Spider-Man: Crawl Space #8 - Spider-Man Black Part 6

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Spider-Man: Crawl Space #8 - Spider-Man Black Part 6

Post by Kevin Cushing » Mon Mar 15, 2010 8:50 pm

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


Spider-Man: Crawl Space #8
“Spider-Man Black Conclusion: Fade to Green”
By Kevin Cushing
Black Spider cover by Bat Hilliard and Brandon DP
Mary Jane cover by Daniel Maynor 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. Harry and Gabe had a bloody clash ending in Gabe fleeing to save his own life. Harry 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. After learning that the man she talked to was an imposter, though not knowing it was Harry, Sarah is about to return to Paris.

The second person to remember the altered past is Simon Parker, brother of Peter. 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. Years later, Simon has come to New York as the Black Spider, believing Peter has failed in his role as Spider-Man and intending to replace him. He began by having Aunt May killed to snap Peter out of the alternate reality Mephisto had created, and continued by having the Daily Bugle destroyed, thinking he was helping to push Peter forward, past his life as Spider-Man.
With the help of a mysterious black-clad friend, Simon captured Peter and siphoned all of his blood, replacing it with normal blood and intending to have Peter’s transfused into himself. But the black-clad man quietly betrayed Simon, taking a vial of Peter’s blood and letting him loose before Simon could get the transfusion. A weakened and powerless but very angry Peter now faces Simon, who is himself still powerless.

Peter has been in secret contact with someone to help him find Aunt May’s killer. While Peter was missing, Mary Jane began calling everyone in his “secret cell phone’s” call list, and stumbled across this same man. He now knows Peter is missing.

Another person MJ called was Carlie Cooper, her new friend, who is beginning a fledgling romance with Flash Thompson.

*This issue’s soundtrack: If you have “The Lightning Strike” by Snow Patrol, you would be doing your reading experience a great service by putting that on loop right about now. If you don’t, and you’re open to it, go download it and then come back. I’ll wait. The best way to read this story is to set that track to end at 5:14 (so you only hear the first act) and just loop it. This song so encompasses the mood of this issue that I moved the soundtrack feature to the top. It did indeed loop the entire time I was writing this issue, and was in my head through the full planning process. It’s brilliant, powerful, and beautiful in a haunting way. If you take nothing else away from this issue than the discovery of the song, I’ll take that as a win.



Panel 1: Peter and Simon are facing off in much the same position as the end of issue 7. We see them from the side, slightly angled towards Peter. Both men are in costume, but with masks off. Peter’s face is furious, and his right fist is clenched, but his left hand is leaning against the table he’s just risen from, steadying himself. He’s spoiling for a fight, but clearly weak.
Peter please, you’re not up to this.
Your powers are gone, and I’m highly trained in hand-to-hand combat.
I was trained in hand-to-hand combat by Captain America. You were trained by the Red Skull’s henchmen. Do you know how those fights usually go?

Panel 2: Small, close-up panel of Peter’s hand grabbing a small, circular, metal tray off of the larger medical tray beside the table.

Panel 3: Peter’s arm is extended, having just thrown the tray, which is hitting Simon in the neck.
Just think of that as a shield.
He thinks I’m powerless. Good. I’ve been winning fights that way since I was in high school.


Panel 1: As Simon hunches over, clutching his throat and gasping for air, Peter is sliding across the floor on his knees towards Simon (having clearly gotten a running start into the slide). He is almost in front of Simon, with his hands outstretched.
Sure, my spider-powers seem to have left the building right now, but plain ol’ Peter Parker isn’t nearly as powerless as people think.

Panel 2: Peter, having made it over to Simon, is hoisting Simon backwards over his head, his hands having grabbed Simon around the waist.
First, I really was trained by Captain America a few years ago.
And, being Captain America, he was thorough.

Panel 3: Simon is slamming flat on his back, still with one hand on his throat from the tray that hit it.
He didn’t just train me in one fighting style, he gave me options.
The main thrust of his lessons was about incorporating my powers into a more professional, controlled style.
But he didn’t stop there.

Panel 4: Peter is beside his brother, pummeling him in the kidneys.
See, all the Avengers have lost their powers at some point. There are actually machines out there that can do it. So we have to be prepared.

Panel 5: Peter is just behind Simon, holding Simon in a chokehold.
Cap also taught me how to fight entirely without the aid of my powers. Just in case.
Thanks, Cap.


Panel 1: Simon is pulling Peter’s arm away from his neck.
That would have been a great move -

Panel 2: Holding onto Peter’s arm, Simon is now flipping Peter over his head.
- if you weren’t too weak from sudden, catastrophic blood loss to actually choke me.

Panel 3: Peter, having landed on his back, is dodging a punch to the head from Simon, whose fist is about to hit the ground instead of its intended target.
Then there’s the spider-sense.

Panel 4: Peter, having flipped up onto his knees, is in a low duck, dodging a sweeping kick from Simon.
I might not have actual superpowered spider-sense right now, but I’ve developed a sort of natural danger sense over the years.

Panel 5: The two are on their feet, but they are just beginning to rise from the ground, so the knees are still heavily bent. Peter is using both hands cupped to deflect a punch from Simon.
Having spider-sense lets me know exactly where a punch or kick or whatever is coming from, exactly where it’s going, and when it will connect. Fighting like that for over 10 years (and fighting a lot) is like slowing down and studying every fight you’ve ever been in.


Panel 1: Peter holds Simon’s fist up with his left hand, and punches Simon across the face with his right.
I can anticipate his moves because I’ve fought countless numbers of the best and worst fighters in the world and everyone in between.

Panel 2: Peter, still holding up Simon’s fist, has spun in so he now has his back against Simon, and is using his elbow to hit him in the side.
Add Cap’s training into that instinct, and trust me - I know fighting.

Panel 3: Simon has used his other hand to grab Peter in a chokehold, but Simon’s is much stronger than Peter’s was.
You’re past your prime, big brother. Let me help you!
And then there’s the thing that makes me most powerful. Something he doesn’t realize at all.

Panel 4: Peter is bashing Simon’s face with the back of his head, breaking Simon’s chokehold.
When things start going bad in a fight, I think about Mary Jane, and what it would be like for her if I didn’t come home again.

Panel 5: Peter has turned, and is kneeing Simon in the gut.
I feel her coursing through my veins, pushing me forward, never allowing anyone to take me from her.


Panel 1: Ext. Night. A small, private airport. Close on Harry Osborn, wearing a suit and trench coat, but with the gloves of the Goblin King costume. He is smiling.
And nothing can stop me.

Panel 2: Shot of a small, private jet. Sarah Stacy is just stepping onto the first stair leading up to the door. She’s looking to her left as she hears her name being called.
HARRY (off panel):

Panel 3: Sarah has stepped back off the staircase and dropped her luggage on the ground. She is facing towards Harry, who is jogging over to her. She has an incredulous look on her face.
Harry? Harry Osborn?

Panel 4: Close on Harry’s face, from the right side, very happy.
You know me? You know who I am?

Panel 5: Same angle and distance from Harry’s face, but now his head is backed up against the left side of the panel, because there is a gun right in his face. He, of course, looks surprised.

Panel 6: Pull out to show Harry standing with his hands in the air, and Sarah standing with the gun in his face.
Yeah, when you find out your father’s a mass murdering supervillain and you have all the resources of Interpol at your fingertips, you tend to do a little family tree research.


Panel 1: Same.
But good lord, does anyone in this family ever stay dead? I mean, what, is Norman having a head re-attaching party tonight?
Are we immortal or something? Because I think I have to declare that on my Interpol insurance. Seriously.

Panel 2: Harry’s back to smiling, but it’s sort of a cheesy grin, trying to be charming.
No, look, I was never dead. They just declared me dead. They were wrong.
And Norman…Norman’s not coming back this time. I promise. I took care of him for you.

Panel 3: Sarah’s starting to get understandably confused.
For me? What are you talking about? Why are you here?
You’re special, darling. We want to help you.
What the hell are you tal- ?

Panel 4: Harry’s hand is pointed straight forward, spraying gas out of his glove all around Sarah’s face. Sarah’s gun hand has already gone limp, and she is coughing, about to fall asleep.
I’m sorry.

Panel 5: Harry has run and crouched behind Sarah, and is now catching her in his arms as she falls.


Panel 1: Small, tight shot of Sarah’s unconscious face.

Panel 2: Tight on Harry’s face. He has a loving smile as he looks down on her, and a tear is just beginning to form in his eye.

Panel 3: Harry is kissing Sarah’s lips softly.

Panel 4: Harry’s forehead is resting on Sarah’s forehead. His eyes are closed, but a tear streams down from one.
I’ve missed you.
PILOT (off panel):
Hey, what’s the hold up out here?

Panel 5: Harry’s still cradling Sarah in his right arm, and has his left arm extended with a fireball already shooting out from it (towards the door of the plane, not quite in view). Harry is looking in that same direction, a furious look on his face.

Panel 6: We see the pilot in the door of the plane, bursting into flames from the fireball striking him directly in the chest.
PILOT (burst):

Panel 7: Harry is calmly walking away as if nothing happened, not looking back at the pilot at all, carrying Sarah in his arms.
I’ll get you to the doctor, Gwen. We’re going to help you.
“You have no idea how long I’ve waited for this.


Panel 1: Back in the Black Spider’s cave. Close on Simon and Peter’s faces as Simon headbutts Peter.

Panel 2: Peter has stumbled backwards to the ground. Simon is standing over him, talking angrily. Not furious, not screaming, just angry.
I’ve waited my whole life to finally meet you.
He underestimates me.

Panel 3: Simon is falling as Peter kicks his knee.
His condescension was clear from what he said about my training.

Panel 4: Simon, now on the ground, is kicking Peter in the gut as Peter is getting up.
I’ve dreamed about the two of us being brothers, even before I knew we were.
Well, I guess it’s time to stop holding back, big brother.

Panel 5: Simon has Peter’s neck trapped between his legs. Peter is holding onto Simon’s leg, trying to pry it off.
But you – you’re such a disappointment!
Did you really think you were beating me?


Panel 1: Simon has moved to be right over Peter, catching a punch Peter is throwing.
You don’t see what I’m trying to do for you!
Who needs spider-sense when you can read every tiny facial expression from your opponent?

Panel 2: With one hand, Simon is smacking away another fist from Peter. With the other, he has grabbed Peter’s leg behind him, which was coming up for a kick.
What you’re doing for me?
You killed Aunt May!
When I can see his face, he may as well be calling out what he’s going to do next, staring intently at the exact spot he’s going to strike.

Panel 3: Simon has stood up, with Peter still on the ground. Simon is yelling over him.
The old bat was supposed to be dead anyway! I killed her to wake you up!
How could you ever move on with that ancient woman making you wheatcakes like her life depended on it?

Panel 4: Peter has risen and is in full motion of a punch towards Simon’s face.
Damn you!


Panel 1: Simon is holding Peter’s arm with both hands, kneeing him in the stomach.
You’re done, Peter!
I can see now he’s not just going to give it up.

Panel 2: Simon is pulling Peter further down by his arm, kneeing him in the face.
You failed!
He’s never going to accept me.

Panel 3: Simon has pulled Peter up, and is punching him with an uppercut to the jaw.
You’re making me do this!
He’s making me do this.

Panel 4: Simon has let go of Peter, and is kicking him square in the chest.
He’s forced me into this role.

Panel 5: Small panel of Simon’s hand pulling a gun from a nearby table.


Panel 1: Full page. From behind and slightly to the right of Simon, we see him aiming his gun at Peter, on the floor and beaten.
He’s made me the villain.
“You don’t have to do this.”


Panel 1: Int. Night. Carlie’s apartment. Carlie and Flash are sitting on her couch with the light of the TV washing over them. Her head is on his shoulder, and she looks a bit sad.
Do what?
Be this insanely nice to a girl you hardly know.
This is probably boring for you.

Panel 2: Close on their faces. Flash has leaned down and pulled her face around to his with a finger under her chin. He’s got a soft, reassuring smile, and she’s smiling coyly.
Hey, stop being self-defeating.
We may not have met until recently, but I know all I need to know about you, Carlie Cooper.
You don’t know five things about me…Flash Thompson.

Panel 3: Pulled back a bit, Flash is holding up the fingers of one hand, counting with his other index finger.
One: Cute as hell. FACT.
Two: Way smarter than me. FACT.
Three: Great hugger. FACT.
Four: Loves ice cream and Cary Grant movies. FACT.
Five: Underestimates herself like it’s her job. FACT.

Panel 4: Flash is now holding up six fingers, and they are both smiling cutely.
Six: Great kisser. That’s one’s just a theory.

Panel 5: Carlie has tackled him, and is straddling him, the both of them kissing the daylights out of each other.


Panel 1: Carlie is still on top of him, laying her head against his chest.

Panel 2: Same.
You wanna be my boyfriend?

Panel 3: Carlie has popped her head up, talking fast before he can answer.
I mean, you can still back out of it if you decide I’m a weirdo loser but –

Panel 4: She has her head back down on his chest. Her eyes are closed, already bracing to hear a rejection.
- but this is all I want. I know we’re supposed to go out on some ridiculous number of dinner/movie dates or something first, and I still wanna do those things with you, but – I already know I like you and I just…don’t wanna let this go.

Panel 5: Same, but her face is more relaxed. Just sort of sad.
This is all I want.

Panel 6: Same, but Flash is smiling.
Me too.

Panel 7: Panning out, farther away from above. They are kissing again.
“I didn’t want this.


Panel 1: Same as page 11.
I wanted us to be brothers.

Panel 2: Closer on Simon.
I didn’t want to kill you.
Don’t worry.

Panel 3: From behind Simon, we see him getting shot several times across the back.
You won’t.

Panel 4: Simon is on the ground, face down, with bullet holes in his back. Peter is a few feet from him, looking on in shock. We see a pair of legs walking past Simon, wearing black slacks and combat boots. The muzzle of a machine gun is hanging down beside them.
You alright, Parker?


Panel 1: The Punisher is kneeling down on one knee beside Peter, who’s laid his head down, trying to process it all.
Sorry I’m late. This guy was pretty well hidden.
Had to beat some information out of your weasely advisor at Oscorp.

Panel 2: Same.
Hey, you alright kid?
I’m – I’ll make it.

Panel 3: Peter is raising his head up.
I’ll live. But I’d better get in a shot at –

Panel 4: The empty, bloody piece of floor where Simon was laying.

Panel 5: The Punisher is pulling Peter up to go after him.
Ah hell. Come on.


Panel 1: Back at the private airstrip. Wide view. The plane sits in flames, with fire crews trying to put it out.
“He can’t’ve gotten far.”

Panel 2: Gabe Stacy is hiding in the shadows beside the wall of the airstrip office, looking on. He still has his mask on, but he’s cut the purple hat off of it. He is wearing a thin hooded cloak to hide his ‘face.’ He is very, very angry.

Panel 3: Closer on Gabe’s face.
Ok Osborn, you win.

Panel 4: Very tight shot, so his face actually bleeds past the panel lines. He is furious.
I will be back. I’m going to kill you.
“I’m gonna kill him.


Panel 1: Int. Night. The sewers. Punisher is dragging Peter along down the tunnel.
Just get me to him, Frank.
You promised me you’d save him for me when you found him.
I think I see something up ahead.

Panel 2: Small, semi-far away panel of Simon leaning against a sewer tunnel wall beside a large door, with something small in his hand.

Panel 3: Peter is stumbling forward on his own in front of the Punisher.
It’s him!

Panel 4: Peter is over Simon now, clutching Simon’s shirt in his hand, fury on his face. Simon is smiling.
What are you smiling about?! What did you do?!

Panel 5: Focus on Simon. We can now see an empty syringe in his hand. There is still a slight green tint to it from the liquid that was inside.
I picked this spot for a reason. Plan B. Norman Osborn left this place for his children. I had all of the stuff shipped back from Paris for Gabe.

Panel 6: Tight on Simon’s smiling face.
He left two shots of Goblin serum, Peter. Sarah never used hers.


Panel 1: Peter is beating the still-smiling Simon across the face.
What, you think you’re gonna heal[/b[ those gunshot wounds with Goblin juice?

Panel 2: Peter continues to pummel Simon in the face.
As if I’m gonna let you.

Panel 3: The Punisher is standing behind Peter, who continues to beat Simon senseless.

Panel 4: Peter has hold of Simon’s shirt with both hands, crying and screaming.
PETER (burst):
Don’t do it. You’ve gotta stop.

Panel 5: Peter is bashing Simon against the wall.
He killed Aunt May!!!


Panel 1: The Punisher has his hand on Peter’s shoulder as Peter just kneels there, holding Simon’s shirt, crying furiously.
Peter, you could’ve called anybody to help you find her killer.
You’re on the Avengers with Wolverine, and he’s a better natural tracker than me.
Plenty willing to kill for you, too.

Panel 2: The Punisher is kneeling beside Peter now.
The difference is, you respect Wolverine. You even kinda like ‘im.
You know as well as I do you called me because you despise what I do.
You don’t wanna become me. And you don’t really wanna kill ‘im.

Panel 3: Peter is still holding Simon’s shirt, but his arms have gone limp. He’s just crying now. Simon is beaten so badly he’s barely conscious.
Now I’m more’n willing to kill ‘im if that’s what you really want.
Or we can take ‘im to jail.

Panel 4: Closer on Peter’s face, sobbing.
I – I – will you do it? Get him to SHIELD or somebody for me?
I can’t look at him anymore.

Panel 5: Panning out, pretty far away from them as the Punisher grabs Simon by the shirt, and Peter is just limp.
Sure kid. Let’s get you home.


Panel 1: Int. Night. Harry’s lab, last seen at the end of issue 1. The black-clad man is standing in front of a table, fixing a label to the vial of Peter’s blood he stole.
“This is over.”
HARRY (off panel):
I’ve got her!

Panel 2: Harry is laying Sarah’s unconscious body down on an examination table in the lab. The black-clad man is walking over to it, tucking the vial into his clothes.
This is Sarah?
N- Yes. Yes, this is Sarah.

Panel 3: Close on the side of the black-clad man’s face as he unties the side of his mask.
You understand this will take considerable time.

Panel 4: Close on the bottom of his face as he unravels the cloth of his mask from the bottom up. We can see white skin, a goatee, and fangs.
But I have the blood sample I need.

Panel 5: Largest panel on the page. The black-clad man now has his mask completely off, still pulling it to the side. We see his full face revealed – that of Morbius, The Living Vampire.
Blood is the key.


Panel 1: Harry is staring into Sarah’s face as he speaks to Morbius.
Just – just get it done. I can be patient.

Panel 2: Similar, but with Morbius speaking.
In the meantime, Simon has positioned Peter just as you wanted him.
It’s temporary, but he’s powerless. He can’t interfere.

Panel 3: Harry has looked up, with a wicked grin.
I wasn’t sure the kid could pull it off. He is a Parker, after all.

Panel 4: Harry has strolled over to one of the large tubes lining the walls, and is speaking at it, though he’s addressing Morbius, who is behind him.
Have you finished the modifications to my device?
Of course. I’ve loaded it into one of your gloves.
Then I guess we’re ready for Phase 1.

Panel 5: Close up on one of the tubes. Through the frosty glass we can see an unconscious face – Peter Parker’s.
HARRY (off panel):
Time to let them out to play.


Panel 1: Int. Peter and Mary Jane’s hotel room. Tight shot of the door, clicking open.

Panel 2: Wider shot, we see MJ rushing to the door as Peter, broken and beaten, steps through it.
Oh my God!

Panel 3: MJ has her arms around Peter, helping him to the bed.
Peter, what happened?!

Panel 4: The two are on the bed, MJ’s arms around Peter, who is limp and barely holding it together.
MJ –

Panel 5: Wide panel. Close on Peter, whose head is resting in MJ’s lap, clutching her legs, bursting into tears.
- I have a brother.

Panel 6: Wide panel across the bottom of the page. Same, but pulled out farther, isolating the two. MJ’s head is down, her eyes closed in sadness for Peter, who is sobbing uncontrollably.
I have a brother.

NEXT ISSUE: Spider-Man – powerless as an army of clones descends on New York to terrorize its citizens in his name! Witness the first stage of Harry Osborn’s plans, as he tries to do right something he thinks his father colossally screwed up, in “One in a Million Part 1 of 3!”

And don't forget to stop by this issue's discussion thread to let me know what you thought!

Continue to: Spider-Man: Crawl Space #9 - One in a Million Part 1
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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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