Spider-Man: Crawl Space #7 - Spider-Man Black Part 5

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Spider-Man: Crawl Space #7 - Spider-Man Black Part 5

Post by Kevin Cushing » Thu Oct 29, 2009 10:20 pm

Previous Issue: Spider-Man: Crawl Space #6 - Spider-Man Black Part 4


Spider-Man: Crawl Space #7
“Spider-Man Black Part 5 – Goblins Fill My Skies”
By Kevin Cushing
Covers 1 and 2 by Enigma_2099 and Brandon DP
Cover 3 by Hambone and Brandon DP

Previously in Spider-Man: Crawl Space – Following the shooting death of Aunt May, Peter and Mary Jane Parker were able to reverse their deal with Mephisto and restore the timeline with one exception – the public unmasking never took place. Only those that found out Spider-Man’s identity in another way know who he is. The couple were warned of a price for this reversal – two people besides themselves would remember everything. One of these was Harry Osborn who, unbeknownst to the world, rose from the grave merely a year after his death. He has returned now in secret, killing Norman Osborn and crowning himself the Goblin King. Since his return he has been tracking his half-brother, Gabriel Stacy aka the Grey Goblin, to cleanse the Osborn bloodline. He has also called his half-sister, Sarah Stacy, to the United States under the guise of a superior within Interpol with information about her brother Gabe.

The second person to remember the altered past is the Black Spider, a shadowy villain who ordered Aunt May’s death, the destruction of the Daily Bugle, and has only recently lost Gabe Stacy from his employ upon the return of Gabe’s memories. The Black Spider paid a surprise visit to Oscorp, willed to Peter Parker after Norman Osborn’s death, to reveal his identity to Peter. He is Simon Parker, brother of Spider-Man. He was born in Algeria while Richard and Mary Parker were on their last undercover mission within the Red Skull’s organization. After the Parkers were found out and killed, Simon was raised by the Red Skull’s henchmen and groomed to one day infiltrate the United States by using Peter. Simon, however, proved an unexpected prodigy at reading even the tiniest of facial expressions and formed a perceived bond with Peter through years of photographs, not knowing the two were brothers. But after telling Peter all this, Simon and his mysterious black clad associate surprised Peter and kidnapped him from Oscorp…


Panel 1: Full page. Ext. Night. Against a black sky full of lightning we see, from below, the Black Spider standing on top of the bridge holding Mary Jane over the edge by the neck. We can also see the back of Spider-Man’s head in the bottom of the page looking up, but with a skewed perspective because everything is large enough to see clearly.
It had to come to this, Peter!
If you’d saved me, you could have saved her!
But you’ve never protected your family!
Why didn’t you save your brother, son?


Panel 1: The background is solid black. We see Spider-Man, having just spun around, with Richard Parker’s hand on his shoulder. Richard looks sad.
Why didn’t you save your brother?
I – I didn’t even know he existed!

Panel 2: Now Uncle Ben stands beside Richard, facing Spider-Man.
What kind of excuse is that for a Parker?
With great power must also come great responsibility.
And what greater responsibility is there than family?

Panel 3: Aunt May now stands beside Uncle Ben and Richard. Peter stands in the middle of the three, facing them, with his mask now gone. He’s surprised to see May there.
Oh but dear, he’s never saved his family.

Panel 4: Now Ben Reilly stands beside May, wearing his Spider-Man costume except for the mask.
The only one he’s managed to keep alive is the beautiful redhead he gets to go to bed with every night.
Why is that, Pete?

Panel 5: Peter has whirled around again. The others are gone, but Gwen Stacy stands on the other side of him now, facing him.
And those that love you always stay dead.

Panel 6: Peter has whirled back around, facing Harry on his other side. Gwen has disappeared.
While those that hate you keep coming back.
And Peter –


Panel 1: Close on Harry’s face, smiling evil in the blackness.
I do not love you.

Panel 2: Peter is still facing the same direction, but Harry is gone. Behind him we see a man standing in a Green Goblin costume, with his head in shadow.
After all –

Panel 3: Peter has turned around to face him, and the face has been revealed as Norman Osborn. He stands there perfectly still, emotionless.
- is there any part of you that believes you won’t see me again?

Panel 4: Peter just stands there stunned and staring as Norman’s face has faded into shadow again.

Panel 5: Peter stands in the same place in the blackness alone.
“I wonder what he’s dreaming in there.”


Panel 1: Int. The Black Spider’s new cave. We see simply a cave room with a table in the center of it, on top of which Peter Parker is strapped. He wears his Spider-Man costume, but without the mask. There are tubes coming out of his arms leading to an elaborate machine sitting beside him. There are also leads on his head going to a second, smaller machine above him. Beside that machine stands the black-clad man, totally calm about everything. Simon sits straddling Peter’s torso, studying his face. He is also in costume but without a mask. Simon seems excited.
That I do not know. I merely sent his brain into a dream state and stimulated the centers of his brain that experience guilt. Beyond that, the images are his own.
Oh it’s so much sweeter than just that.
He’s experiencing guilt, loss, failure, terror. A whole bevy of what tears at his soul!

Panel 2: Closer on Simon and Peter’s faces, as Simon leans down closer to him, talking directly to him even though he can’t hear.
And all this guilt, all this loss, all this that’s been pulling you under for so long – it’s all because of Spider-Man.
But no more!
I’m going to free you, brother.

Panel 3: Simon leaps off of the table to stand beside it.
I’m going to make you the man you always should have been!

Panel 4: Simon turns to the black-clad man.
How long?
The transfusion should be ready within the hour.

Panel 5: Simon throws up his arms with glee.

Panel 6: Small panel of Simon whispering in Peter’s ear.
You’ll see, brother. I’ll make a much better Spider-Man.


Panel 1: Int. The Black Spider’s old cave. The Grey Goblin is inside, having completely trashed the place looking for any clue to where the Black Spider went. His glider sits in the entrance.
Where is he?! Where the hell is he?!

Panel 2: He is hopping on his glider to leave, angrily.
I’ll find you!

Panel 3: Ext. Night. From behind a dark shoulder we see the Grey Goblin emerging on his glider from the cave mouth, flying upward. He has a shocked look on his face.
No Gabriel -

Panel 4: Largest panel on the page. In the air, we see the Goblin King standing on his glider with the broadsword he used to behead Norman in one hand and another sword in the other.
I found you.


Panel 1: Int. The Black Spider’s new cave. Simon stands over Peter as if trying to sell him his pitch, even though he isn’t awake.
You’ve seen nothing but tragedy as Spider-Man, Peter. Because it wasn’t meant for you.

Panel 2: Simon turns away, pontificating with his arms wide.
Fate took a wrong turn when I got stranded in Algeria.
That’s why Uncle Ben died.
That’s why Gwen Stacy died.
And Captain Stacy, and Jean DeWolff, and Ned Leeds, and Harry Osborn.
Aunt May’s died at least twice.
And let’s not even talk about the whole Ben Reilly fiasco.

Panel 3: He’s turned back toward Peter, impassioned, gesturing to himself.
If I’d been Spider-Man, none of that would have happened!

Panel 4: He’s pounding his finger into Peter’s chest, accusing.
You’re not willing to do what’s necessary.

Panel 5: Now he’s walking around the table, ranting.
If you’d killed Norman Osborn, Gwen would be alive.
If you’d killed Doctor Octopus, her father would be alive.
Think of all the lives that would have been saved if you’d killed Carnage!

Panel 6: Close on Simon’s face. Happy, in a sort of crazy way.
Your reign as Spider-Man is over, brother.
It’s my time now.


Panel 1: Ext. Night. Outside and above the old cave. The Goblin King (Harry) and the Grey Goblin (Gabe) are close, face to face, each with a sword in hand clashing in between them.
Who are you?

Panel 2: Harry is kicking Gabe in the chest, forcing him and his glider back.
I’m the Goblin King.

Panel 3: Harry is flying past Gabe, slashing him in the side with his sword.
I’m the one who says if you get to join this family.

Panel 4: Harry flies back around the other side, beating Gabe in the back of the head with the butt of the sword.
You don’t.

Panel 5: Close on Harry, chest up, having come back around to face Gabe with a fireball in his hand, smiling.
I’m the one who killed your father.


Panel 1: Gabe stands stunned on his glider.
Pete-- Norman?

Panel 2: Gabe has leapt up from his glider, letting the fireball pass between his feet and the glider.

Panel 3: Gabe, back on the glider, is flying fast at Harry, sword out at his side, dodging fireballs flying all around him.
You killed Norman Osborn?

Panels 4-7: Four small, close shots of Gabe and Harry crossing swords, neither man with the upper hand, intensity on both faces.


Panel 1: The gliders, pulled back from each other a bit, are circling each other. Both men’s swords are still ready, their faces spoiling for a fight.
Why kill Norman?

Panel 2: Close on Harry, screaming, justifying himself.
To save him!
To save him from mistakes like you!

Panel 3: Back to Gabe, throwing three pumpkin bombs.
Who are you that you think you know me?!

Panel 4: Small panel, close up on Harry’s face, smirking through the mask.
I told you –

Panel 5: Largest panel on the page. Full body shot of Harry. He has one hand extended out in front of him, and there’s a small wall of fire coming out from it. It is just large enough that all three pumpkin bombs (coming right at his torso) are caught by the fire and explode before they can reach him.
I’m the Goblin King.


Panel 1: Int. The Black Spider’s new cave. Simon is walking around his unconscious brother, ranting.
Think of it!
My life has hardened me into a man of action, but you? You were meant to be a family man.

Panel 2: Simon is leaning into Peter as if making his case.
With me as Spider-Man, out there doing what needs to be done, you’ll have more time with Mary Jane.
You can start a family, Peter. Hold a real job. Give her the things she’s always wanted.

Panel 3: Simon’s popped up, excited and gesturing with his arms.
And we can be a family, the three of us!
MJ will love me for this!

Panel 4: Simon has a peaceful smile on his face, dreaming of the future.
I’ll come home after a hard day of crime fighting, you’ll come home after a day of doing whatever you want to do, and MJ will have a hot meal ready for the both of us.
We’ll sit and talk as brothers, each of us being the only one in the world that truly understands the other.

Panel 5: Simon leans his hands on the table.
And all you have to do for this idyllic life is give me your powers.


Panel 1: Int. The Parkers’ hotel room. MJ is rooting through a suitcase of Peter’s. Everything from on top is strewn across the bed, and she has a false bottom open.
Ok, Peter, I’ve respected your privacy about as much as I can.
If you’re not going to come home or call –

Panel 2: MJ has a paper in her hand she’s just taken from the compartment in the suitcase.
- then I have the right to go through your “secret” cell phone bill.

Panel 3: MJ is sitting on the bed (amidst the strewn about clothes) with the bill in one hand and her cell phone in the other.
Always thought Spider-Man having a cell phone was sort of dumb until now.

Panel 4: Tiny panel of MJ’s finger hitting the “call” button.

Panel 5: MJ has the phone to her ear, listening to an outgoing message.
This is Logan. If you’re a telemarketer, know one thing: I have adamantium claws. Otherwise, leave a message.


Panel 1: Tiny panel of MJ’s finger hitting the “call” button.

Panel 2: MJ listening again.
Hi, this is Captain America. Leave a message. Unless you work for the Red Skull, Hydra, AIM, or RAID, in which case please visit me in person. I’d love to meet ya.

Panel 3: Same as 1.

Panel 4: Same as 2.
This is Bob Reynolds’ cell phone. Please do not leave any messages for the Void. I don’t know why that keeps happening…

Panel 5: Small panel of the phone in MJ’s hand ringing.

Panel 6: MJ talking on the phone.
This is Logan, I just got a call from this number with no message. You a telemarketer?
No, Logan, this is Mary Jane Parker, I’m –
Heeeey toots. Been awhile. What’re you wearin’ right - ?

Panel 7: Tiny panel of MJ’s finger hitting the “End” button.

Panel 8: Same as 1.

Panel 9: MJ talking on the phone again.
Who is this?
This is Mary Jane Parker, I’m calling because I saw this number on my husband’s –
What’s wrong?
Um, I just haven’t seen him in a few days and I’m –
Peter Parker’s gone missing?
Yeah, I don’t know where –
Hello - ?

Panel 10: Pulling back shot of MJ sitting there staring at the phone in her hand.
Well, that was illuminating…

Panel 11: Same as 1.

Panel 12: Further away shot of MJ with the phone to her ear.


Panel 1: Int. The Black Spider’s new cave. Still walking around the table ranting.
I know we’re going to have some things to talk about. I imagine Aunt May and the Bugle will be sticking points.

Panel 2: Closer on Simon, talking as slick as a used car salesman.
But you have to understand, Peter, I know you.
If I didn’t clear the board, you’d never move on.

Panel 3: Walking while talking again, gesturing with his hands.
If I didn’t destroy the Bugle, you’d keep going back to that place for the rest of your life.
You’re older now. You need to think about a career to provide for your family.

Panel 4: Facing Peter, talking seriously directly to him.
But I didn’t kill anyone. I knew you’d save them.
My hope is it’ll take them long enough to pick up the pieces that we’ll already be well on our way in our new life.
I did it so you can become the man you’re supposed to be.

Panel 5: Leaning on the table, head hanging.
I didn’t want to kill Aunt May. I went back and forth on it.
But when I realized that it was the key to breaking you out of that farce you were living, well there was no other way.
It had to be done.

Panel 6: The shot is pulled back a bit; Simon has his hand on Peter’s head.
But I am sorry for how much it hurt you, brother.


Panel 1: Int. Carlie Cooper’s modest apartment. Carlie is sitting on her couch (we see the light from her TV on her) talking on her cell phone. Over the back of her couch we can see a little kitchen area where the apartment door is on the left side (our left).
Sorry, MJ, I haven’t seen him.
If he pops up at any crime scenes, I’ll let ya know.
No! No, I didn’t mean like he’s the subject of the crime scene! Like if I’m at a crime scene doing my thing and I see him walk by I’ll yell “Hey Pete! Call your wife!” Ya know?

Panel 2: The same.
Oh yeah, workin’ real hard tonight. It’s a mess. Crime scene to crime scene (I’m sure Peter’s not laying in any chalk).
Yeah, haven’t had two seconds to breathe all night.
Oh! Gotta go! Good luck, MJ!
(Seriously, forget I said anything about crime scenes, I’m sure he’s just out with somebody…not like a woman, though…hello?)

Panel 3: Carlie is running from her couch to her door, clicking “End” on her cell phone. She’s scolding herself as she runs.
“Oh yeah, best friend, I’m sure your husband’s just getting shot or going out with another woman. Nothing to worry about.”

Panel 4: Carlie is opening the door, and we can see Flash standing there with a rented DVD in one hand and a carton of ice cream in the other. Carlie is happy to see him, but he looks a little nervous.
Oh hey, what are you doing here?

Panel 5: Flash is standing at the door, somewhat awkwardly trying to make his case.
Uh, well, I haven’t actually heard from you since our dinner, and –
Oh, crap, I’m being rude, come in!

Panel 6: Flash is walking into the little kitchen area just inside the door as Carlie is behind him closing it. Our view is from over her couch, where we see a half-eaten bowl of popcorn and the light of the TV still hitting hit. Flash is looking at this living room scene, his eyebrow raised.
Yeah, sorry about not calling back, I’ve been really busy.
Yeah, I can see that.


Panel 1: Past the couch now, we’re just looking at the kitchen they’re standing in. They’ve turned to each other.
Look –

Panel 2: They both laugh at the themselves.

Panel 3: Flash is making his case again as Carlie nervously bites her finger.
Look, I really like you, but I get that you’re kind of uncomfortable with the big romance and fancy dinners thing.
Feel free to slap me if I’m way off base, but you seem like you want a boyfriend[, not a suitor.

Panel 4: Flash is holding out the ice cream and DVD, presenting them.
So I figured I’d rent a movie and pick up some ice cream and we could just spend an evening together on the couch, and if I’m really lucky your head might end up on my shoulder.

Panel 5: Beat panel. Flash is looking very worried about what response he’s going to get, and Carlie is standing there with her finger to her chin, considering.

Panel 6: Same.
What movie?
His Girl Friday.

Panel 7: Carlie has leapt at him, with her arms wrapped around his neck and her legs wrapped around his waist. He is smiling, holding out his arms so he doesn’t drop the DVD and ice cream.
Thank you.


Panel 1: Ext. Night. Small panel, extreme close up on a purple-gloved fist flying through the air.

Panel 2: We see the Goblin King catching the Grey Goblin’s fist effortlessly before it can make contact with his face. They’re still on their gliders in the air, with swords in their other hands.
You can’t beat me, Gabriel.

Panel 3: Close on the two hands as Harry still has hold of Gabe’s fist, not letting go. But now Harry’s hand is on fire, burning Gabe’s.
Our father gave me powers far beyond what he gave you.

Panel 4: Gabe is recoiling, tearing his hand from Harry’s grasp in pain. Harry now has a fireball formed in his hand.
GABE (burst):

Panel 5: Gabe, still reeling from the pain to his hand, is being hit square in the middle by Harry’s fireball. He is being knocked from his glider and dropping his sword. Harry is still in a throwing position, having just released the fireball.

Panel 6: Gabe is falling to the ground, having been totally knocked from his glider, and Harry is flying down after him, sword ready.


Panel 1: Small, close panel of Gabe hitting the ground hard.

Panel 2: Gabe is crumpled on the ground, with his back to a rock wall. Harry is stepping off his glider, with the tip of his sword already poking under Gabe’s chin. With his other hand he is removing his mask.
Do you really not know who I am by now?

Panel 3: Harry is knelt down in front of Gabe, who is barely conscious from his injuries. Harry holds the sword with the edge of the blade to Gabe’s neck. They are face to face with Harry’s mask fully off.
I’m Harry Osborn!
I’m your half-brother!
Wh-who? N-never…heard of you.

Panel 4: Tiny panel of Gabe’s hand. He’s pretending it’s limp to his side, but we see his middle finger reaching down to press a button in the palm.

Panel 5: Harry is screaming at Gabe, but we can see Gabe’s glider coming up slowly behind him.
What do you mean you’ve never heard of me?!
HARRY (burst):


Panel 1: Gabe has reached up and grabbed Harry by the back of the neck with one hand, and he has the other in his face shooting a sparkle blast from his glove point-blank.
HARRY (burst):

Panel 2: With Harry on the ground clutching his face in pain, Gabe is literally diving onto his glider.

Panel 3: Harry is still on the ground, an angry look on his face, looking through squinted eyes as Gabe flies away, lying across his glider to make his escape.
A $&%^*#! sparkle blast?!

Panel 4: Harry is standing up, grabbing his sword from the ground.
Run away, little brother. You’ll be back.

Panel 5: Smaller panel of Harry pulling his mask back on.

Panel 6: Close on the Goblin King’s face, smiling.
Time to pay a visit to sister.


Panel 1: Int. An Interpol office in New York. Sarah Stacy is sitting on the outside of an agent’s desk. The agent sits behind his desk with an open file in his hand.
I’m sorry, Agent Stacy, we have no record of your brother following his escape from the mental institution he was placed in under a John Doe. Same info you’ve got.

Panel 2: Sarah is getting angry, pounding her finger on the desk as she speaks.
No, no, Agent DeMatteis said - !

Panel 3: The agent is leaning forward, interrupting Sarah.
Ma’am , I’m sorry, have you not been keeping up with the agency incident reports?
Agent DeMatteis is dead. Burned crispy in his own office.

Panel 4: Sarah is confused, trying to grapple with the thought.
What – what are you talking about, he called and –

Panel 5: The agent is interrupting her again.
Agent Stacy. Take a look at the situation. I’m afraid you’ve been deceived.

Panel 6: Sarah is back to anger, pointing her finger assuredly.
Fine. I’m going back to Paris, and I’m going to get to the bottom of this.


Panel 1: Int. The Black Spider’s new cave. Close on the black-clad man and his machine. From a tank near the bottom he is removing a vial of blood.
SIMON (off panel):
I intended to kill Norman Osborn for you, but someone decided to make my job easier.

Panel 2: We see the man behind Peter’s head, placing the vial in his robes with one hand and removing the leads from Peter’s forehead with the other.
SIMON (op):
I’m going to take them all down, Peter.

Panel 3: Wider shot, so we can see Simon facing away from Peter and the man, a little off from the table, still smiling and ranting. The man is quietly removing Peter’s restraints.
Not just for the world, though it will save a lot of lives that would have been lost if you’d remained Spider-Man.

Panel 4: The man is standing behind Peter’s head again, leaning down to whisper in his ear. Peter’s eyes have begun opening.
Listen carefully. Your blood has been siphoned out of you and replaced with normal blood.
I’m going to get rid of them for you, so you can live a happy, quiet life without worrying about a new vendetta[/b[ every week.

Panel 5: The same, but closer on the man and Peter. Peter’s eyes are near fully open now.
Your brother thinks this will remove your powers permanently, but he does not know as much as he thinks he does.
No more Venom! No more Doctor Octopus! No more Goblins and symbiotes and Kravens!


Panel 1: Same, but Peter is now fully alert, listening to the man.
You are without your powers for the moment, but they will slowly return to you.
The important thing is, he doesn’t have them either.
In my city, the criminals will be gone and the people will stay in line.

Panel 2: The man is backing into shadow in the corner where there is an unseen doorway for him to escape through. It will look like he’s simply disappearing into blackness.

Panel 3: We see Simon from the front, and behind him we see an angry Peter rising from the table. Simon is now, for the first time, simply talking to himself.
And to think, the first one I beat was you.

Panel 4: Same shot, but Peter is fully upright now, and very, very angry.
After all this time, I brought down Spider-Man.

Panel 5: Same, but now Peter is speaking and Simon has a look of utter shock on his face.
You may have gotten rid of Spider-Man, Simon, but you forgot about one thing –


Panel 1: Full page. Full body shot of Peter with fists raised, obviously ready to beat the living hell out of Simon.
- Peter Parker.

NEXT ISSUE: Spider-Man vs. The Black Spider! The Goblin King meets Sarah Stacy! The identity of the phone voice Peter talked to back in part 1 and MJ heard from this issue! Finally, it’s the conclusion of Spider-Man Black!

*This issue’s soundtrack: “The Pretender” by the Foo Fighters. I’ve been a little obsessed with them lately, and they definitely helped get me through this issue. The Pretender is not only an energetic song that gets me going and one their five best songs, but it’s a title that can definitely describe Simon Parker!


And don’t forget to stop by the discussion thread and let me know what you thought!

Continue to: Spider-Man: Crawl Space #8 - Spider-Man Black Part 6
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"The ground quakes and the heavens cry tears of blood when Kevin gives out his brand of Crawlspace justice. Babies cry, grown men avert their eyes, women pass out and even the wind gives pause. Kevin’s eyes glow and lightning crackles around them. It’s pretty epic and definitely not for the timid." - Michael Bailey


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