, feeling sad for the young man.
Peter: I…I mean…I’m sorry. I—
Man: (OS) I saw what happened there, buddy.
Peter turns his head and sees the a man, African-American with graying hair, standing in a brown jacket walking up to him. Kyle: Kyle Jacoby, I teach gym here. Look, I understand your feelings, but it won’t do the kid any good to try and help him like that. I tell ‘em all the same thing. The only way to get by is to stand on your own two feet. Nobody gives anybody a free ride.
Peter: Isn’t it kinda hard to stand on your own two feet when somebody kicks them out from under you?
Kyle places his hand on Peter’s shoulder.
Kyle: Buddy, there’s always somebody trying to kick your feet out from under you. You just gotta kick first. Joey’s gotta learn that for himself. Evolve or die, y’know?
Kyle gently pats Peter’s shoulder and heads off into the building.
Kyle: Especially in a dump like this. It was quite a place once. But things change, you know?
Kyle shuts the door behind him, leaving Peter outside on the school steps by himself.
Peter: (VO) He’s right. Some things change. But some things never change. Unless somebody makes them change.
Exterior—Night—Manhattan
Late at night. Spider-Man hangs upside down from the ledge of a building. He has massive amounts of webbing hanging from him, making him look like a spider creature.
Peter: (VO) Now, I’m not saying I’m the kind of guy who carries a grudge. Far be it for me to ever carry a grudge.
Down on the street below, the trio of bullies from earlier are seen surrounding a parked car on the street, attempting to break in.
Peter: (VO) But I figure, you hang out long enough, you watch some people, oh, I dunno, randomly…and sonovagun, an opportunity presents itself for the universe to balance things out. As somebody once said, chance favors the prepared mind.
One of the bullies takes out a small metal bar and uses it to try and unlock the car door so that they can get it.
Bully 3: C’mon man, we ain’t got all day.
Bully 1: Just a sec. I almost got it—
The bully stops as he sees the reflection of Spider-Man in the car window.
The three bullies slowly turn around to see Spider-Man, covered in his webbing, hanging just in front of them.
Spider-Man: Boo.
The three bullies all scream at once and run down the street in fear of Spider-Man.
Bully 2: (Screamig) AAAAAGGGGHHHHH!
Bully 1: Slow down! I can’t keep up!
Spider-Man chuckles to himself, satisfied with his actions, as he slowly pulls himself back up towards the ledge.
Peter: (VO) That’s one small step for a spider, one giant leap for geek-kind…
Voice: (OS) I suppose you’re feeling rather proud of yourself right now.
Spider-Man looks over and sees a strange sight. An older man (at least in his late 50s) wearing a blue suit with no shoes, sits crouched against the side of the wall…just like Spider-Man does.
Ezekiel: Understandable. I would, too. Even if it is a waste of a nice night. And your talent. (Pause) Peter.
FREEZE FRAME
Peter: (VO) For a moment, I’m too stunned to talk. It isn’t just that he snuck behind hem, and with my spider-sense that’s not possible. It isn’t even that he called me Peter, which means he knows who I am and this could screw up my entire life.
Close tight shot on Spider-Man’s face.
Peter: (VO) It’s that he’s sticking to the wall same as me.
Close tight shot on Ezekiel’s face. He smiles.
Ezekiel: I know what you’re thinking.
Ezekiel reaches up with his hands and grabs the ledge of the rooftop.
Ezekiel: Well, metaphorically, anyway.
Ezekiel pulls him self up into a flip and lands in a perfect crouch on the rooftop ledge.
Ezekiel: Am I a friend, or an enemy?
Spider-Man: Hey!
Ezekiel leaps high into the air and arches into a flip. He lands on the rooftop.
Ezekiel: Just a second. Let me get my shoes on. I hate walking around barefoot.
Ezekiel grabs a pair of shoes. He leaps back into the air like a frog and slide his shoes on mid-air.
Peter: (VO) He’s at least twice my age, but he’s fast. Impossibly fast. As fast as I am.
Spider-Man follows after Ezekiel, trying his best to keep up with the old man as they leap across the rooftops of the city.
Spider-Man: Who are you?
Ezekiel: I was about to ask you the same question.
Spider-Man: But you just said—
Ezekiel: Oh, I know you’re Peter Parker, but that’s not who you are.
Ezekiel leaps across the gaps between buildings and lands on top of a water-tank and crouches there.
Spider-Man lands and crouches on the ledge of the rooftop across from the water-tank.
Spider-Man: Look, Buddy, I’m not saying you’re right or wrong, but do you mind not announcing that so loud?
Ezekiel: (Apologetically) Right. Secret identity and all that. Sometimes I forget.
Spider-Man: Now who the hell are—
Ezekiel: My name is Ezekiel. And I have a question for you.
Ezekiel sits up in his crouch and looks across the gap at Spider-Man.
Ezekiel: Do you know why people use the expression, “As dangerous as giving a loaded gun to a small child?” It’s not because the child is especially malicious, or because he wants to knock over a bank. It is because the child does not comprehend the power he holds in his hands. (Pause) And neither do you. Ezekiel flips quickly and lands on in a handstand, smiling at Spider-Man.
Ezekiel: Let’s romp some more. I haven’t done this in years.
Ezekiel leaps off the water tower and begins to parkour across the city rooftops again.
Spider-Man follows after Ezekiel, always staying a few yards behind the entire way.
Peter: (VO) I keep after him, determined not to let him get away…playing it quiet, to find out what he’s after. It’s strange, though…when he said my name my gut tightened into something cold and scared, and yet…
Ezekiel reaches the corner ledge of a rooftop, where a gargoyle statue rests. He swings around the gargoyle like a monkey, his joy apparent on his face.
Peter: (VO) And yet I sense nothing evil in him. He seems almost…joyful.
Ezekiel lands on the side of a large hotel skyscraper and starts to scale up the side of the building. As he does, he looks back at Spider-Man as the hero approaches.
Ezekiel: Let me ask you a question, Pe—er, Spider-Man. And don’t lie. I’ll know if you lie. How did you get your powers?
Spider-Man: (Hesitant) I…
Spider-Man lands on the side of the building and looks up as Ezekiel is scaling towards the top.
Peter: (VO) He knows who I am. There’s no end of damage he could do with that information. I have to play along. And it’s not like he can do anything with the information.
Spider-Man: I was bitten by a radioactive spider.
Ezekiel: (OS) AHA!
Ezekiel reaches the top of the building and stands on the small square rooftop as the wind blows around him. Spider-Man reaches the top as well and stays on the side of the building.
Ezekiel: That’s what I thought. That explains why you’ve handled it this way. Now here’s another question for you.
Spider-Man: Look, I’ve just about had it with—
Ezekiel: No, wait, you’ll like this one, trust me.
(PULL OUT TO A WIDE SHOT OF THE MASSIVE BUILDING TOWERING IN THE SKY WITH EZEKIEL STANDING ON TOP AND SPIDER-MAN HANGING FROM THE SIDE)
Ezekiel: Did you perform an autopsy on the spider?
Spider-Man: No. It got pretty much smashed.
Ezekiel: Had you ever seen the spider before?
Spider-Man: No. Now look…
(CLOSE SHOT ON EZEKIEL AS HE STANDS ON THE ROOFTOP)
Ezekiel: There are three steps in knowledge. There’s what we think, what we know, and what we can prove. You think you got your powers from a radioactive spider-bite, and you may believe you know it to be true, but can you prove it?
Spider-Man holds out his arms wide as way to indicate himself.
Spider-Man: You think I got these powers and this suit at the bottom of a box of Crackerjacks? It happened right after I got bit. Ezekiel: (OS) You’re still missing the point.
(CLOSE SHOT ON EZEKIEL)
Ezekiel: This is the point. This is the five million dollar question. I’m about to yank your chain like nobody else ever has before, and nobody ever will again. So listen carefully. Did the radiation enable the spider to give you these powers? Or was the spider trying to give you those powers before the radiation killed it? Which came first? The radiation? Or the power? The chicken or the gag? Or the power?
Spider-Man is absolutely stunned and taken aback from this sudden revelation.
Spider-Man: (Shocked) I…
Peter: (VO) The question hits me like a punch in the stomach. All these years, and I had never considered that possibility. I’d never even thought about it. I’d just assumed. I…
Ezekiel smiles as he is satisfied with Spider-Man’s reaction.
Ezekiel: And that’s a good start for tonight. Take care of yourself, P. I’ll be in touch.
Ezekiel jumps off the building and disappears out of the camera’s sight.
Spider-Man: HEY! Stop! Wait, I—
Spider-Man leaps up onto the rooftop of the building to try and catch Ezekiel, but he has disappeared.
Peter: (VO) And he’s gone. Nobody pulls a fast fade like that. Nobody but me.
Spider-Man stands on the rooftop and looks around and searches for Ezekiel.
Spider-Man: (Calling) Who are you? Why are you coming to me with all this now? What do you want from me?
The camera spans across the area around Spider-Man with no sign of Ezekiel.
Ezekiel: (OS) (Calling from distance) I came now because now is the right time. Because you need to understand. Because understanding is the only thing that may help you survive what’s coming. And that’s an awfully big may, P.
Spider-Man starts to crawl down the side of the building. He contemplates everything that just happened.
Peter: (VO) And then he was gone. Just…gone. As I start the long walk home, I realize why he didn’t feel like trouble. I realize that he reminds me of my Uncle Ben.
Exterior—Night—Shipping Docks
(CAMERA SETS UP AN ESTABLISHING SHOT)
Several warehouses line the coastline of the shipping docks late this night. Sitting in the water at the dock leading to the administration building is an old ship modeled in an older-style.
Peter: (VO) But I’ve been fooled before. And used before. Also manipulated, strung along, taken advantage of, mind-messed and unwillingly adopted by wackos like Norman Osborn. I don’t trust anyone, anymore. I’d like to. Lord knows I’d like to. I just can’t. That’s all. I just…can’t. Every time I try…
The camera starts to slowly lower and move in on the administration building.
Peter: (VO) I end up waiting for the other shoe to drop, for the monster to come out from behind the smiling mask. And as much as I’d love to be wrong, it’s almost always there, just waiting to peek out.
Administrator: (OS) Which will cover the money needed to dock your boat. Plus maintenance fees, and— Interior—Night—Administration Building, Docks
The administrator of the shipping docks is a middle-aged overweight man with a moustache and smoking a cigarette. He sits behind the desk while drinking a cup of coffee. Standing across the desk from him is a tall and extremely skinny young man by the name of Dex. Dex wears a black coat over a white shirt and black pants. His hair is black and short and has a goatee.
Dex takes out a large amount of cash and holds it out for the administrator to see.
Dex: We won’t require maintenance. Just access to the pier. Will this cover it?
Administrator: (Intrigued by money) I…ummm…yes, yes, that should do it. But there’s still the matter of a customs inspection. You know, make sure you’re not bringing any illegal goods into the country. Of course, they can’t come by and inspect your vessel until they know it’s here…and we can either slow down the paperwork or accelerate it…
Dex takes out another stack of bills and adds it to the one in his hand. He holds it out to the administrator.
Dex: Yes, of course. Will this cover it?
The administrator takes the money from Dex and starts to count through it.
Administrator: That’ll do just fine. Thanks. There’s an abandoned repair housing you can move the ship into, you know, keep it out of the weather. An old ship like that, you gotta take care of it. You know what they say, out of sight, out of mind. Heck, I’ll forget about it for ages if I don’t see it.
Dex: (Uninterested) Thanks.
Dex turns and opens the door to the building to leave.
Administrator: My pleasure. Good doing business with you, Mister…?
Dex stops for a second and turns his head back. Dex: Dex. Just…Dex.
Exterior—Night—Old Ship
Dex walks back onboard the ship, which is old and raggedy, and walks over to a nearby staircase that leads into the lower parts of the ship.
Exterior—Night—Lower Deck, Old Ship
Dex holds the rail for support as he makes his way down the stairs into the lower deck of the ship. As he approaches the bottom of the stairs, an old withered hand reaches out from the shadows and grips a nearby support beam.
Voice: (Old) (Weak) Is it…is it done…?
Dex: Yes, Morlun. It’s all set. We can move to cover as soon as the wind picks up.
Morlun: (Old) (Weak) Good…good…
Morlun emerges from the shadows. He is an old withered man who needs to hold the beam to support. He has long pure white hair, his eyes blood red. He wears all black.
Morlun: Time then….to use up…the last of the supplies…
Exterior—Night—Old Ship
On the main deck of the old ship, Dex leads Morlun over to a large wooden door set in the deck of the ship. He grabs a hold of the rope and pulls the door open. Inside is a set of stairs leading into a small dungeon- like chamber, where a figure is seen inside.
A young German man sits against the wall inside the chamber. He wears chains and shackles around his wrists that connect him to the wall. He looks up in terror as the shadow of Morlun falls over him.
German Man: (Terrified) No…nein, bitte…I can…ich kanne…I have no more to give… please…ich habe…I have no more…
Morlun: (OS) Yes…you do…now I must…take it. End this…agony…for you.
As Morlun’s shadow grows closer and closer, the German backs away against the wall, but it is no use.
German Man: (Screaming) PLEEEAAIIIEEEE…
Dex looks away, unable to watch what happens in the chamber. After a few moments, the screaming stops.
Morlun: (OS) (Stronger) It is done.
Morlun stands over the withered husk that was once the German man. A purple energy surrounds Morlun as his body heals himself. His hair grows back more and blackens, his frail body grows stronger and heals itself.
Morlun: It is over, Dex. Do not mourn. Really, who ever heard of a German super hero, anyway?
Morlun turns towards Dex as he finishes replenishing himself so that he is now young, handsome and stronger. His eyes are still blood red.
Morlun: You know where we are to be berthed?
Dex: Yes.
Morlun: Then I will take us the rest of the way. It will be good to see the lights of the city again after so long. Then we will go into the city, and we will eat, and drink.
Morlun walks up the stairs and joins Dex. The camera lowers down and focuses on the still-smoking husk left behind. The camera pans to the right, where a torn newspaper article from the Daily Bugle lies next to it. The picture on the article is of Spider-Man.
Morlun: (OS) Then tomorrow…tomorrow, we go in search of his replacement.