mikeexner3
08-12-2006, 01:20 AM
An idea I'm tinkering around with featuring Spider-Man that would probably fit the Spider-Man Unlimited anthology. Comments and crits are welcome.
*
PAGE ONE
Panel 1. A man and a woman are arguing in the living room (den) of a middle-class home. The front door of the house has three suitcases (two large, and one smaller) on the ground next to it. The man is dressed, and has on a hat and coat. He is preparing to leave. The woman is in a nightgown, and looks as though she was preparing for bed before the argument started.
Panel 2. The man has turned from the woman and is reaching for his suitcases with one hand. The other hand is waving dismissively in the direction of the woman. He isn’t looking at her. The woman is still shouting at the man.
Panel 3. The front door is open, and the man has two suitcases in his hands and another tucked under his arm. The woman has her hands clasped tightly in front of her, pressed against her breastbone, as if pleading with the man. She has a very upset expression. His is indifferent.
Panel 4. The woman has fallen to her knees near the doorway, and her face has fallen into her hands. She is extremely upset, and crying. The man is walking away from the house down the walkway leading from the front door, suitcases in hand. He isn’t looking back.
Panel 5. Pull back, and we’re looking at the same scene through a crack in a doorway from a dark room. We can only see part of the previous scene because we’re only looking at it through a small space. The rest of the panel should be black, as if we’re looking through the eyes of the person peeking in at this scene. The main thing I want to see here is the woman crying on her knees.
PAGE TWO
Panel 1. A small boy is in a darkened room watching through a crack in his doorway. What little of the room we can see in the dim light is maybe covered in Spider-Man posters, a shelf with Spider-Man toys, action figures, figurines and the like.
SPIDER-MAN (O/P):
Guy’s a real jerk, huh?
Panel 2. The boy has turned around. A shadowed figure (Spider-Man) is perched on the windowsill. The curtains attached to the boy’s window are billowing inward. All we can really see (beyond the outline of Spidey himself) are those insect-like white eyes.
TEDDY:
Wh— Who?
TEDDY:
Who’s there?
SPIDER-MAN:
It’s me, Teddy. It’s your old pal, Spider-Man. Don’t you recognize me?
Panel 3. Teddy is talking to Spider-Man. He has a look of surprise, fear and awestruck wonder on his face. Like a kid seeing a dragon for the first time.
TEDDY:
Spider-Man?
TEDDY:
What are you doing in my room? How do you know my name?
SPIDER-MAN:
Are you kidding, Teddy? Why wouldn’t I know your name? I’ve been keeping an eye on you since the day you were born.
Panel 4. Teddy is huddled near the door to his bedroom as Spider-Man hops down from the windowsill.
TEDDY:
You have? But why?
SPIDER-MAN:
Because we’re brothers, that’s why. I gotta look out for my kid brother, don’t I?
Panel 5. Teddy is scratching the back of his head in obvious confusion. Spider-Man is walking towards Teddy, and pointing a thumb at one of the Spider-Man posters hung up on the wall.
TEDDY:
We’re brothers?
SPIDER-MAN:
Of course we are. Haven’t you always felt the connection?
TEDDY:
Yeah, I guess so.
PAGE THREE
Panel 1. Spider-Man has crouched down in front of Teddy. One hand is on the shoulder of the boy, and the other is pointing at him. Teddy is scrunching up his face in disbelief.
SPIDER-MAN:
That’s because we’re blood. Your mom is my mom. I left home right before you were born to go off to college and study to be a superhero.
TEDDY:
But mom and dad have only been married for ten years. You’re way older than ten.
Panel 2. Spider-Man is pointing a thumb at his chest with pride. Teddy is scratching the back of his head in confusion again.
SPIDER-MAN:
Not that much older, but you’re right. That guy isn’t my dad. Your mom was married to my dad first.
TEDDY:
Oh. Who was your dad?
SPIDER-MAN:
Captain America.
Panel 3. Teddy’s eyes have widened, and he seems genuinely thrilled for the first time. Spider-Man is holding his palms up to Teddy in a “Stop” motion.
TEDDY:
Wow! Really?
SPIDER-MAN:
Yep. That’s how I got my powers. But you can’t tell anybody. And you can’t tell anybody I’m your brother either.
TEDDY:
Why not?
Panel 4. Spider-Man has his hands on his hips, and he’s looking earnestly (at least as earnestly as he can look in a mask) at Teddy.
SPIDER-MAN:
My enemies might try to hurt you or your mom. So we have to keep this a secret. But don’t worry. I’ll always be by your side, Teddy. I promise.
TEDDY’S MOTHER (O/P):
Teddy? Is that you?
SPIDER-MAN:
Whoops. That’s my cue.
Panel 5. Teddy’s mother is flicking on the light switch in his room.
TEDDY’S MOTHER:
I thought I heard voices.
PAGE FOUR
Panel 1. Teddy is standing in his pajamas near the open window. He has a Spider-Man action figure in his hand.
TEDDY:
I was just talking with Spidey, Mom.
TEDDY’S MOTHER:
Oh, you were, were you? You’re supposed to be in bed, young man.
Panel 2. Teddy’s mother is holding the blanket up so that Teddy can climb into bed. He still has the Spider-Man figure clutched in his hand.
TEDDY:
I know. Spidey just had a secret to tell me, so I had to stay awake. But I can’t tell you what it is because I need to protect you.
TEDDY’S MOTHER:
That’s nice. I guess we can protect each other then.
Panel 3. Teddy is lying in bed, and his mother is looking down at him kindly.
TEDDY:
Mom? Dad’s gone right?
TEDDY’S MOTHER:
Yeah, baby. Daddy’s gone away.
TEDDY:
Are you sad?
Panel 4. Teddy’s mother is smoothing her hand across his brow.
TEDDY’S MOTHER:
Yeah, sweetie. Mommy’s very sad, but I don’t want you to think that’s your fault. You make Mommy very happy.
TEDDY:
I love you, Mom.
TEDDY’S MOTHER:
I love you too. Goodnight.
Panel 5. Teddy is sleeping with his Spider-Man figurine clutched in his hands.
PAGE FIVE
Panel 1. Teddy is a high school student now. A young student, about the age Peter Parker was when he became Spider-Man. He’s sitting in a classroom with a folded paper note clutched in his hands. He’s sitting very low in his seat, with his chin tucked close to his chest.
SPIDER-MAN (O/P):
So are you going to give it to her, or what?
TEDDY:
I don’t know.
Panel 2. Spider-Man is pointing a thumb in the direction of a girl sitting in front of Teddy. She’s as cute as a button, sitting with her legs tucked under her seat, her legs crossed at the ankles.
SPIDER-MAN:
C’mon, Teddy. In all the time we’ve spent together, have I ever steered you wrong? Give her the note.
TEDDY:
But what if she says no?
SPIDER-MAN:
You’ll never know unless you try.
Panel 3. Teddy is slightly spreading his hands and looking at Spider-Man as if he’s retarded.
TEDDY:
But she won’t say no either.
TEACHER (O/P):
Mr. Reynolds.
Panel 4. Teddy is wincing as the teacher glares at him. The other students are looking at Teddy with amusement.
TEACHER:
Is there something you have to say that you’d like to share with the rest of the class?
TEDDY:
No, ma’am.
Panel 5. The teacher is pointing a thumb back behind her shoulder at the blackboard, where the words “Civil War” are printed in bold.
TEACHER:
Then perhaps you can share your knowledge of the Civil War with us instead. In what year did the Battle of Bull Run take place?
PAGE SIX
Panel 1. The teacher is looking at Teddy, and all of his classmates have turned in their seats to stare at him too.
TEACHER:
We’re all waiting, Mr. Reynolds.
Panel 2. Teddy is looking over at Spider-Man with panic in his eyes.
SPIDER-MAN:
C’mon, Teddy. You know this. We studied it together just last night.
Panel 3. Teddy is smiling faintly now as he’s turned to face forward in his seat again.
TEDDY:
There were actually two battles, Mrs. Greer. The first took place in 1861, and the second in 1862. Both battles were victories for the Confederate Army.
Panel 4. Same shot as in Panel 1, only this time the teacher and Teddy’s classmates are looking at Teddy with mouths agape.
TEACHER:
That’s—
TEACHER:
That’s correct.
Panel 5. Some of the students are smiling at Teddy, but the expression of the teacher is stern again.
TEACHER:
But I don’t want to see you daydreaming in class anymore, Theodore. You have an active imagination, but an active imagination will get you nowhere in life without discipline.
TEDDY:
Yes, ma’am.
PAGE SEVEN
Panel 1. Spider-Man is pointing a thumb at the girl sitting in front of Teddy.
SPIDER-MAN:
Way to go, Teddy. Now go for the gold.
Panel 2. Teddy is reaching forward with the note, and the girl sitting in front of him is looking back at it.
Panel 3. The girl has the note and is opening it.
Panel 4. Teddy is clutching his hands in front of his face on the desk, as the girl reads the note. The note is one of those “Will you go to the dance with me? Circle YES or NO” deals.
Panel 5. The girl has turned in her seat and is sticking her tongue out at Teddy. She’s also crumpling the note. That would be a no. Teddy is mortified.
PAGE EIGHT
Panel 1. Teddy has his head hung. Spider-Man has his head hung a little low too, but he’s peeking at Teddy.
SPIDER-MAN:
Sorry, Teddy.
TEDDY:
It’s all your fault. I told you she’d say no.
Panel 2. Teddy is looking up at Spider-Man now, and he seems a little bit more interested now.
SPIDER-MAN:
Look, did I ever tell you about the time I fought Doc Ock and he kicked my tail?
TEDDY:
No, but I read about it.
SPIDER-MAN:
I thought about quitting after that loss, yknow.
Panel 3. Now Teddy is really looking at Spider-Man. His interest is piqued. Spider-Man is slapping a fist into his open palm.
TEDDY:
Really?
SPIDER-MAN:
I really did. But somebody whose name isn’t important told me that ability isn’t enough. The important thing is to never give up. And I never forgot that. I fought Ock again, and I beat him.
TEDDY:
So what should I do?
Panel 4. A girl that sits behind Teddy is passing him a note now, and Spidey is gesturing in her direction. She hasn’t touched Teddy yet, so he’s oblivious to what’s happening.
SPIDER-MAN:
Plenty of fish in the sea. Maybe you should ask somebody else. Y’know, I think Brandy likes you.
TEDDY:
Brandy?
Panel 5. Teddy is looking down to a similar note to the one he gave the other girl, only this one is strewn with hearts and flowers and stuff (It’s girly!).
TEDDY:
Brandy.
PAGE NINE
Panel 1. Spider-Man and Teddy are sitting in a cab together. Teddy is about 25 years old now, all grown up. He’s wearing a suit, and he has an artist’s portfolio in his hands, dangling between his knees.
TEDDY:
I really want to thank you for riding with me. You didn’t have to.
SPIDER-MAN:
Are you kidding? I wouldn’t have missed this for the world. Besides, you need all the support you can get, you hack.
Panel 2. Teddy is rolling his eyes, and lightly shoving Spider-Man.
TEDDY:
Oh, ha ha. Y’know, I always wondered why your enemies got so upset whenever you joked around. I thought you were funny. But after twenty years of listening to you yap, I think I get it.
Panel 3. Spider-Man is pointing at Teddy, and Teddy is smiling at him as he holds his hands up in mock surrender.
SPIDER-MAN:
Oh, please. You love my inane banter. Admit it, or I’ll web your butt to the seat.
TEDDY:
Okay, I admit it. No need for threats, web-head.
Panel 4. Spider-Man is giving Teddy an insincere “a-okay” signal with his hands (or maybe thumbs-up?). Teddy is patting his portfolio.
SPIDER-MAN:
Wow... web-head. That’s awfully original. I hope you’ve got something better than that planned for your interview.
TEDDY:
I’ve got a few ideas I think they’ll like.
Panel 5. Spider-Man has a hand on Teddy’s shoulder.
SPIDER-MAN:
I’m really proud of you, Teddy. I don’t say it enough, but it’s true. You’ve really come a long way since your dad left.
TEDDY:
What do you mean?
PAGE TEN
Panel 1. Spider-Man has taken hold of Teddy’s tie, and he’s tugging at it lightly.
SPIDER-MAN:
Just look at you. College graduate with a degree in Creative Art, married to your high school sweetheart, and pursuing your dreams.
TEDDY:
I’ve got you to thank for Brandy. I wouldn't even have noticed her if you hadn’t pointed her out.
Panel 2. Spider-Man is nudging Teddy with his elbow.
SPIDER-MAN:
I just nudged you in the right direction, kid. You did it. And now you’re going to go into that office building and you’re going to knock their socks off.
TEDDY:
I’m sure going to try.
CABBIE (O/P):
Uh… pal?
Panel 3. The cabbie is looking back at Teddy with a look of unease. Teddy looks mildly startled.
CABBIE:
We’re here.
TEDDY:
Oh, we’re here. That’s great.
Panel 4. The cabbie is still looking cautiously at Teddy, but Teddy is shoving money toward the cabbie with a bemused, apologetic expression on his face.
CABBIE:
The fare is sixteen bucks, but if you don’t got it--
TEDDY:
No, here you go. Here’s a twenty, and keep the change.
Panel 5. Teddy is outside the cab now, and he’s pointing to the sky, slightly looking upward too.
And sorry about the conversation in there. I talk to my brother. He’s… y’know.
CABBIE:
Oh, right. Well, good luck on your interview with Marvel.
TEDDY:
Thanks.
PAGE ELEVEN
SPLASH Panel. Teddy is walking away from the cab towards the McGraw-Hill building. There are people outside walking past, to, and from the building as well. High above, Spider-Man is swinging by.
TEDDY:
I have a feeling I’ll do just fine.
*
*
PAGE ONE
Panel 1. A man and a woman are arguing in the living room (den) of a middle-class home. The front door of the house has three suitcases (two large, and one smaller) on the ground next to it. The man is dressed, and has on a hat and coat. He is preparing to leave. The woman is in a nightgown, and looks as though she was preparing for bed before the argument started.
Panel 2. The man has turned from the woman and is reaching for his suitcases with one hand. The other hand is waving dismissively in the direction of the woman. He isn’t looking at her. The woman is still shouting at the man.
Panel 3. The front door is open, and the man has two suitcases in his hands and another tucked under his arm. The woman has her hands clasped tightly in front of her, pressed against her breastbone, as if pleading with the man. She has a very upset expression. His is indifferent.
Panel 4. The woman has fallen to her knees near the doorway, and her face has fallen into her hands. She is extremely upset, and crying. The man is walking away from the house down the walkway leading from the front door, suitcases in hand. He isn’t looking back.
Panel 5. Pull back, and we’re looking at the same scene through a crack in a doorway from a dark room. We can only see part of the previous scene because we’re only looking at it through a small space. The rest of the panel should be black, as if we’re looking through the eyes of the person peeking in at this scene. The main thing I want to see here is the woman crying on her knees.
PAGE TWO
Panel 1. A small boy is in a darkened room watching through a crack in his doorway. What little of the room we can see in the dim light is maybe covered in Spider-Man posters, a shelf with Spider-Man toys, action figures, figurines and the like.
SPIDER-MAN (O/P):
Guy’s a real jerk, huh?
Panel 2. The boy has turned around. A shadowed figure (Spider-Man) is perched on the windowsill. The curtains attached to the boy’s window are billowing inward. All we can really see (beyond the outline of Spidey himself) are those insect-like white eyes.
TEDDY:
Wh— Who?
TEDDY:
Who’s there?
SPIDER-MAN:
It’s me, Teddy. It’s your old pal, Spider-Man. Don’t you recognize me?
Panel 3. Teddy is talking to Spider-Man. He has a look of surprise, fear and awestruck wonder on his face. Like a kid seeing a dragon for the first time.
TEDDY:
Spider-Man?
TEDDY:
What are you doing in my room? How do you know my name?
SPIDER-MAN:
Are you kidding, Teddy? Why wouldn’t I know your name? I’ve been keeping an eye on you since the day you were born.
Panel 4. Teddy is huddled near the door to his bedroom as Spider-Man hops down from the windowsill.
TEDDY:
You have? But why?
SPIDER-MAN:
Because we’re brothers, that’s why. I gotta look out for my kid brother, don’t I?
Panel 5. Teddy is scratching the back of his head in obvious confusion. Spider-Man is walking towards Teddy, and pointing a thumb at one of the Spider-Man posters hung up on the wall.
TEDDY:
We’re brothers?
SPIDER-MAN:
Of course we are. Haven’t you always felt the connection?
TEDDY:
Yeah, I guess so.
PAGE THREE
Panel 1. Spider-Man has crouched down in front of Teddy. One hand is on the shoulder of the boy, and the other is pointing at him. Teddy is scrunching up his face in disbelief.
SPIDER-MAN:
That’s because we’re blood. Your mom is my mom. I left home right before you were born to go off to college and study to be a superhero.
TEDDY:
But mom and dad have only been married for ten years. You’re way older than ten.
Panel 2. Spider-Man is pointing a thumb at his chest with pride. Teddy is scratching the back of his head in confusion again.
SPIDER-MAN:
Not that much older, but you’re right. That guy isn’t my dad. Your mom was married to my dad first.
TEDDY:
Oh. Who was your dad?
SPIDER-MAN:
Captain America.
Panel 3. Teddy’s eyes have widened, and he seems genuinely thrilled for the first time. Spider-Man is holding his palms up to Teddy in a “Stop” motion.
TEDDY:
Wow! Really?
SPIDER-MAN:
Yep. That’s how I got my powers. But you can’t tell anybody. And you can’t tell anybody I’m your brother either.
TEDDY:
Why not?
Panel 4. Spider-Man has his hands on his hips, and he’s looking earnestly (at least as earnestly as he can look in a mask) at Teddy.
SPIDER-MAN:
My enemies might try to hurt you or your mom. So we have to keep this a secret. But don’t worry. I’ll always be by your side, Teddy. I promise.
TEDDY’S MOTHER (O/P):
Teddy? Is that you?
SPIDER-MAN:
Whoops. That’s my cue.
Panel 5. Teddy’s mother is flicking on the light switch in his room.
TEDDY’S MOTHER:
I thought I heard voices.
PAGE FOUR
Panel 1. Teddy is standing in his pajamas near the open window. He has a Spider-Man action figure in his hand.
TEDDY:
I was just talking with Spidey, Mom.
TEDDY’S MOTHER:
Oh, you were, were you? You’re supposed to be in bed, young man.
Panel 2. Teddy’s mother is holding the blanket up so that Teddy can climb into bed. He still has the Spider-Man figure clutched in his hand.
TEDDY:
I know. Spidey just had a secret to tell me, so I had to stay awake. But I can’t tell you what it is because I need to protect you.
TEDDY’S MOTHER:
That’s nice. I guess we can protect each other then.
Panel 3. Teddy is lying in bed, and his mother is looking down at him kindly.
TEDDY:
Mom? Dad’s gone right?
TEDDY’S MOTHER:
Yeah, baby. Daddy’s gone away.
TEDDY:
Are you sad?
Panel 4. Teddy’s mother is smoothing her hand across his brow.
TEDDY’S MOTHER:
Yeah, sweetie. Mommy’s very sad, but I don’t want you to think that’s your fault. You make Mommy very happy.
TEDDY:
I love you, Mom.
TEDDY’S MOTHER:
I love you too. Goodnight.
Panel 5. Teddy is sleeping with his Spider-Man figurine clutched in his hands.
PAGE FIVE
Panel 1. Teddy is a high school student now. A young student, about the age Peter Parker was when he became Spider-Man. He’s sitting in a classroom with a folded paper note clutched in his hands. He’s sitting very low in his seat, with his chin tucked close to his chest.
SPIDER-MAN (O/P):
So are you going to give it to her, or what?
TEDDY:
I don’t know.
Panel 2. Spider-Man is pointing a thumb in the direction of a girl sitting in front of Teddy. She’s as cute as a button, sitting with her legs tucked under her seat, her legs crossed at the ankles.
SPIDER-MAN:
C’mon, Teddy. In all the time we’ve spent together, have I ever steered you wrong? Give her the note.
TEDDY:
But what if she says no?
SPIDER-MAN:
You’ll never know unless you try.
Panel 3. Teddy is slightly spreading his hands and looking at Spider-Man as if he’s retarded.
TEDDY:
But she won’t say no either.
TEACHER (O/P):
Mr. Reynolds.
Panel 4. Teddy is wincing as the teacher glares at him. The other students are looking at Teddy with amusement.
TEACHER:
Is there something you have to say that you’d like to share with the rest of the class?
TEDDY:
No, ma’am.
Panel 5. The teacher is pointing a thumb back behind her shoulder at the blackboard, where the words “Civil War” are printed in bold.
TEACHER:
Then perhaps you can share your knowledge of the Civil War with us instead. In what year did the Battle of Bull Run take place?
PAGE SIX
Panel 1. The teacher is looking at Teddy, and all of his classmates have turned in their seats to stare at him too.
TEACHER:
We’re all waiting, Mr. Reynolds.
Panel 2. Teddy is looking over at Spider-Man with panic in his eyes.
SPIDER-MAN:
C’mon, Teddy. You know this. We studied it together just last night.
Panel 3. Teddy is smiling faintly now as he’s turned to face forward in his seat again.
TEDDY:
There were actually two battles, Mrs. Greer. The first took place in 1861, and the second in 1862. Both battles were victories for the Confederate Army.
Panel 4. Same shot as in Panel 1, only this time the teacher and Teddy’s classmates are looking at Teddy with mouths agape.
TEACHER:
That’s—
TEACHER:
That’s correct.
Panel 5. Some of the students are smiling at Teddy, but the expression of the teacher is stern again.
TEACHER:
But I don’t want to see you daydreaming in class anymore, Theodore. You have an active imagination, but an active imagination will get you nowhere in life without discipline.
TEDDY:
Yes, ma’am.
PAGE SEVEN
Panel 1. Spider-Man is pointing a thumb at the girl sitting in front of Teddy.
SPIDER-MAN:
Way to go, Teddy. Now go for the gold.
Panel 2. Teddy is reaching forward with the note, and the girl sitting in front of him is looking back at it.
Panel 3. The girl has the note and is opening it.
Panel 4. Teddy is clutching his hands in front of his face on the desk, as the girl reads the note. The note is one of those “Will you go to the dance with me? Circle YES or NO” deals.
Panel 5. The girl has turned in her seat and is sticking her tongue out at Teddy. She’s also crumpling the note. That would be a no. Teddy is mortified.
PAGE EIGHT
Panel 1. Teddy has his head hung. Spider-Man has his head hung a little low too, but he’s peeking at Teddy.
SPIDER-MAN:
Sorry, Teddy.
TEDDY:
It’s all your fault. I told you she’d say no.
Panel 2. Teddy is looking up at Spider-Man now, and he seems a little bit more interested now.
SPIDER-MAN:
Look, did I ever tell you about the time I fought Doc Ock and he kicked my tail?
TEDDY:
No, but I read about it.
SPIDER-MAN:
I thought about quitting after that loss, yknow.
Panel 3. Now Teddy is really looking at Spider-Man. His interest is piqued. Spider-Man is slapping a fist into his open palm.
TEDDY:
Really?
SPIDER-MAN:
I really did. But somebody whose name isn’t important told me that ability isn’t enough. The important thing is to never give up. And I never forgot that. I fought Ock again, and I beat him.
TEDDY:
So what should I do?
Panel 4. A girl that sits behind Teddy is passing him a note now, and Spidey is gesturing in her direction. She hasn’t touched Teddy yet, so he’s oblivious to what’s happening.
SPIDER-MAN:
Plenty of fish in the sea. Maybe you should ask somebody else. Y’know, I think Brandy likes you.
TEDDY:
Brandy?
Panel 5. Teddy is looking down to a similar note to the one he gave the other girl, only this one is strewn with hearts and flowers and stuff (It’s girly!).
TEDDY:
Brandy.
PAGE NINE
Panel 1. Spider-Man and Teddy are sitting in a cab together. Teddy is about 25 years old now, all grown up. He’s wearing a suit, and he has an artist’s portfolio in his hands, dangling between his knees.
TEDDY:
I really want to thank you for riding with me. You didn’t have to.
SPIDER-MAN:
Are you kidding? I wouldn’t have missed this for the world. Besides, you need all the support you can get, you hack.
Panel 2. Teddy is rolling his eyes, and lightly shoving Spider-Man.
TEDDY:
Oh, ha ha. Y’know, I always wondered why your enemies got so upset whenever you joked around. I thought you were funny. But after twenty years of listening to you yap, I think I get it.
Panel 3. Spider-Man is pointing at Teddy, and Teddy is smiling at him as he holds his hands up in mock surrender.
SPIDER-MAN:
Oh, please. You love my inane banter. Admit it, or I’ll web your butt to the seat.
TEDDY:
Okay, I admit it. No need for threats, web-head.
Panel 4. Spider-Man is giving Teddy an insincere “a-okay” signal with his hands (or maybe thumbs-up?). Teddy is patting his portfolio.
SPIDER-MAN:
Wow... web-head. That’s awfully original. I hope you’ve got something better than that planned for your interview.
TEDDY:
I’ve got a few ideas I think they’ll like.
Panel 5. Spider-Man has a hand on Teddy’s shoulder.
SPIDER-MAN:
I’m really proud of you, Teddy. I don’t say it enough, but it’s true. You’ve really come a long way since your dad left.
TEDDY:
What do you mean?
PAGE TEN
Panel 1. Spider-Man has taken hold of Teddy’s tie, and he’s tugging at it lightly.
SPIDER-MAN:
Just look at you. College graduate with a degree in Creative Art, married to your high school sweetheart, and pursuing your dreams.
TEDDY:
I’ve got you to thank for Brandy. I wouldn't even have noticed her if you hadn’t pointed her out.
Panel 2. Spider-Man is nudging Teddy with his elbow.
SPIDER-MAN:
I just nudged you in the right direction, kid. You did it. And now you’re going to go into that office building and you’re going to knock their socks off.
TEDDY:
I’m sure going to try.
CABBIE (O/P):
Uh… pal?
Panel 3. The cabbie is looking back at Teddy with a look of unease. Teddy looks mildly startled.
CABBIE:
We’re here.
TEDDY:
Oh, we’re here. That’s great.
Panel 4. The cabbie is still looking cautiously at Teddy, but Teddy is shoving money toward the cabbie with a bemused, apologetic expression on his face.
CABBIE:
The fare is sixteen bucks, but if you don’t got it--
TEDDY:
No, here you go. Here’s a twenty, and keep the change.
Panel 5. Teddy is outside the cab now, and he’s pointing to the sky, slightly looking upward too.
And sorry about the conversation in there. I talk to my brother. He’s… y’know.
CABBIE:
Oh, right. Well, good luck on your interview with Marvel.
TEDDY:
Thanks.
PAGE ELEVEN
SPLASH Panel. Teddy is walking away from the cab towards the McGraw-Hill building. There are people outside walking past, to, and from the building as well. High above, Spider-Man is swinging by.
TEDDY:
I have a feeling I’ll do just fine.
*