ACT ONE

FADE IN:

INT. STARK INDUSTRIES LAB - DAY

Close in on a set of hands working expertly on the innards of an engine. David Bowie blares over the loud speakers in the background as grease-covered fingers adjust around the tool on beat with the music.

TONY STARK (15) is focused in on his project. He's all dark hair and expressive eyes, small for his age and dressed in a pair of slacks and filthy white t-shirt that shows he's been at this for hours. STARK INDUSTRIES is stamped onto every flat surface available. He's at ease in his solitude. No restrictions, no expectations.

SUPER: July 1985.

Behind him, the doors to the lab slide open. Tony doesn't look up as he says -

TONY
Don't turn down my music.

EDWIN JARVIS (late 60's) pauses mid-reach for the panel. He's poised, even when being ordered around by a teenager. The perfect British gentleman in his three-piece-suit. He turns it down anyway and the music fades truly to the background.

JARVIS
You are aware of the time?

TONY
The time means you've gotta turn down Bowie?

JARVIS
It means that you're less than an hour away from your interview and look like a street urchin.

Tony looks offended, even as he examines his filthy hands.

TONY
What's wrong with the way I look?

Jarvis' expression turns increasingly more horrified and Tony flashes a grin.

TONY (CONT'D)
We're good, J. I have a change of clothes in the back and they expect a little grease on my hands by now.

JARVIS
Of course, sir.

TONY
Fifteen years in, I'm never gonna get you to call me Tony, am I?

JARVIS
Not likely, sir.

Tony rolls his eyes dramatically, but he's grinning. He stands. Wipes his hands on a rag.

TONY
Awesome. Let's go. Dad gonna meet us in the lobby?

Jarvis hesitates and his lack of response causes Tony to pause. He looks back, the mirth dissipating.

TONY (CONT'D)
You've gotta be kidding me.

JARVIS
Your father is a very busy man.

TONY
Yeah. Right. Does he remember I'm here on a Friday afternoon because HE was the one that wanted to be involved?

He said we should have it here so he didn't miss it. His words. Remember those?

JARVIS
Anthony...

TONY
No way. You don't get to defend him, Jarvis. You know what? It doesn't matter. They're not his designs anyway.

I'm the one they're here to see. Just... tell them I'll be down in fifteen.

Jarvis watches him for a long moment before the dutiful -

JARVIS
Of course, sir.

Tony starts towards the back of the labs, Jarvis watching him leave, his expression torn.

INT. CARTER-SOUSA HOUSE - DAY

A phone rings, echoing through a quaintly decorated home. Photos line the walls. Most are of a happy family, but we see a handful of others littered throughout with PEGGY CARTER and DANIEL SOUSA (varying ages) in military uniforms, and later working with the SSR and SHIELD. Mixed in is a photo from Daniel's retirement party. It's quiet, and for a moment it looks like no one is there to answer the persistent caller.

From the kitchen we hear -

DANIEL (O.C.)
Peg? Can you get that?

No one answers him and the phone continues to ring.

DANIEL SOUSA (mid 60's) appears at the entrance to the kitchen, leaning heavily against his crutch as he moves through the hall and towards the phone. He's dressed casually, his dark hair streaked with grey, and he has a towel slung over his shoulder as if he's been cooking.

DANIEL (CONT'D)
Peggy?

Still nothing. He picks up the phone.

DANIEL (CONT'D)
Hello? Oh, hey there, Frank. How've you been?

The door opens down the hall, drawing Daniel's attention.

DANIEL (CONT'D)
Yeah. One sec.
(calling out)
Peggy, phone!

An irritated sound comes from the door followed immediately by PEGGY CARTER (mid 60's) picking up speed. Put away are the suits and the heels for more casual wear. Her weekend started early. She waives the stack of mail in her hand.

PEGGY
Mrs. Pickett had me cornered for half an hour this time. I swear, if she were an interrogator she'd break someone in a heartbeat.
Daniel offers her the phone, amused.

DANIEL
It's Frank.
Peggy's exaggerated irritation shifts to something between worry and confusion as she takes the phone.

PEGGY
Frank. What's happened?
Daniel starts back to the kitchen, Peggy's voice following him as he hurries as best as his old war injury will allow to the stove. A pot is boiling over.

PEGGY (O.C.) (CONT'D)
Are you certain?
She follows as far as the kitchen entrance the long cord stretching behind her, and shoots him a questioning look at his culinary attempts. He waves her off.

PEGGY (CONT'D)
Have you called Howard yet? I believe he's... Yes. Alright. I'll be in shortly.
Daniel is still trying to salvage what could have been dinner when she returns from putting the phone back on its cradle. Peggy stops, the amusement radiating off of her, and

Daniel is doing his best to ignore it.

PEGGY (CONT'D)
What's all this then?

DANIEL
I thought I'd cook you dinner.

PEGGY
That's sweet, but not worth burning the house down.

DANIEL
That's been twenty years. You're never going to let me live that down, are you?

PEGGY
I don't think so, no.

He finally cracks a smile before leaning against the counter.

DANIEL
I take it from that conversation you're off to save the world?

PEGGY
It seems that way.

DANIEL
They can't go a day without you.

PEGGY
Well, that would leave Howard Stark without supervision.

DANIEL
We've all seen how that turns out.

PEGGY
He's not so bad.

DANIEL
In some ways he's grown up, in others... How's Tony lately?

Peggy meets his gaze. She knows he's making a point, and from the look that he gives her, he knows that she knows.

PEGGY
It could be a late night, but I'll be back in time for lunch with Ray tomorrow.

DANIEL
You're not going in yourself, are you?

PEGGY
You know those days are long past.

DANIEL
Good, because I can't... I wouldn't trust anyone else to watch your six.

PEGGY
Nor would I.

She tips up on her toes and presses a kiss to his cheek.

INT. STARK MANOR - EVENING

The home is exquisite. Antiques hide pieces of tech that are well ahead of the time period, the floors are polished wood, and there's a staircase that winds upward like its reaching for the clouds.

A baby grand piano stands in one of the many rooms. It costs more than some make in a year. A woman sits at it, back straight, and fingers poised, but she doesn't play. Her eyes are closed as if she's listening to a melody in her head. Calming. We finally hear a few notes before -

The front door is slammed open, the sound reverberating through the house and MARIA STARK (50's) startles where she sits at the piano, her eyes popping open. Her fingers rest against the keys and she resumes playing as Tony blows through the room.

TONY
Where's Howard?

His movements are explosive. Short and jerky, like he thinks he'll find his father hiding in a corner somewhere.

Maria's fingers continue against the keys, the melody steady against her son's agitated movements.

MARIA
Your father's not here, dear. He was called out. How was the interview?

Tony slams to a stop.

TONY
He was supposed to be there.

Her fingers finally still at that and there's a flash of indecision on her beautiful features. Tony is staring at her, young and vulnerable in the moment, and she makes a choice to protect her son over telling him the truth.

MARIA
It was your interview. Your father had every faith that you would -

TONY
Was it Rogers?

MARIA
No.

Tony studies her, not immediately accepting the denial.

TONY
What was it then?

Maria watches him in turn before releasing a small truth -

MARIA
Work. It was work, but Tony, sweetie, you need to see it for what it was.

TONY
I know where I land in his priorities.

MARIA
(forcefully)
It was faith. In you. This was your achievement. The focus should have been on you, not him or the company.

Tony isn't buying it.

TONY
Sure. Right. Faith's what always keeps him away.

He grabs for the phone, dialing as he leaves the room.

MARIA
Who are you calling?

Tony doesn't answer her.

INT. RHODES HOUSE - GARAGE - NIGHT

On the other side of the country, in Philadelphia, a garage is enclosed, not used for vehicles. A heavyweight bag hangs from the ceiling, a set of weights next to it. The walls are covered with photos and drawings of various aircrafts. Some are studies, and one or two may even be a design. Air Force paraphernalia is littered through it.

JAMES "RHODEY" RHODES (19, fit) is counting sit-up reps, his focus absolute.

RHODEY
Ninety-six. Ninety-seven.

He doesn't stop as the door opens to the side and a teenage girl pokes her head in. His sister. ELIZABETH RHODES (13). Her glasses are almost as big as the bow in her hair.

ELIZABETH
Jim, you've got a call.

RHODEY
Ninety-nine. Busy, Liz. One hundred.

ELIZABETH
It's Tony.

Rhodey looks irked, but stops and motions for the phone.

ELIZABETH (CONT'D)
(to Tony)
Talk later?

Rhodey's expression turns a little worried at the smile on his sister's face that must be from Tony's response. He's seen that look. It's never good. He waits until she's out the door before -

RHODEY
Don't even think about it, Tones.

INT. STARK MANOR - EVENING - INTERCUT

Tony is lounging sideways in a chair.

TONY
Think about what?

RHODEY
Liz. She's off limits. And thirteen.

TONY
What does that have to do with -?

RHODEY
THIRTEEN, Tony.

Tony still doesn't get it, but he shrugs it off anyway.

TONY
Not why I'm calling. I realized something.

RHODEY
That you're running up a long-distance bill?

TONY
That I don't know what kind of music you like.

That's not what Rhodey was expecting.

RHODEY
What kind of...?

TONY
Are you a blues kinda guy? Soul? I feel like I'd know if it was rock.

RHODEY
I'm not really a big music guy.

Tony sits straight up in the chair so fast that he nearly falls out of it.

TONY
No.

RHODEY
Yes?

TONY
We need to fix this. Clear your schedule. I'm coming to get you.

RHODEY
When?

TONY
Now.

RHODEY
Tony, it'll be the middle of the night before you -

TONY
So I'll take the fast plane. See you in a couple hours.

The line goes dead without so much as a goodbye and Rhodey stairs at the phone. Apparently Tony's coming to town.

EXT. SHIELD HQ - PARKING LOT - NIGHT

A shiny Cadillac squeals its tires as it pulls into a parking spot faster than it should. It comes to rest in front of what looks like a run-of-the-mill office building. HOWARD

STARK (late 60's) steps out. He's all business. Suit, briefcase, and stern expression. He starts towards the building.

INT. SHIELD HQ - LOBBY - MOMENTS LATER

Peggy Carter falls into step with Howard as he enters.

PEGGY
I hardly thought you remembered how to drive yourself without Mr. Jarvis.

HOWARD
I had Jarvis on something else this evening. What's the word on Wagner?

And just like that, Peggy's amusement is gone.

PEGGY
We've heard from our people on the ground in Argentina. They have eyes on him.

HOWARD
Are they sure it's him?

PEGGY
Images came in from the satellite an hour ago. It's him.

Howard cracks a smile. It's small, more of a smirk, but it reaches his eyes. For just a moment he's thirty years old again, chatting up Agent Carter.

HOWARD
What'd I tell you about my satellite imaging?

PEGGY
Yes, yes. It's very clear, Howard.

HOWARD
You're welcome.

Peggy shakes her head.

PEGGY
We need to get moving. The team's awaiting our orders and Wagner

is en route to meet with his Hydra contacts stowed away there. If he reaches them -

HOWARD
It'll be a hell of a lot harder to bring him in.

PEGGY
Exactly.

HOWARD
Let's get the ball rolling then. Are the bigwigs on their way?

PEGGY
They should be here by the time we're ready to breach.

They push through a set of doors and into a War Room.

EXT. PHILADELPHIA INTERNATIONAL AIRPORT - NIGHT

It's the dead of night. The runway is lit up, but there's no movement, most of the flights are in for the night. Rhodey stands to the side with an airport employee who doesn't look any more excited to be out there than he is. Rhodey looks down at his watch. Just after 1AM. He needs sleep.

A sleek, private jet touches down on the runway and rolls to a stop. Stairs fold out. A moment passes, then another, before Tony finally pokes his head out. He shouldn't look that impatient. Rhodey's the one that's been waiting.

Impatience shifts to confusion.

TONY
Where's your stuff?

RHODEY
What stuff?

TONY
Your... bag? You know what, never mind. No biggie. C'mon.

Rhodey is the one that's confused now.

RHODEY
You said we were going to the rock concert.

TONY
Right. Live Aid.

RHODEY
That's tomorrow. JFK Stadium. Don't look at me like that. I know things.

TONY
No no no. Not the one here. Why would we go to the one here?

If that's not a rhetorical question, Rhodey doesn't know the answer to it. Tony motions and then disappears into the plane. Rhodey waits a beat before following.

INT. STARK INDUSTRIES JET - NIGHT

They're airborne and the boys are kicked back. Tony is finishing up an animated story and Rhodey looks much more relaxed than we last saw him.

RHODEY
When did you decide we were going to London anyway?

TONY
This evening.

Rhodey shakes his head, amused.

RHODEY
I've never been to England. Never even been out of the country.

TONY
Don't worry. I'll show you around.

RHODEY
The life of Tony Stark. You wanna hop a plane and fly halfway around the world, so you do.

TONY
And now you get to go too.

RHODEY
It's wild, but... even you're not that impulsive. Why're we going?

Tony's smile is a little more forced as the question weighs between them, but an alarm sounds from the front, drawing their attention. Tony stands.

RHODEY (CONT'D)
What's that?

TONY
Not sure. Sit tight.

INT. STARK INDUSTRIES LEARJET - COCKPIT - CONTINUOUS

Tony enters the cockpit. It's empty, the controls all automated. He moves to where the alarm is originating from and flips a switch. We hear a voice over the communication system -

CONTROLLER (O.C.)

Ground Control to SI-niner-alpha-charlie. You are not cleared to leave US airspace. We're taking control of the plane to -

TONY
Like hell you are.

He slides into the pilot's seat.

CONTROLLER (O.C.)
Mr. Stark, I've been instructed to turn you around. Mr. Stark?

Tony doesn't answer. Instead his hands fly expertly over the controls.

TONY
You know what? If you can take control back from me, you can turn us around.

He cuts communication as he continues to override Stark Industry's control center.

END ACT ONE

Notes: A bit late on posting, but this was my Nanowrimo project this year. I was trying to see if I could go from the beginning (plotpoints) to a first draft of a script in 30 days. The cool thing is that it worked! I even had some time to polish it during the month.

This story was born out of various conversations about teenage Tony, Howard, and the realization that slapped me across the face one day that Tony Stark would have been fifteen when Live Aid took place. Of COURSE he was there.

For some context, this story takes place in the middle of the first season of a series that's been forming up inside my brain about Tony and Rhodey in their years at MIT. This particular episode takes place in the summer after that first year and would either be a mid-season or season finale. In other words, I should already apologize for the cliffhanger at the end of it. Maybe someday I'll have built my writing credits well enough that Disney/Marvel would give me more than the cold shoulder when I try to pitch the idea. For now it's just all in good fun. Maybe someday. Who knows. That's always the writer's dream.

Next Time: Tony and Rhodey run into some trouble in England while Howard and Peggy are stuck watching field agents from a command center.