CAPTAIN AMERICA 3: WORKING TITLE

CHARACTERS
STEVE ROGERS/CAPTAIN AMERICA
SAM WILSON/THE FALCON
JAMES ‘BUCKY’ BARNES/THE WINTER SOLDIER
BROCK RUMLOW/CROSSBONES
HELMUT ZEMO
NATASHA ROMANOFF
SHARON CARTER
SARAH ROGERS
ULRIKA ZEMO
PROLOGUE – EAST BERLIN, 1983
Domestic scene with ULRIKA and HELMUT.
ULRIKA’s assassination by THE WINTER SOLDIER, witnessed by HELMUT.
TITLE SCREEN – CAPTAIN AMERICA: SERPENT SOCIETY?
SCENE 1 – HYDRA FACILITY, LATVIA, 2016
SAM and STEVE, armed/shielded but dressed in civvies, watching the compound;
communication via earpieces; they break into the labs, STEVE fights CROSSBONES, SAM fights
everyone else; a SCIENTIST sets off the compound’s self-destruct system; SAM and STEVE
escape; as does CROSSBONES.
SCENE 2 – HOTEL ROOM, RIGA, 2016
SAM and STEVE talk to NAT on the phone; she tells them to get to Berlin for another HYDRA
facility where THE WINTER SOLDIER was held back in the 80’s. SAM suggests that if they find
nothing in Berlin, they give up the search. STEVE says that they’re not just looking for BUCKY,
they’re dismantling HYDRA, one base at a time.
SCENE 3 – (EAST) BERLIN, GERMANY, 2016
BAUMBACH goes about his day, from leaving his job till washing the dishes after dinner. While
standing in the kitchen, he is suddenly shot dead. A shadowy figure (ZEMO) is seen running
from the opposite rooftop.
SCENE 4 – DEFUNCT HYDRA BASE, BERLIN, GERMANY, 2016
SAM and STEVE
CENTRAL LONDON, 2016
STEVE is a pallbearer at Peggy’s funeral, where SHARON gives a lovely speech about her aunt.
After, STEVE meets NATASHA and SAM outside the church and insists that he needs a moment
alone. NATASHA suggests she and SHARON show SAM the city. As they walk away, NATASHA
takes SHARON’s hand.
STEVE wanders aimlessly through the crowded streets of Central London, stopping to observe
the pub where he mourned BUCKY’s death in 1945 for a while – when he turns to start
walking again, he sees BUCKY on the other side of the square. When he tries to follow him,
BUCKY disappears between the many people. STEVE phones SAM and tells him that BUCKY is
in London.
SCENE 5 – GENEVA, 2016
WEBER is shot dead on her way home from work at the U.N. ZEMO rings a man
(CROSSBONES) and asks who his next target should be. He is told to go to Bucharest for
SERGHEI BALAN.
SCENE 6 – CENTRAL LONDON, 2016
SHARON and STEVE tell SAM about Peggy; NATASHA interrupts, telling them that someone is
killing former HYDRA agents all over Europe – the dead agents have one thing in common:
they were all involved with the Winter Soldier Programme in the 70s/80s. STEVE assumes
BUCKY is the killer.
He and SAM immediately decide to start the search again; NATASHA sends them a list of
people who were involved in the Winter Soldier Programme, so they can try to figure out
where BUCKY will strike next – they narrow it down to SERGHEI BALAN in Bucharest.
SHARON suggests doing a facial recognition search to see if BUCKY is in Bucharest.
SCENE 7 – BUCHAREST, ROMANIA, 2016
ZEMO knocks on BALAN’s door, posing as a postman, but BALAN realises that ZEMO is there
to kill him and they fight. In the end, BALAN is killed and ZEMO is wounded.
SCENE 8 – BUCHAREST, ROMANIA, 2016
BUCKY, arms and hands covered by long sleeves/gloves, buys plums from a small market stall.
He shares a brief, but friendly, conversation with the woman at the stall; he has been living
here for a while and knows her rather well.
SCENE 23 – CENTRAL PARK, NYC, 2016
Late afternoon, not quite sunset though the shadows are getting longer. STEVE is sitting on a
park bench with a sketchpad – he is drawing a young mother and her two children who are
playing on a swing set in front of him. After a moment his phone buzzes where its lying next to
him on the bench. A Gmail notification appears on the screen:
FROM: PRATT INSTITUTE ADMISSIONS
RE: BFA FINE ARTS APPLICATION
STEVE puts down his pencil in favour of picking up and unlocking his phone – opens the email
and reads:
DEAR MR. STEVEN G. ROGERS
We are pleased to be able to give you an academically unconditional offer of a place on our full-
time BFA Fine Arts programme at our Brooklyn Campus.
Studies will commence on September 9, 2016, and your official end date will be June 25, 2019.
If you have any queries, please don’t hesitate to write to us.
Best regards,
The Pratt Institute Admissions Team.
STEVE grins to himself at the email and, shutting off the Gmail app, opens Facebook Messenger
to write a message:
TO: SAM THE EAGLE
Just heard from Pratt Institute – up for a celebratory drink next time you’re in town?
STEVE presses send and then shuts the phone off, returning to his drawing. A few moments later,
he is interrupted by a man’s voice above him:
MAN:
This seat free?
STEVE looks up at the stranger and a smile appears on his face – camera pans around and shows
that the stranger is actually BUCKY, still long-haired but clean-shaven and healthier-looking
than last time.
STEVE:
For you? Always.
BUCKY sits down next to STEVE. Both are silent. After a moment BUCKY reaches over and takes
STEVE’s hand, interlocking their fingers. They stay silent, holding hands, watching the sun set
slowly, as the camera zooms out.
Fade to black.
SCENE 24 (POST-CREDITS) – BROWNSVILLE, BROOKLYN, NYC, 1939
Late afternoon. Camera attaches itself to the back of a dark-haired YOUNG MAN in a threadbare
coat, walking down the street – we don’t see his face. He walks past homeless men, lying or
sitting on old newspapers, and dark boutique windows – some with signs proclaiming HELP
WANTED – NO BLACKS, NO JEWS, NO IRISH NEED APPLY – and at one point is greeted amiably
by a group of four drag queens; they clearly know each other well.
DRAG QUEEN:
Comin’ for a drink tonight, sweetheart?
YOUNG MAN:
Not tonight, Mary.
THE YOUNG MAN waves them off and continues down the street; after a short walk, he turns to
the right, leaving the street to enter the dark and dirty backyard of an apartment building. He
waves at a group of poor, but clean children playing in the yard, and enters the building. The
camera follows him up four flights of dark, narrow stairs, until he reaches the door to apartment
4C.
The camera now shifts to show the door opening and THE YOUNG MAN entering – it’s BUCKY
BARNES, 22 years old and exceedingly handsome. As he pulls off his coat and hangs it by the
door, the camera pans around, showing us the apartment – one long room with a small kitchen
at the far end, a small dining table with two chairs and a wireless radio, and a single bed pushed
up against the wall next to the door; by the bed is a single, narrow window, through which can
be seen the brickwork on the neighbouring building. There is a rectangle of sunlight on the floor,
and the light in the apartment is soft and dreamy.
The bed is occupied by STEVE ROGERS, 21 years old, thin and sickly-looking, reading a
paperback copy of JRR TOLKIEN’s THE HOBBIT.
STEVE:
Hey, Buck. How was work?
BUCKY:
Same as yesterday – hard, tedious, definitely not worth it at one dollar an hour.
Sighing heavily, BUCKY throws himself down on the bed next to STEVE. For a moment they are
both silent, as STEVE returns to his book and BUCKY feigns sleep. Then BUCKY, bored with the
inactivity, gets up from the bed and walks over to turn on the radio.
The sound of Al Bowlly’s 1934 version of THE VERY THOUGHT OF YOU fills the apartment, slow
and sweet.
AL BOWLLY (on radio):
[…] The very thought of you
And I forget to do
The little ordinary things
That everyone ought to do
 I'm living in a kind of daydream
I'm happy as a king
And foolish, though it may seem
Why, to me, that's everything […]

BUCKY (over the music):

Hey, Steve.
STEVE looks up.
BUCKY holds out his hand.
BUCKY:
Dance with me?
STEVE hesitates; he clearly wants to finish the book, but then puts it down and takes BUCKY’s
proffered hand with an indulgent smile. BUCKY pulls him close and STEVE rests his head against
BUCKY’s shoulder.
The screen slowly fades to black, as the two sway together gently to the rhythm of the song.
AL BOWLLY:
[…] I see your face in every flower
Your eyes in stars above
It's just the thought of you
The very thought of you, my love.