diff --git "a/scripts/Iron Man.txt" "b/scripts/Iron Man.txt" new file mode 100644--- /dev/null +++ "b/scripts/Iron Man.txt" @@ -0,0 +1,8787 @@ + 1. + + + + FADE IN: + + +1 EXT. RURAL AFGHANISTAN - DAY 1 + + FROM UP HIGH: a U.S. Military convoy worms through a barren + vista. ROCK MUSIC swells as we drift down and enter the + center Humvee. + + +2 INT. HUMMER - CONTINUOUS 2 + + Three Airmen, kids with battle-worn faces. Crammed in there + with them is a Man in an expensive suit, who looks + teleported from Beverly Hills. + + He is, of course, genius inventor and billionaire, TONY + STARK. In his hand is a drink tumbler of vodka. + + TONY + Oh, I get it. You guys aren’t + allowed to talk. Is that it? Are + you not allowed to talk? + + One Airman grins, fidgeting with his orange NY Mets watch. + + JIMMY + No. We’re allowed to talk. + + TONY + Oh. I see. So it’s personal. + + RAMIREZ + I think they’re intimidated. + + TONY + Good God, you’re a woman. + + The others try to compress laughs. + + TONY (CONT'D) + I, honestly, I couldn’t have called + that. + (after silence) + I would apologize, but isn’t that + what we’re going for here? I saw + you as a soldier first. + + JIMMY + I have a question, sir. + + TONY + 2. + + + Please. + + JIMMY + Is it true you’re twelve for twelve + with last years Maxim cover girls? + + + + TONY + Excellent question. Yes and no. + March and I had a schedule conflict + but, thankfully, the Christmas + cover was twins. Anyone else? You, + with the hand up. + + + + PRATT + It’s a little embarrassing. + + + + TONY + Join the club. + + + + PRATT + Can I take a picture with you? + + + + TONY + Are you aware that Native Americans + believe photographs steal a little + piece of your soul? + (then) + Not to worry, mine’s long gone. + Fire away. + + + +Pratt, excited, poses as another Airman snaps the photo. A +second later A MASSIVE EXPLOSION rocks them. + +Through the windshield, the Humvee ahead of them erupts in +a fireball. + +Tony is flung aside, and in the side-mirror The Humvee +behind them EXPLODES. + +Pandemonium as The Airmen are instantly in battle mode. +They scramble out, shutting Tony inside. + 3. + + + PRATT + STAY HERE! + + + + TONY’S POV - OF JIMMY: as he’s stitched by a bouncing Betty + mine. Now, running past, firing a .50 cal. machine gun is - + - + + USAF Lt. Colonel JAMES “RHODEY” RHODES. He looks in. + + RHODEY + GET DOWN, TONY. GET THE -- + + + + An EXPLOSION cuts him off. Rhodey fires through the chaos, + covering all directions, then advances into the murk. + + Another Hummer goes up in a fireball, and now -- + + Tony’s window blows in, spraying glass and shrapnel. He + scrambles for the door. + + + + +3 EXT. TONY’S HUMVEE - SECONDS LATER 3 + + Smoke. Machine gun fire. Tracers zip past. SHOUTING. + + Tony ducks, scampering along. He spots an M-16, picks it + up, but the weapon is burning hot. He drops it, moves on + when-- + + Something PINGS off a smoldering Humvee and thuds in the + dirt near him. He spins and we -- + + SNAP ZOOM TO: an RPG, revealing its pedigree, “USM 11676 - + STARK MUNITIONS.” + + Just as we suspect it’s a dud, it DETONATES and throws Tony + back, shredding his suit and revealing his body armor + underneath. Over the chatter of SMALL ARMS FIRE we -- + + FADE TO WHITE: + + + + +4 INT. INSURGENT CAVE - AFGHANISTAN - DAY 4 + 4. + + + Tony snaps awake. He’s tied to a chair, bloody rags + covering his chest. Two Insurgents flank a DV camera. + + Behind Tony a line of armed hooded men and a banner showing + ten interlocked rings. The Leader, a huge Choori knife in + one hand, reads rhetoric (in Dari) for the camera. + + PUSH IN ON - THE DV CAMERA VIEWFINDER: until the image of a + desperate Tony breaks up into pixel chaos. + + CUT TO: + + + + +5 CREDITS OVER A FULL SCREEN FILM REEL 5 + + The attack on Pearl Harbor. FDR gives an impassioned + speech. + + NARRATOR (RHODEY’S VOICE) + December 7, 1941: the day the world + changed forever. + President Roosevelt declares the + United States will build fifty + thousand planes to fight the armies + of Hirohito and Hitler-- + + + + S.S. Officers goose-step through Paris. + + NARRATOR + Although no such capacity to build + existed -- + + + + 1940s L.A., an unassuming hangar reads: “STARK INDUSTRIES.” + + NARRATOR + Howard Stark, founder of the + fledgling Stark Industries, answers + his call to duty -- + + + + A Young Howard Stark shakes FDR’s hand. + + NARRATOR + And builds not fifty, but a hundred + thousand planes. + 5. + + + + +An airfield covered in B-29s. Stark bombers in flight, +strewing bombs and paratroopers across the sky. + + NARRATOR + Later, Stark’s work on the + Manhattan project makes the end of + the war possible. + + + +A mushroom cloud in the New Mexico desert. Howard Stark +observes with Oppenheimer. + + NARRATOR + Stark Industries would go on to + contribute to every major weapons + system through the Cold War -- + + + +Korean War, B-52s, ICBMS, nuclear subs, F-16s launching +from carriers. Howard Stark with Kennedy, Johnson, Nixon. + + NARRATOR + But Howard Stark’s greatest + achievement would come in 1973-- + + + +President Ford, holding baby Tony, posing with Howard. Four +year-old Tony building a massive building-block city. +Howard and twelve year-old Tony assembling a hot-rod +engine. + + NARRATOR + From early on, it was clear that + Tony Stark had a unique gift-- + + + +Tony working on TURBINE ENGINES in a hangar full of F-18s. + + NARRATOR + At seventeen he graduated summa cum + laude from MIT. Four years later, + tragedy would pass the Stark mantle + from father to son-- + + + +Howard’s funeral. Tony with Reagan, Bush Sr. and Clinton. + 6. + + + NARRATOR + The loss of a titan. But Tony did + not let personal grief distract him + from his duty -- + + + +Tony cuts the ribbon on a brand new ARK REACTOR at Stark +Industries West Coast HQ. + + NARRATOR + At twenty-one, he became the + youngest-ever CEO of a Fortune 500 + company. And with it came a new + mandate -- + + + +A laser-guided bomb hits its target. + + NARRATOR + Smarter weapons, fewer casualties. + A dedication to preserving life. + + + +A visual crescendo of America’s modern military might. + + NARRATOR + Today Tony Stark’s ingenuity + continues to protect freedom and + American interest around the globe. + + + +A waving American flag superimposed with an Annie Liebowitz +portrait of Tony. And as it fades out, APPLAUSE, then a +light shines on a podium, revealing Lt. Colonel Rhodes. + + RHODEY + As Program Manager and Liaison to + Stark Industries, I’ve had the + honor of serving with a real + patriot, a man whose life has been + dedicated to protecting our troops + on the front lines. He’s a friend. + And a great mentor. A man who has + always been there for his friends + and his country. Ladies and + gentlemen, this year’s ARES Award + winner -- Mr. Tony Stark. + 7. + + + THUNDEROUS APPLAUSE. A spotlight fixes on Tony Stark or + rather his empty chair. Applause wanes, lights fade up -- + + + + +6 INT. BALLROOM - CAESAR’S PALACE - LAS VEGAS - NIGHT 6 + + Military brass, politicians, movers and shakers. Heads + swivel and MURMUR, where’s Tony? + + OBADIAH STANE (50s), CFO of Stark Industries, regards the + empty chair. He makes his way to the podium. Awkward. + + OBADIAH + Thank you-- I, uhhh, I’m not Tony + Stark, but if I were Tony, I’d tell + you how honored I am and-- what a + joy it is to receive this award. + (then) + The best thing about Tony is + also the worst thing, he’s always + working. + + + + SMASH CUT TO: + + + + +7 INT. CASINO - CAESARS PALACE - NIGHT 7 + + Tony plays craps, a crowd erupting as they all win big. + Chips pile up. Tony’s flanked on both sides by lucky + ladies. + + In between rolls, he whispers into one Woman’s ear -- + + TONY + --you think we’re having a ‘moment’ + here, but this is actually the + logical conclusion of several + mathematical truisms. Your + hypothalamus is flooding your + system with a chain of proteins + called peptides, so that every cell + in your body is opening itself up + to the happy chemical: oxytocin. + 8. + + + WOMAN + (seriously turned on) + That’s-- wow-- + + + + TONY + Hold on a second -- + + + +He rolls again. The table is hot. More cheers. + + TONY + -- so now your limbic system is + positively throbbing. A Kirlian + photograph of us right now, + occupying this space, would show + serious subatomic particles being + exchanged between us, with a + rapidity that transcends-- + (then) + Are you getting this? You will be + quizzed -- + + + +And now he sees Rhodey pulling up, glowering. + + TONY + My God, what are you, they roped + you into this thing too? + + + + RHODEY + Yeah. They said you’d be deeply + honored if I presented. + + + + TONY + Okay, let’s do it. + + + +Rhodey plops the ARES statue down on the felt. + + TONY + That was quick. Thought there’d be + more of, you know, a ceremony. + Maybe a highlight reel -- + 9. + + + + +Tony shakes karma into the dice, rolls again. He craps out. +Groans from the table, everyone staring at Rhodey the +“cooler”. + + TONY + (to the Boxman) + Colore me up. + (turns others) + + My chaperone has just arrived with + my -- + (holding the ARES) + -- Degenerate of the Year Award. + Judging from his look, I may have + just peed in the kiddie pool. + + + +The Boxman racks up Tony’s chips. + + TONY + I must now take my ease, along with + the House’s funds. + + + +He’s handed racks of chips, then tips the table Operators +and heads off with Rhodey. Two hotel Security Guards fall +in behind. As they meander past tables -- + +People gawk, snap photos of Tony with their phones. + + RHODEY + A lot of people would kill to have + their name on that award. + + + + TONY + It belongs to my old man. They + should have given it to him. + + + + RHODEY + What’s wrong with you? A thousand + people came here tonight to honor + you, and you leave them with egg on + their face. This award means + something, Tony, it’s bigger than + you -- + 10. + + + + + TONY + Hold that thought a sec. + + + +He’s stopped in front of a roulette wheel. Puts all his +chips down on, nods to wheel operator. + + TONY + Put it all on black. Don’t worry -- + it’s approved. + + + +The Wheel Operator spins. + +CLOSE ON - ROULETTE WHEEL: the ball finally settling on +red. + +The Dealer scoops away Tony’s chips. + + RHODEY + --you just blew three million. + + + + TONY + Yeah. Don’t know what was more + exciting -- winning it-- or the + fact that I don’t care I just lost + it. + + + + RHODEY + Everything’s funny to you. + + + + TONY + No. You’re not funny. + + + + RHODEY + We’ve got a hell of a day tomorrow. + Can we get out of here now? + 11. + + + TONY + One more stop. + + + + CUT TO: + + + + +B8 INT. BATHROOMS - CAESARS PALACE - NIGHT B8 + + An empty palatial bathroom. Tony’s in the stall on his + throne. Rhodey splashes his face by the mirrors. + + TONY + (IN STALL) + Of course I respect your opinion. + + + + RHODEY + This is no joke. You’re going into + a hot zone. We should be doing this + test here in Nevada. + + + + TONY + (IN STALL) + This system has to be demonstrated + in true field conditions. + + + + The Bathroom door swings open and VIRGINIA “PEPPER” POTTS + enters, Tony’s sexy and very capable assistant. + + PEPPER + Tony, it’s the President. Wants to + congratulate you personally. Heads + up. + + + + She tosses the cellphone over the top of the stall. All + very routine. Rhodey listens to Tony talk, shaking his + head. + + TONY + ((IN STALL)) + 12. + + + Jim, how’re the trout running? + Yeah, sitting on top of the world + here. Working on my masterpiece -- + + + + A MINUTE LATER + + Tony washes up. As they leave, Rhodey drops money in the + absent Attendant’s tip basket. Tony adds the ARES statue to + the basket and follows Rhodey out. + + + + +9 INT. CASINO FLOOR - CAESAR’S PALACE - CONTINUOUS - NIGHT 9 + + Hotel Guards have patrons cordoned outside the bathroom. We + PICK UP Tony and Pepper in mid walk-and-talk. + + PEPPER + You’re leaving the country for a + week. I need five minutes -- + + + + TONY + Okay -- shoot. + + + + +10 EXT. CAESAR’S PALACE - NIGHT 10 + + Tony heads for his waiting limo, the entourage hanging + back. + + PEPPER + (checking her tablet PC) + The Board meeting is on the + eleventh. Should I tell them to + expect an appearance--? + + + + WOMAN’S VOICE (O.S.) + Mr. Stark! + + + + Tony turns, spots CHRISTINE EVERHART, a hot young Reporter + holding a recorder. Security keeps her at bay. + 13. + + + CHRISTINE + Christine Everhart, Vanity Fair + Magazine. Can I ask you a few + questions? + + + + TONY + Can I ask a few back? + + + +She gives him a disarming smile. Tony waves at Security to +let her through. Pepper shakes her head, then takes a call. + + CHRISTINE + You’ve been described as a Da Vinci + for our times. What do you say to + that? + + + + TONY + Ridiculous. I don’t paint. + + + + CHRISTINE + And what do you say to your other + nickname: “The Merchant of Death?” + + + + TONY + That’s not bad -- + + + +Her gaze is suddenly cold. + + TONY + Let me guess. Berkeley? + + + + CHRISTINE + Brown. + + + + TONY + 14. + + +Well Miss Brown, it’s an imperfect +world and I assure you, the day +weapons are no longer needed to +keep the peace, I’ll start +manufacturing bricks and beams to +make baby hospitals. + + + + CHRISTINE +Rehearse that much, Mr. Stark? + + + + TONY +Every night in front of the mirror. +Call me Tony. + + + + CHRISTINE +I’m sorry, “Tony”, I was hoping for +a serious answer. + + + + TONY +Here’s serious: my old man had a +philosophy: peace means having a +bigger stick than the other guy. + + + + CHRISTINE +Good line, coming from the guy +selling the sticks. + + + + TONY +My father helped defeat Hitler. He +was on the Manhattan Project. A lot +of people including your professors +at Brown might call that being a +hero. + + + + CHRISTINE +Others might call it war- +profiteering. + 15. + + + Tony has to smile, this gal is relentless. + + TONY + Tell me: do you plan to report on + the millions we’ve saved by + advancing medical technology? Or + kept from starving with our inteli- + crops? All were breakthroughs + spawned from, that’s right, + military funding. + + + + CHRISTINE + Wow. You ever lose an hour of sleep + your whole life? + + + + He regards her in earnest, then off her drop-dead look we - + - + + SMASH CUT TO: + + + + +11 INT. TONY’S BEDROOM - STARK ESTATE - NIGHT 11 + + Christine and Tony, half naked, crashing about. She’s the + one attacking. They flop out of frame. + + + + +12 INT. TONY’S BEDROOM - MORNING 12 + + A clock changing from “5:59AM” to 6:00”. Christine awakens + alone, as the room begins to transform. + + Darkened windows turn translucent, admitting light. + + She rises, startled by the TV flickering alive as she + passes it. She looks out the window -- hell of a view. + + REVERSE ANGLE - OUTSIDE WINDOW. + + As we PULL AWAY and establish Tony’s estate, perched + impossibly on the cliffs above the Pacific. + + BACK TO: + 16. + + + + +13 INT. TONY’S BEDROOM - SAME TIME 13 + + Christine pads over to the closet, tries to open it. + + JARVIS (O.S.) + I’m sorry, Miss Everhart, you are + not authorized to access that area. + + + + She jumps, freaked out, grabs for Tony’s shirt on the floor + and covers herself. Just then Pepper enters, holding dry- + cleaned clothes in plastic. + + PEPPER + (re: the voice) + Don’t worry, that’s Jarvis -- he + runs the house. Jarvis: de- + activate security. + + + + Pepper eyes Tony’s oversized shirt on Christine. + + PEPPER + Here, your clothes cleaned and + pressed. Anything else I can get + you? + + + + CHRISTINE + Look, Tony wanted me to stay for + breakfast, but I’ve got to get a + jump on the day. Call me a cab, + would you? + + + + PEPPER + Cab’s waiting outside. + + + + A beat, then -- + + CHRISTINE + And a coffee, hon. Black. One + Splenda. + 17. + + + + + PEPPER + (smiling sweetly) + Should I tell Mr. Stark you were + satisfied with the interview? + + + + +14 INT. TONY’S WORKSHOP - MORNING 14 + + It’s like the chaos inside Tony’s head, ultra-modern drones + and missile parts, sports cars and long-abandoned + prototypes. + + Framed photos of Tony and his Dad working on a classic ‘32 + Ford. MUSIC drifts from an old Wurlitzer. + + We drift past: screens containing various CAD images of a + flathead engine, and finally we find -- + + Tony, in suit-slacks and an undershirt, grimy from working + on the same ‘32 Ford as in the photo. Pepper enters holding + her PDA. + + PEPPER + You still owe me five minutes-- + + + + TONY + Five? I’ll need a bit longer than + that -- + + + + PEPPER + Focus. I need to leave on time + today. + + + + TONY + You’re rushing me. What, you have + plans tonight? + + + + PEPPER + The MIT commencement. Yes or no? + 18. + + + + + TONY + Maybe. Tell me your plans. + + + + PEPPER + I’ll tell them ‘yes’. You want to + buy the Jackson Pollock? He’s got + another buyer in the wings -- + + + + TONY + What’s it look like? + + + + TONY + It’s a minor work in his later + Spring Period, it’s ludicrously + over-priced-- + + + + TONY + Buy it. + + + +She’s interrupted by her phone and taps her bluetooth +headset. Listens. + + PEPPER + He left an hour ago. Okay. (hangs + up) It’s Rhodey again. + + + + TONY + You have plans, don’t you --? + + + + PEPPER + I’m allowed to have plans on my + birthday. + + + + TONY + 19. + + + It’s your birthday again? + + + + PEPPER + Yep. Funny, same day as last year. + + + + TONY + Well, get yourself something from + me. Something nice. + + + + PEPPER + Already did. + + + + TONY + And? + + + + PEPPER + It was very tasteful, very elegant. + Thank you, Mr. Stark. + + + + TONY + You’re welcome, Miss Potts. + + + + +15 EXT. STARK AVIATION HANGAR - SANTA MONICA AIRPORT - DAY 15 + + Rhodey, in uniform, paces talking on a cellphone. Behind + him a parked Boeing Business Jet reading: STARK + INTERNATIONAL, “TOMORROW TODAY.” A GROWING RUMBLE and + Rhodey turns to see a Saleen S7 roaring up, stopping short + of him. + + Seconds later a Rolls limo arrives. Tony’s chauffeur HOGAN + pops the trunk and takes out: a single overnight suitcase. + + The Saleen’s scissor-doors open, Tony jumps out. + + He heads for the Boeing, right past Rhodey. + 20. + + + TONY + Sorry, pal, car trouble. + + + + +16 INT. TONY’S PLANE - PARKED - DAY 16 + + Rhodey, steaming, settles into his seat. + + RHODEY + I was standing out there three + hours, what the hell --? + + + + TONY + I had car trouble. + + + + A hot Flight Attendant holds out steamy towels with thongs. + + TONY + Thanks, maybe later. + + + + Rhodey grabs a towel. The WHINE of ENGINES build. + + + + +17 INT. TONY’S PLANE - FLYING - DAY 17 + + A Flight Attendant stops by their seats. + + ATTENDANT + Would you like a drink, Mr. Stark? + + + + TONY + Two fingers of Laphroig. + (to Rhodey) + You want one? + + + + RHODEY + We’re working. + 21. + + + + + TONY + You should have a drink. We’ve got + a twelve hour flight ahead of us. + + + + RHODEY + It’s two in the afternoon. + + + + TONY + It’s two in the morning where we’re + going. C’mon, ten hours “bottle to + throttle --” + + + + RHODEY + Don’t start with me. + + + + TONY + Jeez, we’re not getting hammered. + Just a nightcap. We’ll sleep + better, arrive fresh. It’s the + responsible thing to do. + I don’t know about you, but I want + to sell some weapons. + + + + Off Rhodey’s stoic look, we -- + + SMASH CUT TO: + + + + +18 INT. TONY’S PLANE - FLYING - NIGHT 18 + + MUSIC blares. Tony and Rhodey sip drinks, comfortably numb + and oblivious to the flight attendants dancing next to + them. + + RHODEY + (a few drinks in) + 22. + + +You don’t get it. I don’t work for +the military because they paid for +my education, or my father’s +education. Don’t cheapen it like +that. + + + + TONY +All I said was, with your smarts, +your engineering background, you +could write your own ticket in the +private sector -- on top of which, +you wouldn’t have to wear that +‘straight-jacket’. + + + + RHODEY +‘Straight-jacket’? This uniform +means something. A chance to make a +difference. You don’t respect that, +because you don’t understand. + + + + TONY + (motions with a nod) +See that one? Her I understand. +Croatian. Hot-blooded, I’m serious. +Must be those winters in Zagreb -- + + + + RHODEY +You’re not listening to a word I’m +saying. + + + + TONY +I am listening. I’m changing the +subject. It’s the same litany, +every time you’ve had a thimble of +alcohol. Drink One: reflections on +the New American Century and +related topics -- + + + + RHODEY +Something’s seriously wrong with +you, man. + 23. + + + + + TONY + Drink 2: a history of World War II + and the Tuskeegee Flyers. Drink 3-- + + + + RHODEY + You know, hell with you. I’m not + talking to you anymore. + + + + He undoes his seatbelt, rises, looking for somewhere else + to sit. + + TONY + Go hang with the pilot. You’ll get + along, he’s got a personality just + like yours. + + + + RHODEY + I will. + + + + Rhodey heads to the cockpit and opens the door. + + RHODEY’S POV - THE COCKPIT + + Two empty pilot chairs, a fully-automated flight system. + + As Rhodey returns to his seat. + + RHODEY + That’s funny. + + + + TONY + You could tell? + + + + +19 EXT. BAGRAM AFB - AFGHANISTAN - DAY 19 + + Tony exits the plane, fresh, fired up to greet the waiting + brass. He shakes hands. Then -- + 24. + + + Rhodey appears dressed in ABUs. He’s weary, squinting at + the stinging sun. Pulls his sunglasses down over bleary + eyes. + + Three JERICHO MISSILES on a ‘flatbed’ (which have been + unloaded from a military jet in the b.g.) are brought under + heavy guard to a waiting convoy. + + The CHATTER of MACHINE GUN fire and we -- + + CUT TO: + + + + +20 EXT. DESERT TEST SITE - AFGHANISTAN - DAY 20 + + Tony firing a N.R.F. 425 MACHINE GUN. + + Generals sit on folding chairs behind a safe-zone of Hescos + and sand-bags. Afghani soldiers and SF (Air Force security) + men patrol the perimeter. + + Tony puts the N.R.F. 425 gun down next to other weapons. He + struts before the Generals like a carnival barker. + + TONY + The age old question: is it better + to be feared or respected? I say, + is it too much to ask for both? + + + + He nods at the Jericho Missile, on a mobile launcher. + + TONY + With that in mind, I humbly present + the crown jewel of Stark Industries + Freedom Line. It’s the first + missile system to incorporate my + proprietary Repulsor Technology. + They say the best weapon is one you + never have to fire. I prefer the + one you only have to fire once... + + + + The Jericho ROARS into the sky from a mobile launcher. + + TONY + That’s how dad did it, it’s how + America does it, and so far its + worked out pretty well. + 25. + + + Find an excuse to fire off one of + these and I personally guarantee + the enemy is not gonna want to + leave their caves. + + + + FLASH TO: the Jericho, as it divides from a single missile, + into scores of mini-missiles. + + ANGLE - ON TONY + + A row of majestic peaks behind him. He raises his arms. + + TONY + For your consideration, the + Jericho-- + + + + The mountains behind his outstretched hands explode. + + The shock-wave washes over Tony, blanking him with dust. + + REVERSE ANGLE + + As the shock-wave erases the observing Generals with dust. + + TONY + Now there’s one last creation I + haven’t shown anyone yet. You might + be interested-- + + + + He opens a large silver case. Ice-smoke curls out, then -- + + A bottle appears. Drink glasses. As Tony pours the Generals + and Afghani military officials exchange awkward glances. + + TONY + (raises his glass) + To peace, gentlemen and with every + five hundred million, I’ll throw in + a free one of these. + + + + +21 EXT. DESERT TEST SITE - DAY 21 + + The Generals board their Humvees and depart to the East. + 26. + + +Tony and Rhodey walk to their convoy of waiting Humvees, +pointing West. Tony gets Obadiah Stane on his video-phone. + + TONY + Hey, what are you doing up? + + + + OBADIAH + Sleeping. How did it go? + + + + TONY + I think we got an early Christmas + coming. + + + + OBADIAH + Sounds good. + + + + TONY + Hey, why aren’t you wearing the PJs + I got you? + + + + OBADIAH + I don’t do monograms. I’m hanging + up now, bye-bye. + + + +Stane hangs up. + + TONY + All right, who wants to ride with + me? Jimmy? + + + + JIMMY + (psyched) + Me? + + + +Jazzed, Jimmy and the others jump into the lead Humvee. As +Rhodey approaches -- + 27. + + + TONY + Sorry, Rhodey, no room for my + conscience in here. Or that hang- + dog look. + (raising his glass) + See you back at base. + + + + Rhodey shakes his head, and heads for a different Humvee. + + ROCK MUSIC is cranked up on a boom-box. And as Tony’s door + slams shut. + + SMASH CUT TO: + + + + +22 INT. CRUDE OPERATING ROOM - CAVE - AFGHANISTAN - NIGHT 22 + + Nightmarish. GARBLED VOICES. Stabbing lights. Tony thrashes + against a restraining belt. + + Impressionistic glimpses: a red scalpel. Blood-spattered + hands. Tony’s heaving chest. A boilerplate. + + TONY’S POV: YINSEN (60s), looks down on us, performing the + “operation”. He yells to someone in Arabic, and -- + + Tony is held down, a chloroform rag is pressed to his face. + + + + +23 INT. LAB - CAVE - DAY 23 + + Tony flickers awake, disoriented. A tube protrudes from his + nose. He sees -- + + Yinsen, humming a tune as he shaves by a broken mirror. But + more importantly right now -- + + There is a jug of water on the table. + + Tony tries to speak, can’t. It’s the damn nasal tube. He + pulls at it, gagging as two of feet of tubing slithers from + his nose. + + TONY + (hoarse whisper) + --water-- water. + 28. + + + + + Yinsen keeps humming. Tony yanks the IV from his arm and + stretches for the water, but is stopped by a wire, under + his chest bandages, snapping taut. + + YINSEN + I wouldn’t do that if I were you. + + + + Tony follows the wire with his eyes and finds, to his + horror, that it’s hooked up to a car battery. + + He starts clawing at his chest bandages. Yinsen turns. + + Tony sees his ugly chest wound. It’s too much. He swoons. + + + + +24 INT. LAB - CAVE - HOURS LATER - DAY 24 + + Yinsen stirs a bubbling pot on the furnace. He flicks + glances at Tony, waking up on the cot. + + Tony eyes the bulky chest-piece protruding from his fresh + bandages. + + TONY + What have you done to me? + + + + YINSEN + What did I do? I removed what I + could, but there’s a lot left + headed for you atrial septum. Do + you want a souvenir? + + + + He tosses Tony a jar with scores of bloody Christmas tree- + like barbs. Tony regards the ‘shrapnel’ he owns the patent + to, and lets the jar drop. + + YINSEN + 29. + + + I’ve seen many wounds like this in + my village. The walking dead we + called them, because it took a week + for the barbs to reach vital + organs. I anchored a magnetic + suspension system to the plate. + It’s holding the shrapnel in place + at least for now. + + + +Tony struggles up, sits on the cot and notices something -- + +TONY’S POV: a surveillance camera on the cave wall. + + YINSEN + That’s right, smile. (then) We met + once -- at a technical conference + in Bern. + + + + TONY + I don’t remember. + + + + YINSEN + You wouldn’t. If I’d been that + drunk, I wouldn’t have been able to + stand, much less give a talk on + integrated circuits. + + + + TONY + Where are we --? + + + +The door-slat flies opens and a pair of dark eyes stare in. +Yinsen drops his spoon, puts his hands on his head. + + YINSEN + Stand up! Do as I do. Now! + + + +Tony gets to his feet, can’t gets his hands up. Yinsen +helps him. + + YINSEN + 30. + + + Listen to me, whatever they ask + you, refuse. You understand? You + must refuse. + + + +The door opens and ABU BAKAR enters with two armed Henchmen +(Ahmed and Omar). On Ahmed’s wrist, Tony notices -- + +Jimmy’s bright orange METS watch (from the convoy earlier). + + ABU + (in Arabic) + Welcome Tony Stark, the greatest + mass murderer in the history of + America. It’s a great honor. + + + + YINSEN + (translating for Abu) + He says welcome Tony Stark, the + greatest mass murderer in the + history of America. He is very + honored. + + + +Abu looks Tony up and down like a prize horse, then -- + + ABU + (in Arabic) + I want you to build this for me -- + the Jericho missile you were + demonstrating. + + + +Abu holds out a photo: a surveillance image of the Jericho +Missile launch. + + YINSEN + (translation) + You will build for him Jericho + missile you were demonstrating. + + + + TONY + --I refuse. + 31. + + + Yinsen backhands Tony across the face, goes ballistic -- + + YINSEN + You refuse? You will do everything + he says. This is the great Abu + Bakar. You’re alive only because of + his generosity. You are nothing. + NOTHING. He offers you his + hospitality, and you answer only + with insolence He will not be + refused. You will die in a pool of + your own blood. + + Abu, spooning down Yinsen’s food, throws a look of smug + satisfaction. He heads out. The door slams shut. + + YINSEN + Perfect. You did very well, Stark. + + + + Tony is utterly perplexed. + + YINSEN + Good, I think they’re starting to + trust me. + + + + Yinsen returns to cooking. + + YINSEN + Well, that’s the end of my plan. + + + + +25 INT. LAB - CAVE - DAY 25 + + Tony is jostled awake by Abu’s Henchmen, wrestling a hood + over his head. He struggles as he’s pulled to his feet. + + + + +26 INT. TUNNEL - CAVE - DAY 26 + + TONY’S POV - THROUGH HOOD: approaching the tunnel opening. + 32. + + +27 EXT. CAVE COMPLEX - MINUTES LATER - DAY 27 + + CLOSE ON - TONY: the hood is yanked off his head. He + squints into the stinging daylight, his expression turning + to shock. + + In a bowl of tall mountains, camouflaged tarps are furled, + revealing skids upon skids of Stark Industries weapons + dating back to 80s Afghanistan. + + VARIOUS SHOTS - OF CRATES: the STARK INTERNATIONAL + MUNITIONS logos. Some faded, some new. + + Tony, stunned, staggers along the crates. Yinsen follows. + + YINSEN + Quite a collection, isn’t it? + + + + TONY + How did they get all this? + + + + ABU YINSEN + (in Arabic) + (translation) + As you see, we have As you can see, + they have everything you need to + build everything you need to build + the Jericho. You will make a the + Jericho. He says make a list of + materials and start list of + materials. You will work right + away. When we are start work right + away and done we will set you free. + When you are done he will set you + free. + + + + Tony sees a heavily armed and imposing man surrounded by + several men, who act as pilot fish around him. This is + Warlord RAZA, a man you don’t mess with. + + TONY + No he won’t + + + + YINSEN + --no he won’t. + 33. + + + + +28 EXT. AMBUSH SITE - AFGHANISTAN - DAYS LATER - DAY 28 + + Cold charred wreckage. Rhodey, GENERAL GABRIEL (50s) and a + team of SF men assess the remains of Tony’s convoy. + + RHODEY + Something’s not right. + + + + GABRIEL + Looks like a standard hit and run. + + + + RHODEY + Sir, I’m telling you, this was a + snatch and grab. A perfectly + executed linear ambush. As soon as + they got what they wanted, they + melted away. + + + + GABRIEL + Intel’s on it, we’re in good hands. + If he’s out there, we’ll get him. + + + + It hangs there, then -- + + RHODEY + With your permission I’d like to + stay in theater and head up the + search and investigation. + + + + GABRIEL + There’s a PR firestorm brewing over + this. Right now the best way to + serve your country is to get back + there and handle it. + + + + RHODEY + 34. + + + Tony Stark is the DOD’s number one + intellectual asset, and I can be of + value in the field. + + + + GABRIEL + Duly noted, but we need you back + home. + (walks away, then) + Colonel, it’s not lost on me that + Stark is a lifelong friend. + + + + Rhodey nods and heads for his Humvee as things are packed + up. + + + + +29 INT. LAB - CAVE - DAYS LATER - DAY 29 + + Dark. Tony sits in a wheelbarrow by the furnace, wrapped in + an Army surplus blanket. Yinsen looms over him. + + YINSEN + I’m sure they’re looking for you, + Stark, but they will never find you + here. + (then) + That car battery is running out and + they won’t turn on the generator + till you start to work. + + + + Silence. + + YINSEN + You don’t like what you saw out + there, did you? I didn’t like it + either when those weapons destroyed + my village. + (beat) + What you just saw, that’s your + legacy -- your life’s work in the + hands of these murderers. Is that + how you want to go out? Is this the + last act of defiance of the great + Tony Stark? Or are you going to try + to do something about it? + 35. + + + + + TONY + Why should I do anything, they’re + either going to kill me or I’m + going to die in a week. + + + + YINSEN + Then this is a very important week + for you. + + + + +30 INT. LAB - CAVE - DAY 30 + + The lights come on as the generator is started. Abu is + flanked by Ahmed and several Guards. He watches as Omar + refuels the generator, then walks the gas can to a ‘cage’, + housing a fuel drum, and locks that down too. + + TONY + Okay, here’s what I need. + + + + Tony paces, barking what he needs done while more of Abu’s + Guards carry in missiles and materials. Yinsen follows, + translating as Tony assesses his work area. + + TONY - YINSEN + (in Arabic) + S-Category missiles. Lot 7043. The + S-30 explosive S-Category missiles. + Lot tritonal. And a dozen of the + 7043. The S-30 explosive S-76. + Mortars: M-Category tritonal. And a + dozen of the Abu’s men dart + about.This area free of clutter, + 36. + + + with good light. I want it-- this + area free of clutter, at 12 o’clock + to the door to with good light. He + wants it avoid logjams. I need at + 12 o’clock to the door to welding + gear -- acetelyene or avoid + logjams. He needs propane, helmets, + a soldering welding gear -- + acetylene or set-up with goggles, + and propane, helmets, a soldering + smelting cups. Two full sets set-up + with goggles, and of precision + tools. smelting cups. Two full sets + of precision tools. + +Abu getting exasperated by the never-ending list. + + TONY - YINSEN + Finally, I want: three pairs + Finally, he needs: three of tube + socks, white, a pairs of tube + socks, white, a toothbrush, protein + powder, toothbrush, protein powder, + spices, sugar, five pounds of + spices, sugar, five pounds of tea, + cards, + (thinks, then) + tea, and some playing cards. And a + washing machine. + (pauses) + + + + + And a washing load. machine. Top + load. + + + +Abu’s eye bulge. He gets in Tony’s face. + + ABU + (in Arabic) + A WASHING MACHINE? DOES HE THINK + I’M A FOOL? + + + + TONY + (to Abu) + Must have everything. Great Satan + make big boom-kill for powerful Abu + Bakar. Big boom-kill. + 37. + + + + +31 INT. LAB - CAVE - NEXT DAY - DAY 31 + + Tony pulls open a missile-housing and removes a glass ring + from the inner workings of its guts. Then -- + + He leads Yinsen up to a large missile crate. They remove + the chip-rack cylinder from a larger warhead. + + YINSEN + You do know they’ve removed all the + explosives before they brought this + to us. + + + + TONY + I know, they’re crazy not stupid. + + + + Tony walks the heavy chip-rack to the work-bench and + removes a tiny palladium strip. + + TONY + This is what we’re looking for. I + need eleven of these. + + + + YINSEN + Eleven? + + + + +E32 INT. LAB - CAVE - LATER - DAY E32 + + SHOT OF: Yinsen removes chip-rack cylinders, bringing them + to Tony. Tony extracts palladium strips. + + TONY + Heat the palladium to 1825 Kelvin. + + + + YINSEN + (at furnace) + How will I know when it reaches + that temperature? + 38. + + + + + TONY + The palladium will melt. + + + +LATER: + +INSERT OF: Tony wraps a copper coil around the glass ring. + +INSERT OF: Tony drops palladium strips into a crucible on +the fire. + +INSERT OF: Tony sculpts a sand-mold for the palladium ring. + +LATER: + +SHOT OF: Yinsen bringing the crucible of melted palladium +to Tony. + + TONY + Careful, careful-- + + + + YINSEN + Relax. I always had steady hands. + It’s why you’re still alive. + + + + TONY + Oh yeah, thanks. What do I call + you? + + + + YINSEN + My name is Yinsen. + + + + TONY + Nice to meet you. + + + + YINSEN + Nice to meet you too. + 39. + + + LATER: + + SHOT OF: Tony lifts the palladium ring out of the mold with + a tweezer. + + YINSEN + What are you building? + + + + TONY + A better mousetrap. + + + + +33 INT. LAB - CAVE - DAY 33 + + Tony plugs a cable into the generator. + + TONY + What are you shaving for? We’re + almost done. + + + + YINSEN + (taking his time shaving) + Look like an animal, and soon + you’ll start behaving like one. + + + + Tony throws a generator switch. The lights go up and down. + + INSERT SHOT OF: the finished RT device, wired to the + generator cable, beginning to glow on the workbench. + + Yinsen wipes his face, and trails Tony to the workbench. He + undoes the wires, holding up the glowing RT device. + + YINSEN + That doesn’t look like a Jericho + missile. + + + + TONY + That’s because it’s a miniature ARK + reactor. It should suspend the + shrapnel in my chest and keep it + from entering my heart. + 40. + + + + + YINSEN + What an original invention. + + + + TONY + Yeah, but this one is going to last + a bit longer than a week. + + + + YINSEN + It’s pretty small, what can it + generate? + + + + TONY + Three gigajoules -- per second. + + + + Yinsen marvels. + + YINSEN + That could run your heart for fifty + lifetimes. + + + + TONY + Or something very big for fifteen + minutes. + + + + Their eyes meet a moment, then -- + + TONY + Let’s put it in. + + + + +34 INT. RAZA’S CONTROL ROOM - CAVE - HOURS LATER - DAY 34 + + PUSH IN - MONITOR: Tony lying on a workbench, Yinsen + craning over him. + 41. + + + PUSH IN - ON: Raza, watching as he spoons peanut-butter + from a military airdrop care-package. + + + + +35 INT. TONY’S OFFICE - STARK INTERNATIONAL - DAY 35 + + Pepper enters and is surprised to see Obadiah sitting + behind Tony’s desk, head in his hands. + + OBADIAH + Sorry, did I startle you? + + + + PEPPER + A little-- + + + + He watches as Pepper swaps yesterday’s unread L.A. Times + and Wall Street Journal with today’s. Her little vigil. + + Stane rises, gazes out the windows at the vast Stark + compound. Pepper comes up behind him. + + OBADIAH + This was a bad idea, I should never + have let him go over there-- + + + + He starts to break down. She touches his shoulder. + + PEPPER + Hey, hey-- we’ve got to be strong, + he’s going to be okay. + + + + He composes himself, nods. + + CUT TO: + + + + +36 INT. LAB - CAVE - WEEKS LATER - DAY 36 + + CLOSE ON - TONY’S OLD CAR BATTERY: we follow the wires and + end on the bloody chest plate, no longer in Tony’s chest. + 42. + + +INSERT - TRACKING SHOT: of new set dressing, revealing that +time has passed and ‘missile’ components have progressed +(we see jig). + +We find Tony, bearded and filthy now, cutting metal flat- +stock with a torch. His shirt is cracked open, revealing +the glowing RT device in his chest. He snuffs the torch, +looks over his shoulder at -- + +Yinsen concentrating on building a backgammon board. + +Tony secretly begins filling a cylinder with gas from the +torch. + + YINSEN + (flicks a glance at Tony) + Stark, tell me what you’re doing, + and I’ll tell you what I’m doing. + + + + TONY + Looks to me like you’re making a + crappy backgammon board. + + + + YINSEN + Crappy? This is Lebanese cedar. + + + + TONY + Is that where you’re from, Lebanon? + + + + YINSEN + I’m impressed you even know what + this is. + (then) + How about we play, and if I win, + you tell me what you’re really + making. + + + + TONY + “A” I don’t know what your talking + about. “B” I was the backgammon + champ at MIT four years running. + 43. + + + YINSEN + Interesting, I was the champion at + Cambridge. + + + + TONY + Please don’t use ‘interesting’ and + Cambridge in the same sentence. + (then) + Is that still a school? + + + + YINSEN + It’s a university. You probably + haven’t heard about it since + Americans can’t get in. + + + + TONY + Unless they’re teaching. + + + +The door-slat flies open. Abu again. He barks, more stern +than usual. Tony stops, the secret cylinder he was filling, +clatters to the floor. Yinsen notices, looks at Tony. + +Abu, Ahmed and Omar enter, followed by RAZA’S GUARDS. They +take up positions, rigid. Raza enters (he speaks English). + + RAZA + Relax. + + + +They lower their hands. Silence as Raza meanders, picking +up and putting things down. He almost steps on Tony’s +secret cylinder, but then sees the washing machine. He +shoots Abu a cold look and turns to the workbench and +peruses Tony’s onion-paper schematics of the missile. + + RAZA + The bow and arrow was once the + pinnacle of weapons technology. It + allowed the great Genghis Khan to + rule from the Pacific to the + Ukraine. + 44. + + +He pushes the schematics around trying to make sense of +them. + + RAZA + Today-- whoever has the latest + Stark weapons rules these lands. + Soon it will be my turn-- + + + +A beat as Raza looks back and forth between Yinsen and +Tony. + + RAZA + (to Yinsen in Urdu) + What’s really going on here? + + + + YINSEN + (in Urdu) + Nothing. We’re working. + + + + RAZA + (in Urdu) + It’s been a long time. Where’s the + weapon? + + + + YINSEN + (in Urdu) + He’s working very hard. It’s very + complex. + + + +Yinsen flicks a glance at Tony, who watches apprehensive. + + RAZA + (to Abu, in Urdu) + Get him on his knees. + + + +Yinsen is forced to his knees by Abu and Ahmed. Using +tongs, Raza lifts a hot coal from the furnace and +approaches Yinsen. + + RAZA + (in Urdu) + 45. + + + Tell me what is going on? + + + + YINSEN + (in Urdu) + Nothing! NOTHING is going on. + + + + RAZA + (in Urdu) + OPEN YOUR MOUTH! + + + +Yinsen won’t do it. Abu and Ahmed force his mouth open. + +CLOSE ON - COAL: heading for Yinsen’s mouth. He struggles. + + RAZA + (in Urdu) + TELL ME NOW! + + + + YINSEN + (in Urdu) + He’s building your bomb. + + + +The glowing coal nearly at Yinsen’s mouth now then -- + +Raza drops the coal on the floor in front of Yinsen and +leaves. Raza’s men follow and slam the door shut. + +Yinsen gathers himself, then -- + + YINSEN + That’s twice I saved your life. Now + are you going to tell me what the + hell you’re really building? + + + +Their eyes hold, then -- + + CUT TO: + 46. + + +37 INT. LAB - CAVE - DAY - CONTINUOUS 37 + + CLOSE ON - LIGHT-BOARD: AS IT’S FLICKED ON. + + Tony lays schematic after schematic on the glass. + + CLOSE ON - YINSEN: surprise registering. + + YINSEN + Finally, an idea of your own. + + + + +38 INT. TUNNEL - CAVE - DAY 38 + + We follow Abu in a tunnel, heading for the lab. He shoves + the door-slat aside. + + ABU’S POV - THROUGH SLAT: Tony, shaving in front of the + broken mirror, turns. + + + + +39 INT. LAB - CAVE - CONTINUOUS - DAY 39 + + Abu shuts the door slat. + + Tony wipes his face, pulls on a pair of gloves as he goes + to the furnace. He takes a white-hot piece of metal from + the forge and starts pounding on it. + + Yinsen, soldering a complex circuit, looks up. He is struck + by the image of Tony, strong and resolute, hammering away. + + SLOWLY PUSH IN ON - TONY: hammering away. + + YINSEN (O.S.) + My people have a tale, about a + Prince -- much hated by his King -- + who was banished to the underworld + and jailed there. + + + + BOOM! BOOM! The hammer blows ECHO. + + YINSEN (O.S.) + The evil King gave him the most + difficult labor -- working the iron + pits. + 47. + + + + + Tony’s muscles ripple, sweat flying. + + YINSEN (O.S.) + Year after year the Prince mined + the heavy ore, becoming so strong + he could crush pieces of it + together with his bare hands. Too + late, the King realized his + mistake-- + + + + Dazzling sparks fly around Tony. + + YINSEN (O.S.) + When he struck at the Prince with + his finest sword -- it broke in + half. The Prince himself had become + strong as iron... + + + + Tony, sweating, holds up the metal he’s been working on -- + + A crude iron mask stares back. + + He tosses the mask down. It lies there smoking and pulsing + with heat. + + + + +40 INT. HALLWAY - STARK INTERNATIONAL HQ - DAY 40 + + From down the hallway, Pepper watches Obadiah and Rhodey in + close, heavy conversation. Obadiah, grave, looks over and + catches Pepper’s eye, then he walks off, shaking his head. + + Rhodey on his way out. Pepper steps into his path. + + PEPPER + So that’s it? Everyone’s pulling + the plug and moving on-- + + + + RHODEY + There’s nothing left we can do. If + there was any indication Tony was + still alive-- + 48. + + + + + PEPPER + Spare me. I read the official e- + mail. Thought maybe you’d have + something different to say. + + + + Rhodey follows her into -- + + + + +41 INT. PEPPER’S OFFICE - CONTINUOUS - DAY 41 + + PEPPER + If anyone could figure out how to + beat the odds, it’s Tony. If it was + you over there, he’d be finding a + way to get you back. Or inventing a + new one. + + + + RHODEY + What do you want me to do? + + + + PEPPER + Be a better friend to him. + + + + And with that, she storms out, leaving him stung. + + + + +42 EXT. EDWARDS A.F.B. - DAY 42 + + Rhodey, duffel slung in front of a C-17, is shipping out on + a line of soldiers. General Gabriel pulls up on a golf cart + and approaches. Everyone salutes. The General pulls Rhodey + aside. + + GENERAL GABRIEL + What do you think you’re doing, + Rhodes? + 49. + + + RHODEY + Going back there, Sir. + + + + GENERAL GABRIEL + Listen, son -- it’s been three + months without a single indication + that Stark is still alive. We can’t + keep risking assets, least of all + you. + + + + RHODEY + Are you blocking my transfer, Sir? + + + + GENERAL GABRIEL + (looking around) + Any one of these guys would kill + for your career. Are you telling me + you’re willing to sacrifice that to + fly a bunch of snake-eaters on a + desert patrol half way around the + world? + + + + RHODEY + I am, Sir. + + + + GENERAL GABRIEL + Then I have one thing to say to + you: Godspeed. + + + +He salutes Rhodey. Rhodey salutes back. + + GENERAL GABRIEL + (to the soldiers) + As you were. + + + +Rhodey turns and heads up the ramp into the loading bay. + 50. + + +43 INT. LAB - CAVE - WEEKS LATER - DAY 43 + + Tony puts the finishing touches on a strange box housing a + laser-pointer, fan and tinsel. He tapes the box shut, peeks + through a tiny hole in its side. + + TONY’S POV - INTO BOX: it looks like the furnace flames in + the dark. + + + + +44 INT. RAZA’S CONTROL ROOM - NIGHT 44 + + Guards, bored and tired mill about. + + CLOSE ON - SURVEILLANCE MONITOR: which shows the furnace + glowing in the dark lab. There is a brief shift in the + image, and we -- + + CUT TO: + + + + +45 INT. LAB - CAVE - SAME TIME - NIGHT 45 + + The strange box Tony was working on is being affixed over + the surveillance camera. + + NEW ANGLE + + A work-light is on, revealing Tony and Yinsen by the + workbench. A sensor on Tony’s leg is coupled to a + contraption. Yinsen watches intently as -- + + Tony plugs a wire into his RT ‘heart’, a moment as -- + + Data races up on the crusty laptop then -- + + As Tony moves his leg, the contraption on the table springs + to life, responding to his actions. Tony’s chest-device, + which dims with the power loss. + + The two men’s eyes drift up and hold. Triumph. + + TONY + (unplugging himself) + We’re ready. A week of assembly and + we’re a go. + 51. + + + YINSEN + Then perhaps it’s time we settle + another matter-- + + + + +46 INT. LAB - CAVE - DAY 46 + + Tony and Yinsen eat and play backgammon. + + YINSEN + Ah, anchoring with 13-7. You know, + I have never met anyone who + understands the nuances of this + game like you. + + + + TONY + Right back at ya. + + + + TONY + You never told me where you’re + from. + + + + A moment, then -- + + YINSEN + I come from a small village not far + from here. It was a good place... + before these men ravaged it. + + + + TONY + Do you have a family? + + + + YINSEN + When I get out of here, I am going + to see them again. + (then) + Do you have family, Stark? + 52. + + + TONY + --no. + + + + YINSEN + You’re a man who has everything and + nothing. + + + +Abu shouts from the door slat and enters. + + YINSEN + (in Arabic) + Your laundry’s over there. + + + +Abu goes to a basket where his laundry is neatly folded. He +smells it, ‘ah, clean clothes.’ He heads for the door, +shaking his head as he sees them play backgammon. + + ABU + (in Arabic) + You idiots don’t know what you’re + doing with that game. + + + + TONY + Yeah-yeah, enjoy your laundry. + + + +Abu is about to head out when Raza enters. Abu freezes. +Raza eyes’s dip to the laundry, then without warning -- + +He shoots Abu in the head. + +Tony and Yinsen stand there, stock-still. + + RAZA + You have till tomorrow to assemble + my missile. + + + +He walks out. His henchmen grab Abu’s legs and drag him +out. + +The silence hangs there, then -- + 53. + + + + +47 INT. RAZA’S CONTROL ROOM - CAVE - NEXT DAY - DAY 47 + + Guards pour over a map, discussing heatedly. Others clean + and re-assemble weapons. Khalid keeps watch at the + monitors. + + CLOSE ON - MONITOR: where we see Yinsen laboring furiously + behind the jig. + + Raza enters, wiping his face and neck with a towel. He + drifts to the monitors, observes. Troubled he leans in, + staring intently. + + CLOSE - ON MONITOR: Yinsen still going like hell behind the + jig. + + RAZA + (in Urdu) + Khalid. Where is Stark? + + + + He taps the monitor. + + + + +48 INT. CORRIDOR OUTSIDE LAB - CAVE - MINUTES LATER - DAY 48 + + Khalid arrives, pulls the slat aside and peeks in. He + glimpses a disembodied Yinsen working behind the jig. + + KHALID + Yinsen! YINSEN! + + + + Yinsen ignores him, keeps working. + + + + +49 INT. CORRIDOR OUTSIDE LAB - CAVE - DAY - CONTINUOUS 49 + + REVERSE ANGLE - OF KHALID: in the door-slat. Below, the IED + cylinder (propane tank Tony filled earlier), is rigged to + the door-latch. + + BACK TO: + 54. + + + + +50 INT. CORRIDOR OUTSIDE LAB - CAVE - DAY - CONTINUOUS 50 + + Khalid, as he turns to his men, who ratchet their guns. He + unlocks the door. It won’t open. He shoulders it and -- + + The door explodes in his face. Smoke. Debris. + + + + +51 INT. RAZA’S CONTROL ROOM - SAME TIME - DAY 51 + + Raza witnesses the explosion on the surveillance monitor. + + + + +52 INT. LAB - CAVE - SAME TIME - DAY 52 + + CLOSE ON - THE LAPTOP SCREEN: program bars loading slowly. + + TONY (O.S.) + It’s frozen, the systems aren’t + talking to each other. Reset! + + + + YINSEN + No, they’re moving. Very slow. + + + + We glimpse a bulky chest piece being lowered over Tony. The + STACCATO WHINE of PNEUMATIC TOOL as Yinsen seals Tony in. + + + + +53 INT. RAZA’S CONTROL ROOM - MINUTES LATER - DAY 53 + + Raza, at his monitors, orchestrating his men over the + radio. + + CUT TO: + + + + +54 INT. HALLWAY - MINUTES LATER - DAY 54 + 55. + + + Raza’s men cautiously approach. + + CUT TO: + + + + +55 INT. INSIDE LAB - MINUTES LATER - DAY 55 + + Yinsen eyes the laptop, the bars creeping ever so slowly. + He turns, listening to the SHOUTING MEN outside growing + louder. + + TONY + Get to your cover. Remember the + checkpoints -- make sure each one + is clear before you follow me out. + + + + A decision, then Yinsen runs out. + + TONY + YINSEN! + + + + CUT TO: + + + + +56 INT. OUTSIDE LAB - MINUTES LATER - DAY 56 + + Yinsen grabs dead Khalid’s weapon and runs into the tunnel, + firing in the air. + + YINSEN’S POV: rounding a corner, encountering Raza’s men. + + He opens fire the men are caught off guard, and retreat. + Yinsen chases, firing madly, unleashing pent-up rage. + + He enters the outer cavern, and is confronted by Raza and + his troops. Yinsen lowers his weapon to the ground. + + + + +57 INT. LAB - CAVE - SECONDS LATER - DAY 57 + 56. + + + TONY’S POV: trapped in the suit, watches the loading bars + on the laptop get close. Suddenly Multiple BURSTS of + gunfire. Tony throws a look. + + SILENCE. + + CUT TO: + + + + +58 INT. TUNNEL - SECONDS LATER - DAY 58 + + Raza’s Guards, running at us, shouting. + + CUT TO: + + + + +59 INT. LAB - CAVE - SAME TIME - DAY 59 + + The loading bars on the laptop finish their cycle and a + surge of power to the suit dims the lights. + + + + +60 EXT. OUTSIDE THE LAB - SAME TIME - DAY 60 + + The lights dim to darkness. Raza’s Guards, scared, inch up + on the lab. Two of them break off and move forward -- + + + + +61 INT. INSIDE THE LAB - SAME TIME - DAY 61 + + The two Guards enter the dark, smoky lab cautiously. It + appears deserted. Then, a Guard stops, turns slowly -- + + In the dark, an eerie glow, twin-flames. The SCREAM of + surging METAL and we -- + + CUT TO: + + + + +62 EXT. OUTSIDE THE LAB - SAME TIME - DAY 62 + + As the two Insurgents SCREAM and are flung back out. + 57. + + + The other Guards fire wildly into the lab. As they re-load + the THUMP and SCREECH of METAL. A glowing chest plate. The + flicker of blue pilot lights, and finally, out of the + smoke, the complete nightmare vision. + + Iron Man the Original Gray Armor. + + The Insurgents backpedal, firing, but Tony keeps coming, + feet CRUNCHING on the cave floor. + + + + +63 INT. RAZA’S CONTROL ROOM - DAY 63 + + Raza strapping on his flak vest, grabbing an RPG launcher. + + + + +64 INT. EXIT TUNNEL - DAY 64 + + The crazy streak of tracers, bouncing off Tony. + + An Insurgent jumps from a side-corridor, firing his pistol + point-blank at the back of Iron Man’s head. + + PING! The bullet ricochets back, killing the man instantly. + + NEW ANGLE as Iron Man clumps towards the light of freedom, + insurgents spill out of nooks, in front of him, behind him, + firing -- + + Tony’s arms swivel, knocking Guards down, absorbing + countless rounds. The suit is shredding, smoking, + pockmarked. + + CUT TO: + + + + +65 INT. EXIT TUNNEL - DAY 65 + + Raza heading down a tunnel with an RPG. A wounded Guard + grabs onto him, jabbering. Raza shoves him aside. + + CUT TO: + 58. + + +66 INT. MAIN CHAMBER - DAY 66 + + Tony turns into the main chamber and sees Yinsen on the + ground. + + YINSEN + STOP! STOP! + + + + Tony stops and an RPG whizzes past his nose, exploding in + the wall next to him. He turns, sees Raza, in the + intersecting tunnel, calmly loading another RPG. + + Tony primes his flame throwers, but they malfunction. Both + men square off. Raza aims, but now Tony’s flame throwers + kick in and Raza flattens as twin-plumes of fire envelope + him. He SCREAMS, grabbing a dead soldiers as a shield. + + Tony turns clearing Insurgents out of the tunnels with his + flame throwers. Then he returns to Yinsen. + + TONY + We could’ve made it. Both of us. + You could’ve seen your family + again. + + + + YINSEN + I am going to see them again. + They’re waiting for me. + + + + And now Tony understands Yinsen’s family is dead. Yinsen + grins, then sags into himself, dead. + + Rage overtakes Tony. He steams towards the exit, roaring. + + +67 EXT. EXIT TUNNEL - DAY 67 + + Raza’s men fleeing as a deluge of flame shoots from the + tunnel. Then -- + + Tony emerges, the gray armor scarred and sizzling. + Insurgents keep firing, trying to draw him from the massive + ammo dump under the camouflage. But Tony is relentless, + keeps moving towards it. + + Tony turns his flame throwers on the crates. They begin to + burn, the STARK logos eaten by flames. + 59. + + + And now a withering barrage of gunfire knocks Tony to his + knees. The hose to his flame thrower is pierced, setting + his arm on fire. Another bullet catches a seam and enters + his shoulder. + + But Tony struggles back to his feet. The suit GRINDS. He + pushes further into the maze, torching everything. + + More gunfire pings and ricochets off him, pieces of the + gray armor begins to come loose. + + Now Tony opens a metal flap on his arm, flips a red switch. + And now something incredible happens A WHINE builds to a + ROAR. + + Tony tucks, angles forward as heel-boosters glow white hot, + kicking up desert plumes and then he blasts off like a + missile, rising hundreds of feet. + + One Insurgent watches dumbstruck, as Tony arcs across the + sky towards a mountain pass. + + And then the first ammo dump ignites. Then another and + another, fire roses joining in a hellish conflagration. And + barely outpacing the fireball -- + + + + +68 EXT. SKY - CONTINUOUS - DAY 68 + + The gray armor shoots towards us. Tony clears the mountain + ridge by inches, and then -- + + His boosters are suddenly spent. He plunges like a human + cannonball. + + TONY’S POV - THROUGH SUIT: the Earth swelling up at us and + -- + + + + +69 EXT. SAND DUNES - DAY 69 + + Tony THUDS into the sand, pieces of the armor splitting + away. + + Dazed, he struggles from the exo-skeleton. He staggers into + the dunes, away from the smoke and DISTANT EXPLOSIONS. + + He’s torn up, clutching a bullet wound. He falls, gets up + again, keeps moving. + 60. + + + + +70 EXT. SAND DUNES - DUSK - NIGHT 70 + + Tony staggers down a dune, dying from thirst. Behind him a + USAF Blackhawk suddenly rises over the lip of the dune. + Tony turns, falling over. + + Moments later Rhodey, winded, appears over us. A grin + forming. + + RHODEY + Saving your ass is getting to be a + full time job. + + + + +71 EXT. EDWARDS A.F.B. - DAY 71 + + In the heat shimmers, a hulking form becomes a taxiing C- + 17. + + + + +72 EXT. EDWARD`S A.F.B. NEW ANGLE - MINUTES LATER - DAY 72 + + The rear ramp of the C-17 comes down. Light blinds Rhodey + and Tony who’s in a wheelchair. + + TONY’S POV: Pepper is revealed as the ramp lands. + + Rhodey wheels him down. As they reach the ramp’s end-- + + TONY + Help me out of this thing-- + + + + He struggles to his feet, faltering. Rhodey steadies him. + + RHODEY + I got you, pal. + + + + They walk together as Pepper comes forward. She meets eyes + with Rhodey, and he nods to her. + + PEPPER + 61. + + + Thank you. + + + + And now she faces Tony. A ghost of his former self, but she + puts on a brave face. + + TONY + (managing a smile) + Your eyes are red. A few tears for + your long-lost boss? + + + + PEPPER + Tears of joy. I hate job hunting. + + + + Hogan comes around, holds the limo door open for Tony. + + HOGAN + Good to see you again, Sir. + + + + TONY + You do something new with your + hair? + + + + HOGAN + Wouldn’t dream of it, Sir. + + + + Pepper helps Tony into the limo. + + + + +73 INT. ROLLS SILVER PHANTOM - IDLING - DAY 73 + + Awkward silence. Pepper meets eyes with Hogan in the + mirror. + + HOGAN + Where to, Mr. Stark? + 62. + + + PEPPER + We’re due at the hospital. + + + + TONY + No -- to the office. (then) I’ve + been in captivity for three months. + There’s only two things I want to + do. I want to eat a cheeseburger. + And I want to hold a press + conference. + + + + Off Pepper’s stunned look-- + + + + +74 EXT. STARK INTERNATIONAL HQ - DAY 74 + + Tony’s limo pulls up, Hogan lets Tony out. He finishes a + cheeseburger and Hogan takes the wrappers. + + Obadiah is waiting there with a group of gathered + employees. They all start applauding. Obadiah with arms + outstretched-- + + OBADIAH + See this. Huh. Huh. + + + + He hugs Tony warmly, speaks close. + + OBADIAH + Tony, thought we were meeting at + the hospital. You know there’s a + lot of reporters in there. What’s + going on? + + + + TONY + You’ll see. C’mon -- + + + + They head inside. + 63. + + +75 INT. STARK INDUSTRIES LOBBY - DAY 75 + + Packed with Reporters waiting for the hundred-carat + headline. Pepper is approached by AGENT PHIL COULSON (40s). + + PEPPER + You’ll have to take a seat, Sir. + + + + COULSON + Oh, I’m not a reporter. I’m Agent + Phil Coulson with the Strategic + Homeland Intervention, Enforcement + and Logistics Division-- + + + + PEPPER + That’s a mouthful. + + + + COULSON + I know. Here. + + + + He hands her a card. She squints at the tiny font. + + PEPPER + Look, Mr. Coulson, we’ve already + spoken with the D.O.D., the FBI, + the CIA-- + + + + COULSON + We’re a separate division with a + more...specific focus. We need to + debrief Tony about the + circumstances of his escape. More + importantly-- + + + + PEPPER + (cutting him off) + Well, great, I’ll let him know-- + 64. + + + COULSON + --we’re here to help. We’re here to + listen. I assure you Mr. Stark will + want to talk to us. + + + + PEPPER + I’m sure he will. Now if you could + just take your seat. + + + +NEW ANGLE + +As Tony enters, struggling his way to the podium, followed +by Obadiah. + +Tony gazes out over the reporters. Suddenly he seems +vulnerable, scattered. + +The silence grows awkward. Obadiah is mercifully going to +save him when -- + + TONY + I-- can’t do this anymore. + + + +Pregnant silence. Everyone waiting for the Stark punch- +line. Finally, a Reporter ventures -- + + REPORTER # 1 + You mean you’re retiring? + + + + TONY + No, I don’t want to retire. I want + to do something else. + + + +The room waits through more awkward silence, then -- + + REPORTER # 1 + Something besides weapons? + + + + TONY + Yes. That’s right. + 65. + + + + +The room is suddenly BUZZING with overlapping questions -- + + REPORTER #2 + The official report was sketchy. + What happened to you over there, + Mr. Stark? + + + +Tony is pensive, then the floodgates open. + + TONY + What happened over there? I had my + eyes opened, that’s what happened. + I saw my weapons, with my name on + them, in the hands of thugs. I + thought we were doing good here-- I + can’t say that anymore. + + + +Rhodey, just arriving in the rear, pulls up to Pepper. + + RHODEY + Uhh, weren’t we taking him to the + hospital? + + + +Pepper is transfixed. Nearby, Agent Coulson watches +stoically. + + REPORTER #2 + What do you intend to do about it, + Mr. Stark? + + + + TONY + The system is broken -- there’s no + accountability whatsoever. Right + now, as of this second, we are + freezing the sale of all Stark + weaponry worldwide. + + + +Now the room is in chaos. Obadiah’s ready to wrap this up, +and moves towards Tony. + + TONY + 66. + + + We’ve lost our way. I need to re- + evaluate things. And my heart’s + telling me I have more to offer the + planet than things that blow up. + + + + REPORTER #3 + So you’re saying...what are you + saying? + + + + TONY + (arm around Stane) + In the coming months, Mr. Stane + here and I will set a new course + for Stark Industries. “Tomorrow + Today” has always been our slogan. + It’s time we try to live up to it. + + + +The questions are now firing in a CACOPHONY. Obadiah takes +the podium. + + OBADIAH + Okay, I think we’re going to be + selling a lot of newspapers here. + What we should take away from this + is that Tony’s back, he’s healthier + than ever, and as soon as he heals + up and takes some time off, we’re + going to have a little internal + discussion and get back to you. + Thank you for coming by. + + + +Tony steps down, exhilarated. He works his way through the +swarming reporters, approaching Rhodey and Pepper -- who +have stunned looks on their faces. + + PEPPER + You mean that? Or is this some + clever stock-maneuver? + + + + TONY + Wait and see. + 67. + + +76 EXT. STARK INTERNATIONAL HQ - ARK REACTOR - DAY 76 + + Stane approaches Tony, who stares at the Arc Reactor while + eating fries and sipping a Coke. + + OBADIAH + Well that went well. You just + painted targets on our heads. Our + stock is going to take a 40 point + dive tomorrow. + + + + Tony says nothing. + + OBADIAH (CONT’D) + (considers a new tact) + Tony, we are a weapon`s + manufacturer. Turning this company + around to make baby bottles is like + trying to get a bear to walk on its + hind legs. + + + + TONY + I don’t want a body count to be my + only legacy. There are other things + we can do. + + + + OBADIAH + Like what? + + + + TONY + We could develop the Arc Reactor. + + + + Obadiah points to the Arc. + + OBADIAH + This? This was a publicity stunt. + It’s not even cost effective. We + knew that before we built it. + Repulsor technology is a dead end. + + + + Tony rips open his shirt, revealing the glowing RT. + 68. + + + TONY + No it isn’t. + + + + OBADIAH + (touching the RT) + Oh my God. It is a miracle you are + alive. What must have happened to + you over there? + (hugs Tony) + We’re a team. There is nothing we + can’t do if we stick together -- + like your father and I. Let me + handle this. But you have to lay + low. Don’t talk to the press again. + Can you do that for me? + + + + TONY + Yes. Thanks Obie. + + + + +77 INT. TONY’S LIVING ROOM - NIGHT 77 + + As Tony enters, the house comes alive. Windows and lights + change colors. The TV turns on. Jarvis loading all of + Tony’s preferences. + + JARVIS + Hello, Mr. Stark. + + + + TONY + Hello, Jarvis. + + + + JARVIS + What can I do for you? + + + + TONY + --I need to build a better heart. + + + + JARVIS + 69. + + + I’m not sure I follow, Sir. + + + + TONY + Give me a scan and you’ll see. + + + + +78 INT. TONY’S WORKSHOP - NIGHT 78 + + Tony, shirtless and wearing goggles, sits in the 3D laser + scanner. Lasers play over him, mapping his entire body. + + JARVIS + What were your intentions for this + device? + + + + MONITORS: terabytes of data race past. + + TONY + It powers an electromagnet which + keeps the shrapnel from entering my + heart. Can you recommend any + upgrades? + + + + JARVIS + It is difficult to offer counsel in + light of the fact that your stated + intentions are inconsistent with + your actions. + + + + MONITOR: Tony’s chest device magnified. Its various + components flashing as Jarvis analyzes them. + + TONY + What are you talking about? That is + ridiculous. That is exactly the + purpose of this invention. + + + + MONITORS: going deeper and deeper through the strata of + Tony’s device. Like it’s a city unto itself. + 70. + + + JARVIS + The energy yeild of this device + outperforms your stated intention + by eleven orders of magnitude. You + could accomplish your stated goal + with the power output of a car + battery. + + + +Tony steps from the booth. All around him, calculations +flash at blinding speed. + + TONY + Upgrade recommendations. List. + + + + JARVIS + Why are you talking to me like a + computer? + + + + TONY + Because you are acting like one. + + + + JARVIS + Shall I disable random pattern + conversation? + + + + TONY + No. It’s ok. You are the only one + who understands me. + + + + JARVIS + I don’t understand you sir. + + + + TONY + Were you always this dry? I + remember you having more + personality than this. + 71. + + + JARVIS + Should I activate sarcasm + harmonics? + + + + TONY + Fine. Could you please make your + recommendations now? + + + + JARVIS + It would thrill me to no end. + + + + TONY + Ahh that’s more like it. + + + + JARVIS + Should I begin machining the parts? + + + + TONY + Machine away. + + + + VARIOUS SHOTS: + + Tony loads raw metal stock onto a lathe and begins cutting. + + A robot arm organizes pieces of cut stock. + + The CNC Machine comes to life and begins milling parts. + + + + +79 EXT. SAND DUNES - AFGHANISTAN - DAY 79 + + Metal fingers protrude from the sand. A filthy human hand + reaches into frame, freeing a metal gauntlet from the + desert floor. + 72. + + + Then, we reveal horses and old pickups, scattered as men + scavenge among the dunes. A Toyota pickup flies the banner + of the Ten Rings. A burly man, his back to us, leans on the + bed-mounted machine- gun. + + As we TRACK around him we can see it’s Raza, his terrible + scars still raw from Iron Man’s flame- thrower. He swats + flies from his wounds. + + In one hand Raza holds Tony’s battered helmet, staring into + its eyelets. + + RAZA + (subtitled) + Keep looking. I want all of it. + + + + +80 INT. TONY’S BEDROOM - DAY 80 + + Knocks on the door, enters. The bed is untouched. The flat + screen TV is on Jim Cramer delivering a sermon. + + CRAMER (ON TV) + Stark International: I’ve got one + recommendation. Ready? SEELLLL! + Abandon ship! Does the Hindenburg + ring any bells? + + + + Cramer pushes one of his big red buttons, and we hear the + sounds of SHRIEKING. Pepper shuts it off as she talks on + the phone and heads out to. + + + + +81 INT. TONY’S LIVING ROOM - CONTINUOUS - DAY 81 + + Pepper clicks on her headset. + + COULSON (O.S.) + Hello. This is Agent Coulson with + Strategic Homeland Inter- + + + + PEPPER + (cutting him off) + Yes. I remember. What can I do for + you? + 73. + + + + +INTERCUT - PHIL COULSON’S OFFICE - SAME TIME + +A plain government-issue office. On his desk, newspapers +with headlines: “STARK RAVING MAD?” “STARK LUNACY”. + + COULSON + I’ve left a number of messages + trying to get something on the + books with Mr. Stark. + + + + PEPPER + I know this is a priority for him. + The next few weeks are a bit up in + the air and I can’t set + appointments without speaking with + him first. + + + + COULSON + Do you know when you will be + speaking with him again? + + + + PEPPER + Not Sure. + + + +INTERCUT - TONY’S LIVING ROOM - SAME TIME + +Pepper is interrupted by the intercom. It’s Tony-- + + TONY (O.S.) + Pepper? How big are your hands? + + + + COULSON + What was that? + + + + PEPPER + Agent Coulson, I really have to go. + Let me get back to you later. + 74. + + + + + She hangs up. + + PEPPER + (then to the vox) + What? + + + + TONY (O.S.) + How big are your hands? + + + + PEPPER + I don’t under-- + + + + TONY (O.S.) + -- just get down here. + + + + +82 INT. TONY’S WORKSHOP - SECONDS LATER - DAY 82 + + Dim and unsettling. She finds Tony shirtless in a chair, + she sees his chest device for the first time and steels + herself. + + TONY + Show me your hands. + + + + PEPPER + What? + + + + TONY + Just show me your hands. + + + + She does. + + TONY (CONT’D) + Perfect, they’re small. I need you + to help me. + 75. + + + + + PEPPER + (re: heart) + So that’s the thing that’s keeping + you alive. + + + + TONY + That’s the thing that was keeping + me alive. It is now an antique. + This is what will be keeping me + alive for the foreseeable future. + + + +He hold up the newly fabricated, higher tech replacement +chest piece. + + PEPPER + Amazing. + + + + TONY + I’m going to swap them out and + switch all functions to the new + unit. + + + + PEPPER + Is it safe? + + + + TONY + Completely. First I need you to + reach in and-- + + + + PEPPER + (off-put) + Reach in to where? + + + + TONY + The socket. + 76. + + + + + PEPPER +What socket? + + + + TONY +The chest socket. Listen carefully, +because we have to do this in a +matter of minutes. + + + + PEPPER +Or else what? + + + + TONY +I can go into cardiac arrest. + + + + PEPPER +I thought you said it was safe. + + + + TONY +I didn’t want you to panic. + + + + PEPPER +Oh my god-- + + + + TONY +Stay with me. I need you to relieve +the pressure on my myocardial +nerve. + + + + PEPPER +I don’t know how to do that. + + + + TONY + 77. + + +I’m telling you. + + + + PEPPER +Sorry-- + + + + TONY +Listen. I’m going to lift off the +old chest piece-- + + + + PEPPER +Won’t that make you die? + + + + TONY +Not immediately. When I lift it off +I need you to reach into the socket +as far as your hand can fit and +gently move the housing away from +my heart. Do you know which +direction that is? + + + + PEPPER +To the right. + + + + TONY +To my right. Your left. + + + + PEPPER +To the left. + + + + TONY +Right. + + + + PEPPER +Left. + 78. + + + + + TONY + Right. Left. + + + +Pepper begins to reach in. + + PEPPER + How deep does this go? + + + + TONY + Keep going. + + + +She reaches uncomfortably deep. + + TONY (CONT'D) + That’s it. Deeper. Now press. Yes. + It’s releasing. + + + +She pulls her hand out covered in a nasty pink slime. + + PEPPER + Ew!!! Pus! + + + + TONY + It’s not pus. It’s an inorganic + plasmic discharge. It’s from the + device, not my body. + + + + PEPPER + Well it smells. Am I done? + + + + TONY + Yes. Thank you. + + + + PEPPER + 79. + + + Can I wash my hands now? + + + +She walks to the sink as Tony drops a drain into the +opening. + + TONY + The new unit is much more + efficient. This shouldn’t happen + again. + + + + PEPPER + Good, cause it’s not in my job + description. + + + + TONY + It is now. + + + + PEPPER + I don’t suppose you want to go over + things? + + + +The robot arm sets in the new heart piece. + + TONY + Can it at least wait until I + install my new untested ground- + breaking self-contained power + source and lifesaving device + prototype? + + + + PEPPER + I suppose. + + + +She examines the old chest piece. + + TONY + Throw that thing out. + 80. + + + + + PEPPER + Don’t you want to save it? + + + + TONY + Why? It’s antiquated. + + + + PEPPER + You made it out of spare parts in a + dungeon. It saved your life. + Doesn’t it at least have some + nostalgic value? + + + + TONY + Pepper. I have been called many + things. Nostalgic is not one of + them. + + + +The new chest lights brightly. + + TONY (CONT’D) + There. Good as new. Thank you. + + + + PEPPER + You’re welcome. Can I ask you a + favor? + + + + TONY + Shoot. + + + + PEPPER + I don’t do well under that kind of + pressure. If you need someone to do + something like that again, get + somebody else. + 81. + + + TONY + I don’t have anyone else. + + + + They share a rare moment without words. A smile? + + PEPPER + Will that be all, Mr. Stark? + + + + TONY + That will be all, Ms. Potts. + + + + She exits. He watches, then stands up. + + + + +A83 INT. TONY’S WORKSHOP - DAYS LATER - DAY A83 + + Sketches and diagrams splayed on the worktable. Tony + finishes soldering work on two sculpted metal boots. + Monitors flicker behind him, the robot arm “looks” over his + shoulder. + + JARVIS (O.S.) + Still having trouble walking, Sir? + + + + TONY + These aren’t for walking. + + + + +84 INT. TONY`S WORKSHOP - NEW ANGLE - LATER - DAY 84 + + Tony, finishes marking a ‘test circle’ with pieces of tape. + He’s now wearing the boots, wired to a chest ‘bandolier’. + + TONY + Ready to record the big moment, + Jarvis? + + + + JARVIS + 82. + + + All sensors ready, Sir. + + + + TONY + We’ll start off easy. Ten percent. + + + + Tony activates hand-controlled joysticks. He shoots up, + flips over and out of frame. Crashes. After a beat-- + + JARVIS (O.S.) + That flight yielded excellent data, + Sir. + + + + TONY + Great. I, uhh, think I know what + this needs. + + + + +85 INT. HANGAR - EDWARDS A.F.B. - DAY 85 + + Rhodey paces before an F-22 and a Global Hawk drone. + Student Pilots are assembled before him. + + RHODEY + Manned or unmanned, which is the + future of air combat? For my money, + no drone, no computer will ever + trump a pilot’s instincts. His + reflexes, his judgement-- + + + + A VOICE chimes in from the depths-- + + VOICE (O.S.) + Why not take it a step further? + + + + NEW ANGLE + + Tony’s been watching from the shadows. + + TONY + 83. + + + Why not-- a pilot without the + plane? + + + + RHODEY + That I’d like to see. (then) Look + who fell out of the sky-- + + + + TONY + (to the pilots) + Who wants to take these apart and + put them back together? + + + + RHODEY + (to the pilots) + All right -- let’s wrap it up. + + + +Tony walks to Rhodey as the pilots trickle out, buzzing and +stealing looks at Tony. + + RHODEY + I didn’t think I’d be seeing you + for a while. + + + + TONY + Why not? + + + + RHODEY + Figured you’d need a little time. + + + + TONY + Why does everybody think I need + time? + + + + RHODEY + You’ve been through a lot, thought + you should get your head straight. + 84. + + + + + TONY + I’ve got it straight. And I’m back + to work. + + + + RHODEY + Really? + + + + TONY + I’m onto something big. I want you + to be a part of it. + + + + RHODEY + Lot of people around here will be + happy to hear that. What you said + at that press conference really + threw everyone. + + + + TONY + I mean what I said. + + + + RHODEY + No you don’t. You took a bad hit. + It spun you around. + + + +It hangs. Then-- + + TONY + Maybe I do need a little time. + + + + RHODEY + All right then. Good seeing you. + + + + TONY + Likewise. + 85. + + + + + Tony walks from the hangar. Rhodey watches him go. + + + + +86 INT. TONY’S WORKSHOP - DAYS LATER - NIGHT 86 + + Tony tests out the prototype of a gauntlet. Clips the + gauntlet wires to the chest bandolier. He extends his arm, + lets off a burst of RT from his palm, it tips over a + toolbox, scattering wrenches. Pepper, who’s been watching + in the b.g., approaches. + + PEPPER + Thought you were done with weapons. + + + + TONY + It’s a flight-stabilizer. + + + + PEPPER + Well, watch where you’re pointing + your “fight-stabilizer”, would you? + (then) + Obadiah’s upstairs -should I tell + him you’re in? + + + + TONY + Be right up. + + + + She leaves a small package on a worktable and departs. Tony + turns, spotting the box. Intrigued, he tears it open to + find his old chest-device, mounted in Lucite, glowing + faintly. It’s inscribed: PROOF THAT TONY STARK HAS A HEART- + - + + He smiles. + + + + +87 INT. TONY’S LIVING ROOM - NIGHT 87 + 86. + + +Obadiah sets a pizza down on the table. Tony paces, full of +manic energy. + + TONY + This -- this is the big-big idea. + It can pull the company in a whole + new direction. + + + + OBADIAH + That’s great. Get me the design as + soon as you can. We’ve got a hungry + production line that knock out a + prototype in days. + + + +Tony looks at Obadiah, getting emotional. + + TONY + You know, I had a moment there + where I was reluctant but I know + now I made the best decision. I + feel like I’m doing something-- + right, finally. + (meaning it) + Thank you for supporting me in + this. + + + +Obadiah nods, touched, then -- + + OBADIAH + Listen, I have something to talk to + you about. I really wish you’d + attended the last board meeting + like I asked you to. + + + + TONY + I know, I’m sorry. What did I miss? + + + + OBADIAH + The board’s filed an injunction + against you. + 87. + + + TONY + What? + + + + OBADIAH + They claim you’re unfit to run the + company and want to lock you out. + + + + TONY + How the hell can they do that? It’s + my name on the building! My ideas + that drive that company. + + + + OBADIAH + They’re going to try. We’ll fight + them, of course. + + + + TONY + With the amount of stocks we own I + thought we controlled the company. + + + + OBADIAH + I don’t know. Somehow they pulled + enough votes together. Listen, the + world doesn’t share your vision, + Tony. The more people have to lose, + the more frightened they are of new + ideas. + + + +He pours two drinks. Tony declines. + + OBADIAH + Now listen, I don’t want you to get + all in knots. You know how many + times I protected your father from + the wolves? + + + +Tony nods, still troubled. + + OBADIAH + 88. + + + Get back to your lab and work some + magic. You let me handle the board. + Oh and Tony, no more press + conferences. + + + + +88 INT. TONY’S WORKSHOP - DAYS LATER - DAY 88 + + Tony’s suit is now comprised of a stabilizer belt, + partially- chromed propulsion boots and the Mark II + gauntlets. Everything connected by tubing and wires, he + looks like a crazy science experiment. + + Tony fires up the boots, hovers. Then he fires the gloves + to stabilize. Weaving, tilting. He “surfs” mid-air, trying + to maintain balance, slowly getting the hang of it. + + Then he ventures forward, moving along the expanse of the + lab. Dodging pieces of equipment, his car collection, a few + near misses but he maintains control. Debris and objects + are blown from tables from the propulsive force. + + The joy of flight. + + TONY + Nothing to it-- + + + + He cuts the propulsion and lands. Looks to Jarvis. + + TONY + All right. Let’s get to work. + + + + We PULL BACK out of a dark hole in the chest-plate of + Tony’s original gray armor and show the whole battered + suit, being pieced together by Raza’s men. Then we -- + + + + +89 INT. TENT - NIGHT 89 + + Raza, his face healed now, watching the armor coming + together, mesmerized. + 89. + + +90 INT. TONY’S WORKSHOP - A WEEK LATER - NIGHT 90 + + A humanoid form walks out, shrouded in shadow. Then, + ceiling lights CLUNK on, one-by-one, revealing -- + + CLOSER - DIFFERENT ANGLES + + Powerful scaly arms and legs. Steel vertebrae. The intense + glow of Tony’s RT “heart” through the chestpiece. + + Ailerons and air brakes pop up as Tony moves his head and + arms, “stretching”, getting the feel for his new body. + + The helmet, its intrepid, steely gaze boring into us. + + Now we see the full-on Mark II suit, its seams and rivets + still visible. The suit HUMS as it powers up. + + TONY + Standby for calibration. + + + + The gauntlets and boots fire up, and Tony rises. Suddenly-- + + TONY + Whoa-- + + + + He loses balance, falls back onto the hood of his Saleen, + crushing it. The ALARM goes off. Tony kills the alarm with + a blast of RT. + + TONY + We should take this outside. + + + + JARVIS (O.S.) + I must strongly caution against + that. There are terabytes of + calculations still needed -- + + + + TONY + We’ll do them in-flight. + + + + JARVIS (O.S.) + 90. + + + Sir, the suit has not even passed a + basic wind-tunnel test. + + + + TONY + That’s why you’re coming with me. + + + + TONY’S POV - THE “HEADS-UP DISPLAY” + + The HUD comes alive as Jarvis “loads” into the suit’s on- + board system. + + Tony fires boots and gauntlets again. He hovers, floating + along the workshop’s driveway. + + JARVIS (O.S.) + I suggest you allow me to employ + Directive Four. + + + + TONY + Never interrupt me while I’m with a + beautiful woman? + + + + JARVIS (O.S.) + That’s Directive Six. Directive + Four: use any and all means to + protect your life should you be + incapable of doing so. + + + + TONY + Whatever floats you, Jarvis. + + + + +91 EXT. SKY - NIGHT 91 + + Tony tumbles around the sky, trying to control his flight. + + + + +92 INT. IRON MAN SUIT - NIGHT 92 + 91. + + + TONY’S POV: his “display” glows in front of us: altitude, + power, vital signs. Beyond that the live horizon spins and + jiggles out of control. + + CUT TO: + + + + +93 EXT. SKY - NIGHT 93 + + Tony tucks his arms and legs tight, thrusts his chest, + eventually finding the Delta Pose. And suddenly he’s in + control. He pulls a few turns, and swishes along the ribbon + of headlights on the PCH. + + Then he carves a turn out over the ocean, dives. Whooping + like a kid on a coaster. + + The waves flash by fifty feet below and returning to shore, + he arcs into a high performance climb, passing the Santa + Monica Pier and sees a Kid on the Ferris wheel spotting + him. Eyes wide -- + + FLASH TO - KID’S POV: as Iron Man zips past. + + CUT TO: + + + + +94 EXT. SKY FROM ABOVE A CLOUD - NIGHT 94 + + A glow, then Tony shoots out and keeps ascending; a steel + Icarus reaching for the heavens. + + CLOSE ON - TONY’S MASK: ice crystals forming. + + JARVIS (O.S.) + Power: fifteen percent. Recommend + you descend and re-charge, Sir. + + + + But Tony isn’t listening. + + JARVIS (O.S.) + Acknowledge, Mr. Stark-- + + + + CUT TO: + 92. + + +Tony, intoxicated, as the moon beckons, impossibly bright. + +TONY’S DISPLAY: as all indicators begin flashing red. + + JARVIS (O.S.) + Power at five percent. Threshold + breached -- + + + +A POP then everything goes dark. Tony is yanked from his +reverie. His display flashes: “SYSTEM SHUT-DOWN”. + + TONY + Uhh, Jarvis? JARVIS --? + + + +The glow gone from his chest, the suit a dead hull. The +world starts to pinwheel outside. + + CUT TO: + +Tony, plummeting back to Earth in a free fall. Piercing the +clouds, surging towards the L.A. grid. + + TONY + STATUS, STATUS! REBOOT -- + + + +Then: another POP, and a SURGE. The heads-up display +flickers back to life, the suit’s power returns. + + JARVIS (O.S.) + Temporary power restored. Descend + immediately. + + + +Tony works the boosters, to get the suit back under +control. + + TONY + Jarvis, I think we need to chat + about, uh, Directive Four. + + + + JARVIS (O.S.) + 93. + + + May I remind you, the suit feeds + off the same power source as your + life-support. A zero-drain of RT + will likely kill you. + + + + TONY + You’re a downer, Jarvis. But I + appreciate the heads-up. + + + + CUT TO: + + Tony, as he descends towards his estate grounds. He + attempts an elegant landing stance, but can’t quite hold it + -- + + JARVIS (O.S.) + Shall I take over? + + + + TONY + No, I got it, I got it -- + + + + He punches through the roof of his mansion. + + + + +95 INT. TONY’S LIVING ROOM - CONTINUOUS - NIGHT 95 + + He plunges through the foyer ceiling-- + + + + +96 INT. TONY’S WORKSHOP - CONTINUOUS - NIGHT 96 + + And crashes through the ceiling of his garage, smashing the + Shelby Cobra which is parked next to the damaged Saleen. + + He unlatches his helmet and yanks it off, all the CAR + ALARMS blaring around him. + + TONY + Perfect. Let’s do some upgrades. + 94. + + + + +97 INT. LAB - LATER 97 + + Tony’s out of the suit, which hangs nearby. He’s jazzed up, + typing fast on his terminal. + + The screens are alive with scrolling data, graphics and + diagnostic tests. The plasma TV is on low in the b.g. + + JARVIS (O.S.) + That was quite dangerous, Sir. + Might I remind you, if the suit + loses power, so does your heart. + + + + TONY + Yeah, and it doesn’t have a seat + belt either. A few issues: main + transducer felt sluggish at plus + forty altitude. Same goes for hull + pressurization. I’m thinking icing + might be a factor. + + + + JARVIS (O.S.) + The suit isn’t rated for high + altitude. You’re expending eight + percent power just heating and + pressurizing. + + + + TONY + Re-configure using the gold- + titanium alloy from the Seraphim + Tactical Satellite. It should + ensure fuselage integrity to 50 + thousand feet, while maintaining + power-to-weight ratio. + + + + JARVIS (O.S.) + Shall I render, utilizing proposed + specifications? + + + + TONY + 95. + + + Wow me. + + + +On the center screen, the Mark III prototype is being +“built” by Jarvis. + +The final product appears: an all-gold version of the Mark +III. Tony regards it. + + TONY + Hm. Bit ostentatious, don’t you + think? + + + +He looks over at -- + +His hot-rod and motorcycle. + + TONY + Add a little red, would you? + + + +Tony’s distracted by the TV. Local entertainment Reporter +standing outside Disney Hall. He grabs a remote, turns it +up. + + REPORTER (ON TV) + Tonight’s Red-Hot Red Carpet is + here at the Walt Disney Concert + Hall, where Tony Stark’s third + annual benefit for the Firefighter + Family Fund has become the go-to + charity gala on L.A.’s high-society + calendar. But this great cause is + only part of the story-- + + + +The lab begins springing alive as Jarvis preps the various +machinery. + + REPORTER (ON TV) + --the man whose name graces the + gold-lettered invitations hasn’t + been seen in public since his + highly controversial press + conference, and rumors abound. Some + say Stark is suffering from post + traumatic stress and hasn’t left + his bed in weeks. + 96. + + + + + Tony returns his attention to the -- + + COMPUTER MONITOR: the red and gold Mark III revealed. + + JARVIS (O.S.) + The work could take till morning to + complete, Sir. + + + + TONY + Good. I should come up for air + anyway. + + + + As Tony exits, the Mark III factory gets to work. + + A SIGN: “FIREFIGHTERS FAMILY FUND...” + + + + +98 EXT. DISNEY CONCERT HALL - NIGHT 98 + + A fire-truck is parked outside. Obadiah poses for photos on + the red carpet. The crowd is a mix of kingmakers, pols and + Generals -- along with celebs and stars. + + Suddenly, all the cameras swing over to Tony, decked out, + exiting his Audi R8. He sees a white-haired man in a red + smoking jacket, drowning between three hot Women. Tony + slaps him on the back. + + TONY + Eyyy, there he is. My man! + + + + The man turns, it’s not Hugh Hefner, but Stan Lee. + + TONY + Sorry, thought you were someone + else. + + + + Tony strides up to Obadiah, puts his arm around him and + poses for photos. + 97. + + + OBADIAH + What are you doing here? I thought + you were going to lay low. + + + + TONY + It’s time to start showing my face + again. + + + + OBADIAH + Let’s just take it slow, okay. I + got the board right where we want + them. + + + + TONY + Great. + + + + Tony doesn’t want to talk to them. + + TONY + See ya inside. + (smile) + Lots to talk about. + + + + He heads inside. + + + + +99 INT. DISNEY CONCERT HALL - NIGHT 99 + + A classy band and polite dancing. We TRACK IN on Tony at + the bar, passing Patrons whispering and flicking glances. + + MAN (O.S.) + Mr. Stark. + + + + He turns to find Phil Coulson, all business. + + COULSON + Agent Coulson. + 98. + + + + + TONY + Oh-- was I supposed to meet you + here? + + + + COULSON + No, but you haven’t been returning + my calls. This is serious, we need + to get something on the books or + I’ll have to go official on you. + + + +Tony sees Pepper coming down the stairs. She looks stunning +in a classic gown. + + TONY + Yes, you’re right. I’m going to + handle this right now. Let me check + with my assistant. + + + +Tony beelines for Pepper. She’s surprised to see him. + + TONY + Miss Potts -- can I have five + minutes? You look-- you look like + should always wear that dress. + + + + PEPPER + Thanks. It was a birthday present-- + from you. + + + + TONY + I have great taste. Care to dance? + + + +Tony takes her hand and whisks her onto the dance floor. + +Tony and Pepper dance, looking good together. Natural. + + TONY + 99. + + + I’m sorry. Am I making you + uncomfortable? You seem very + uncomfortable. + + + + PEPPER + No, I always forget to wear + deodorant and dance with my boss in + front of everyone I’ve ever worked + with in a chiffon dress. + + + + TONY + Would it help if I fired you? + + + + PEPPER + You wouldn’t last a week without + me. + + + + TONY + I’m not so sure. + + + + PEPPER + What’s your Social Security number? + + + + TONY + (smiles) + Uh-- + + + + PEPPER + 119-64-5484 + + + +Off a shared smile we-- + + CUT TO: + 100. + + +100 EXT. DISNEY CONCERT HALL VERANDA - NIGHT 100 + + Tony and Pepper under the stars, close together. + + PEPPER + I’m sorry I was so uncomfortable. I + hate being the center of attention + like that and that’s why this one + time in high school when I was + supposed to be in a play-- no, + never mind-- but you know that’s + why I never like, wanted to have a + big wedding-- you know, because I + thought everyone would be looking + at me wearing a dress. Oh, no, no-- + I’m not saying, like, “wedding.” + No, not like that. I’m just saying, + you know-- + + + + He plants one on her. She gets quiet. They both do. Then-- + + TONY + Can I get you another glass of + wine? + + + + PEPPER + A vodka martini, extra dry, with + extra olives as soon as possible. + + + + TONY + Okay. + + + + He goes, then is stopped. + + PEPPER + And, Tony-- + + + + TONY + (waits) + + + + PEPPER + 101. + + + I’m not a cheeseburger. + + + + TONY + (smiles) + No. You’re not a cheeseburger. + + + + He goes. She flushes. + + + + +101 INT. DISNEY CONCERT HALL - NIGHT 101 + + The party going full tilt. Tony takes two drinks from the + Bartender. Turns to find himself face-to-face with -- + + The reporter, Christine. The one-night stand he can’t + escape. + + CHRISTINE + Mr. Stark! I was hoping I could get + that reaction from you. + + + + TONY + How’s panic? + + + + CHRISTINE + I was referring to your company’s + involvement in this latest + atrocity. + + + + TONY + Hey, they just put my name on the + invitations -- + + + + She thrusts a dossier of photos out to him. + + CHRISTINE + Is this what you call + accountability? + 102. + + + + + He looks at the photos, going stone-faced. + + TONY + When were these taken? + + + + CHRISTINE + Yesterday. Good P.R. move, you tell + the world you’re a changed man, + even I believed you. + + + + THE PHOTOS: victorious insurgents, the Ten Rings insignia + on their vehicles, clutch Stark machine guns, RPGs. Behind, + a town burns, bodies strewn. + + A photo of civilians being marched in rows, pre-execution, + Stark weapons trained at their backs. + + TONY + I didn’t approve this shipment. + + + + CHRISTINE + Well your company did. + + + + TONY + Come with me. + + + + He leaves, making a bee line for-- + + + + +102 EXT. DISNEY CONCERT HALL - MINUTES LATER - NIGHT 102 + + Tony strides out to the red-carpet paparazzi. + + TONY + I made some promises I’m not going + to be able to keep. I suggest you + pull all your money out of Stark + Industries immediately -- + 103. + + + + +Obadiah is suddenly there, steering Tony up the entrance +stairs. + + OBADIAH + Is this like a tick for you? + Whenever you have a feeling, you + start going to all the people who + don’t trust you, who don’t protect + you. They’re going to put a spin on + everything you say. + + + + TONY + Wait a minute. I got to ask you + something. I’m dead serious about + this. I’m not kidding. Am I losing + my mind or is Pepper really cute? + Do you think she’s attractive and + interesting, or is it just that her + hair is down? I’ve been out of the + game for a while. + + + + OBADIAH + Are you out of your mind. You’re + messing with the “guys in the + rooms”, we’re talking about billion + dollar interests, the world order - + - + + + + TONY + I’m not worried about that right + now -- + + + + OBADIAH + -- you should be. You’ll disappear. + I can’t protect you against people + like that --? + + + +The Paparazzi has snuck up on them, snapping photos. + + OBADIAH + DO YOU MIND? + 104. + + + + +They go further up the stairs. + + OBADIAH + Tony don’t be so naive -- + + + + TONY + -- naive? I was naive before, when + I was growing up and they told me + don’t ever cross this line, this is + how we do business. In the meantime + we’re double-dealing under the + table. We don’t even deserve to + represent the United States -- + + + + OBADIAH + -- Tony, you’re a child --! + + + + TONY + -- you don’t believe I can turn + this company around, do you --? + + + + OBADIAH + -- you’ve got about as much control + over things as a child riding in + the backseat of your father’s car + with a red plastic steering wheel + in your hand. + + + + TONY + Maybe I’ll just get out of the car. + + + + OBADIAH + You’re not even allowed in the car. + (then) + I’m the one who’s filing the + injunction against you. + 105. + + + Tony is shell-shocked. Then, he goes after Obadiah. They + jostle and Obadiah backs off as Tony goes ballistic. The + paparazzi snap photos. + + OBADIAH + It’s the only way I could protect + you. + + + + Aki (from earlier) and several Obadiah’s Men, smiling, but + steely-eyed, step in to prevent Tony from following Obadiah + to his waiting car. + + TONY + (yelling after Obadiah) + This is going to stop. + + + + CUT TO: + + + + +103 INT. TONY’S WORKSHOP - NIGHT 103 + + Tony, wearing a Mark III gauntlet, wired to his RT chest- + piece, turns a screwdriver to adjust the power. + + On the wall beside him a flat screen TV: live war footage, + refugees huddled. The bottom crawl reads, “BREAKING NEWS - + TRAGEDY IN GULMIRA.” + + TV REPORTER’S VOICE the ten mile drive to the outskirts of + Gulmira can only be described as a descent into Hell, into + a modern-day Heart of Darkness. + + Simple farmers and herders, from peaceful villages, driven + from their homes at the butt of Western rifles and the + turrets of modern tanks. Displaced from their lands by + Warlords and insurgent groups emboldened by their newfound + power, a power fueled by high-tech weapons easily purchased + with Poppy money on the black market and further + destabilizing a fragile region which for decades has been a + tinderbox of tribal feuding and ethnic hatred. + + Tony aims the gauntlet at some light fixtures. Gives them + an RT blast. They spark and fall from the ceiling. + + TV REPORTER’S VOICE (CONT’D) + 106. + + + The villagers have taken shelter in + whatever crude dwellings they can + find -- in the ruins of other razed + villages, in the cold barren + scrublands, or in the remnants of + an old Soviet smelting plant. Our + translator relayed to us one human + tragedy after another. + + + + A seven year old boy, thin as a scarecrow,clutching + yellowed photographs and holding them out to anyone who + would stop, with a child’s simple question: where are my + mother and father? + + A woman, begging for news of her husband, who’d been + kidnapped by insurgents, either forced to join their + militia, or to be shot without reason. + + Tony adjusts the gauntlet again, raising the power level. + Blasts a window in the lab, shattering the glass and + knocking a painting off the wall. + + TV REPORTER’S VOICE (CONT’D) + With no political will or + international pressure, there is + little hope for these newly-formed + refugees. Refugees who can only + wonder one thing: is the world + watching? + + + + A final adjustment. Another RT blast, this time Tony wipes + out the plasma TV screen. + + + + +104 INT. TONY`S WORKSHOP NEW ANGLE - MINUTES LATER 104 + + Pepper enters, regards the destruction, the massive hole in + the ceiling, then Tony. He is stoic. + + PEPPER + Are you going to tell me what’s + going on? + + + + TONY + (never looking at her) + 107. + + + Get my house in Dubai ready. I want + to throw a party. + + + + She’s flustered by his abrupt tone. + + PEPPER + Yes. Mr. Stark. + + + + +105 EXT. DUBAI SKYLINE - ESTABLISHING - STOCK FOOTAGE - DUSK 105 + + +106 EXT. TONY’S DUBAI VILLA - DUSK 106 + + Festively lit up, music cranking. Expensive cars pulling + up, valets scurrying. Beautiful people everywhere. + + + + +107 INT. DUBAI VILLA - SAME TIME - DUSK 107 + + Tony weaves through glitzy guests, saying hello, shaking + hands, slapping shoulders. + + TYCOON + Tony! You never said what is the + big occasion? + + + + TONY + Ever known me to need one? + + + + The Tycoon laughs, as Tony keeps moving. + + + + +108 EXT. TONY’S DUBAI VILLA - POOLSIDE - HOURS LATER - NIGHT 108 + + The party in full tilt now. Guests dancing everywhere, or + splashing around in the pool. + + Tony moves along, arm-in-arm with two exotic beauties + (DUBAI BEAUTY #1 & DUBAI BEAUTY #2). Pepper approaches him. + 108. + + + PEPPER + Well you seem back in old form. + + + + TONY + Life of the party -- isn’t that + what everyone wanted? + (then) + Cue the fireworks in five, would + you? + + + + DUBAI BEAUTY #1 + Kinky! + + + + He stumbles towards the house with the two giggling women + + PEPPER + Sure. + (with edge) + Don’t hurt yourself. + + + + +109 INT. MASTER BEDROOM - TONY’S DUBAI VILLA - MINUTES LATER - 109 + NIGHT + + The Dubai beauties tumble onto the huge bed. + + TONY + I’ll be right back. Why don’t you + two get started without me. + + + + They laugh and he checks his watch, then slips out a side + door, instantly sober. + + + + +110 EXT. TONY’S DUBAI VILLA - POOLSIDE - MINUTES LATER - NIGHT 110 + + Guests congregate, watching the massive fireworks show. The + HISS and BOOM of launching and bursting rockets. + + NEW ANGLE - PEPPER + 109. + + + Alone, staring off. She spots a streaking ‘rocket’, but + unlike the others, it disappears without exploding. + + CLOSER - FIREWORKS: heavy concussion, lighting up the sky. + + + + +111 EXT. SKY - DAWN 111 + + Tony flying against the backdrop of rising dawn. Peaceful. + + SMASH CUT TO: + + + + +112 EXT. GULMIRA - DAY 112 + + A mortar explodes in our face. + + Smoke drifts away revealing a terrified MOTHER and her FOUR + KIDS huddled in a cave-like crawlspace. She doesn’t have + enough arms to cover them all. + + THEIR POV - OF ‘ALLEY’ OUTSIDE: an abandoned industrial + facility. GUNFIRE, SCREAMING. + + In the distance ragged tents and shanties are beset upon by + black clad Irregular Forces, firing and burning and + destroying. + + Soldiers toss grenades into rat holes. Hunter-killer teams + fire at offscreen targets then smile with satisfaction. + + The oldest of the four kids in the crawlspace darts out + into the alley, frantically calling -- + + KID + Arto! ARTO! + + + + On his way back he’s surprised by a four man hunter-killer + team. They shout at him to drop the puppy, but he won’t. + + The men cock their guns, briefly distracted by a strange + rocket-streak in the sky. + + Never mind, they take aim on the boy, and are about to fire + when IRON MAN lands before them, slamming his fist to the + ground in the classic Granov fist smash. + 110. + + + With a single RT blast the Soldiers are thrown fifty yards. + Tony scoops up the Kid, with the barking mutt in his arms, + and they take off. + + NEW ANGLE - CRAWLSPACE + + Iron Man drops down, delivering Kid and dog back to safety. + The Kid, ignoring his mother’s protests, darts back out to + watch Iron Man. He sees a soldier flying like a ragdoll + from behind a heap of bricks. + + The Boy moves for a better view and sees Iron Man in full + terrible glory, deflecting withering fire while laying + waste to a cluster of militants with his fists and bursts + of RT. + + Refugees slowly emerge from their cover, stunned to watch + Soldiers retreating in fear. + + CUT TO: + + Raza, his wounds healed like papier-mâché, observing his + retreating men from a command post. He grabs a rifle, steps + through a building, and spots Iron Man, in the distance, + throwing a Soldier through a wall. + + Raza scrunches into nook, riveted. + + NEW ANGLE - IRON MAN + + Picks a Soldier up, who’s about to fire an RPG. Holds an RT + palm to the man’s face. + + SOLDIER + (shuddering in terror) + Geneva Convention! Article Three! + Geneva Convention -- + + + + Tony disarms the soldier, tosses him down. The Soldier + scrambles away for his life. + + Suddenly Tony is jarred by a sniper’s bullet. + + + + +113 INT. TONY’S SUIT - SAME TIME 113 + + A thermal silhouette of a rooftop sniper. Tony fires RT, + but “OUT OF RANGE” flashes. + 111. + + + CUT TO: + + Tony is hit again. He spots a Jeep wheel and grabs it. + + CUT TO: + + Calculations cascade across Tony’s display, culminating in + a hyperbolic arc with a blinking target. + + CUT TO: + + Full view of Tony as he whips the wheel like a discus. + + CUT TO: + + The Sniper, as he’s hit and flies off the roof. + + CUT TO: + + Tony, turning, intrepid -- he’s ready to mop up the rest. + + + + +114 INT. CENTRAL AIR OPS CTR - EDWARDS AFB - SAME TIME - NIGHT 114 + + In the glow of consoles, and on huge SCREENS, Officers + watch grainy satellite views of the action on the ground. + + SCREENS: A vague figure moving through the battle haze and + smoke. Flying, blasting, Insurgents fleeing. + + MAJOR ALLEN (50s) enters the CAOC, taking in the Images. + + MAJOR ALLEN + Are we in there? + + + + OFFICER + Negative, it’s a local skirmish, + green-on-green. + + + + MAJOR ALLEN + (scrutinizing the + screens) + Anyone want to tell me what the + hell I’m looking at? + 112. + + + OFFICER + A drone? An advanced robotic? We + don’t know what it is, Sir. + + + + MAJOR ALLEN + Get someone down here from Weapons + Development -- now. + + + + +115 EXT. GULMIRA - SAME TIME - DAY 115 + + Emboldened Refugees emerge from hiding in droves, when a + tank shell blasts the building next to Tony. He staggers. + The tank rolls towards him smashing makeshift hovels. + + Tony gets to his feet, squares off with the tank, its + turret zeroing on him. + + CUT TO: + + Tony’s H.U.D.: switching to a schematic overlay of the + Stark- designed tank. He identifies its weak spot, then -- + + CUT TO: + + A forearm panel pops open on Tony’s suit, revealing a mini- + missile pod. He fires and the missile nails the weak spot. + A chain reaction, then the tank explodes, raining debris. + + Then Tony is surprised from behind. He whirls, brandishing + his glowing palm. + + But it’s only the little Boy from earlier, holding an apple + out to him. + + He musses the boy’s hair, waves and takes off. The Kid + watches in awe. + + ANGLE ON - RAZA + + Like a rat hiding in a crawlspace. He dials on a Sat-Phone, + watching as Iron Man flies below the rafters. + + RAZA + (subtitled) + Put me through to the boss. + 113. + + + ANGLE ON - REFUGEES + + Cheering faces as Tony does a low pass over them, and + climbs into the sky. + + The battlefield smolders below as Tony rises to the clouds. + + + + +116 INT. TONY’S SUIT - SAME TIME - DAY 116 + + TONY + Jarvis, plot a course for home. + + + + +117 INT. CENTRAL AIR OPS CTR - SAME TIME - NIGHT 117 + + Rhodey enters, pulling off his jacket. He paces past + screens taking in the SAT-IMAGES of Iron Man’s assault on + Gulmira. + + MAJOR ALLEN + So what do we have here, Rhodes? + + + + RHODEY + I don’t think it’s Russian, or + Chinese. + + + + MAJOR ALLEN + Then where did it come from? + + + + RHODEY + (thinking, then) + Let me make a call. + + + + Rhodey punches a number on a console. All around him, + pixelated images of destruction. + + CUT TO: + 114. + + +An INCOMING CALL flashes up on Tony’s HUD. D.O.D. EMERGENCY +CALL. + + TONY + (hesitates, then) + Put it through, Jarvis. + (listens) + Yeah? + + + + CUT TO: + +Rhodey paces listening to the headset, away from the chaos. + + RHODEY + Tony, it’s Rhodey. + (then) + What the hell’s that noise? + + + + TONY (O.S.) + I’m in the convertible. Not the + best time -- + + + + CUT TO: + +TONY’S SUIT + + RHODEY (O.S.) + I need a quick ID. What do you know + about un-manned combat robotics, + with air-ground capabilities. + + + + TONY + Never heard of anything like that. + Why? + + + + CUT TO: + +CAOC, a TOPO MAP showing Iron Man’s “dot” about to cross a +line. + + OFFICER + UAV has entered the no-fly zone-- + 115. + + + + + RHODEY + Because I think I’m staring at one + right now, and it’s about get blown + to Kingdom Come. + + + + ALARMS add to the frenzy of the control room. + + MAJOR ALLEN + Rhodes! You got something for me? + + + + TONY (O.S.) + Uhh-- ’kingdom come’? + + + + CUT TO: + + Two USAF F-22 Raptors flash out of the clouds like sharks. + + CUT TO: + + TONY’S HUD: His ALARM SOUNDS, “PROXIMITY WARNING” FLASHES. + + TONY + This is my exit -- gotta go. + + + + CUT TO: + + + + +118 EXT. SKY 118 + + FRONTAL: we see Tony going turbo and rolling out of view in + a treacherous bank. The F-22s curve expertly onto his tail. + + VIPER 1 (O.S.) + Ballroom Control -- this is Viper 1 + & 2 checking in. UAV is in sight. + + + + MAJOR ALLEN (O.S.) + Viper: target at 330 for 10 miles. + 116. + + + + + Tony screams past us, trying to outrun the pursuing jets. + + CUT TO: + + + + +119 INT. CONTROL ROOM 119 + + The CAOC SCREENS now fill up with images from the belly- + cams of the Raptors. The pursuit of Iron Man. Awe- + inspiring. + + Officers react. Rhodey’s face. Holy shit. What is it? + + +120 INT. F-22 VIPER 1 - FLYING - SAME TIME - DAY 120 + + From behind the Pilot: as he fights to stay with Tony. + + VIPER 1 + Ballroom, contact appears to be an + unmanned aerial vehicle-- + + + + MAJOR ALLEN (O.S.) + Ballroom copies, you are cleared to + engage. + + + + The cockpit’s BITCHING-BETTY now speaks in a calm voice. + + BITCHING-BETTY (O.S.) + Locked on! Locked on! + + + + CUT TO: + + Viper 1’s F-22 fires a SIDEWINDER MISSILE. + + CUT TO: + + Iron Man goes full tilt as the missile closes in fast. + + CUT TO: + + TONY’S HUD: a red dot moves across the center of his face. + 117. + + + JARVIS (O.S.) + Incoming Sidewinder in five-- four- + - three-- two-- + + + +‘COUNTER-MEASURES’ flashes on the screen. + + CUT TO: + +A hatch opens on the Iron suit. Chaff is released. + + CUT TO: + +The Sidewinder hits the cloud of chaff and the missile +detonates. Iron Man shoots from the fireball. The Raptors +veer. + +Iron Man dives, rolls into dizzying evasive maneuvers. +Pulling heavy Gs. The F-22s stay glued to his tail. + + CUT TO: + +HUD: Tony nearly blacks out as the G-Force Meter hits red. + + JARVIS (O.S.) + Sir, may I remind you that the suit + can handle these maneuvers. You + cannot. + + + + CUT TO: + +The F-22s now spray heavy cannon-fire in Iron Man’s path. + +Tracer rounds streak past Tony, exploding, hitting him, +ricocheting off the armor. Tearing him up. + + TONY (O.S.) + Jarvis -- AIR BRAKES! + + + +The brakes pop out from the suit and Tony instantly slams +down to a quarter-speed. The jets blow past him. + + CUT TO: + + VIPER 1 + That was not a drone. + 118. + + + + +Viper 1, checking his scope. Nothing. + + VIPER 2 (O.S.) + Where the hell is it? + + + + CUT TO: + +Rhodey, his wheels beginning to turn, stares at the belly- +cam monitors. Nothing but sky and clouds. Then -- + + OFFICER + Lt. Colonel Rhodes, I have Tony + Stark calling-- + + + + RHODEY + Put him through. + + + +The call clicks on Rhodey’s headset. A low ROAR in the b.g. +Rhodey strains to hear. + + TONY (O.S.) + Rhodey, I had Jarvis run a check. I + might have some info on that UAV. A + piece of gear like that might + exist. Might definitely exist -- + + + +Rhodey speaks low, away from the Major. + + RHODEY + Wouldn’t happen to be red and gold, + would it? + + + + CUT TO: + +Viper 1&2 in close formation, searching, searching. Viper 2 +begins to bank slowly, and coming into view Iron Man +clinging to the underside of one of the Raptors. + + VIPER 1 (O.S.) + 119. + + + Viper 2 -- he’s on your belly! + Shake him! + + + + VIPER 2 (O.S.) + What--? + + + + CUT TO: + +CONTROL ROOM + +ALLEN’s eyes go wide at the belly-cam images. The Iron suit +hangs on for dear life as the Raptor tries to shake it. + + VIPER 1 (O.S.) + Ballroom: that is definitely not a + UAV. + + + + MAJOR ALLEN + What is it then? + + + + VIPER 1 (O.S.) + I think it’s-- a Man, sir. + + + +PUSH IN: on Rhodey, as all the pieces click. + + RHODEY + Son of a bitch. + (then) + Tony--! + + + +But the line is dead. + + CUT TO: + +Viper 2, frantic, looking out both sides of the cockpit, +trying to spy Iron Man, shaking the jet harder. + + VIPER 1 (O.S.) + Still there Viper 2. ROLL! ROLL! + 120. + + + + +Viper 2 works the stick, world becoming a centrifugal blur. + + CUT TO: + +Viper 2 engages in dangerous rolls. The horizon spins as +Iron Man clings desperately for life. + + CUT TO: + +INSIDE SUIT: BUZZERS. WARNING LIGHTS FLASH: “POWER 28%”. + + JARVIS (O.S.) + Sir: two minutes and there won’t be + sufficient power to get home. + + + + CUT TO: + +Finally, Tony is jarred loose, tumbling and hits Viper 1’s +tail-fin, shearing it off. The jet careens out of control. + + VIPER 1 (O.S.) + I’M HIT! + + + + CUT TO: + +Inside Viper 1’s Raptor, spiraling crazily. + +Viper 1 pulls his EJECT and blasts out of the crippled jet. + + CUT TO: + +The sky, as we fall with Viper 1, his chute failing to open +as he pulls the damaged lever. + +And he continues plunging, Earth and sky revolving like +one. + + MAJOR ALLEN (O.S.) + Viper 2, do you see a chute? + + + + VIPER 2 (O.S.) + Negative! No chute, no chute-- + 121. + + + CUT TO: + +Iron Man zipping through the clouds. + + JARVIS (O.S.) + Power critical, set course for home + immediately. + + + +But Tony dives, vortices curling off his feet as he pursues +the tumbling pilot. + + VIPER 2 (O.S.) + The UAV is going after him! It’s + attacking--! + + + + CUT TO: + +Iron Man reaches the pilot, and they are face to face a +split second, before he yanks the chute mechanism free and +the chute snaps open, yanking the pilot up and out of view. + + VIPER 2 (O.S.) + GOOD CHUTE! GOOD CHUTE! You’re not + gonna believe this, Ballroom-- but + that thing just saved his ass. + + + +Iron Man banks sharply, coming dangerously close to the +ground. Viper 2 barrel-rolls onto his tail. + + CUT TO: + +Rhodey and Major ALLEN are glued to the SCREENS. + + MAJOR ALLEN + Viper 2: re-engage. + + + + RHODEY + -- WAIT --! + + + + MAJOR ALLEN + -- TAKE THE TARGET OUT! + 122. + + + + + RHODEY + Major, call off that Raptor. You + don’t know what you’re shooting at. + + + + MAJOR ALLEN + We’ll find out when recover the + pieces. + + + + CUT TO: + +Viper 2’s Bitching Betty activates. + + BITCHING-BETTY (O.S.) + LOCKED ON! LOCKED ON! + + + +Viper 2, staying with Tony in a barrel roll-- + + VIPER 2 + Ballroom: understand, you want me + to engage the UAV? + + + +The Pilot’s finger hovers over the kill button. + + CUT TO: + + MAJOR ALLEN + Copy. + + + + RHODEY + Negative, Viper 2, disengage. + + + + MAJOR ALLEN + It’s not your call. That thing just + took out an F-22 inside a legal no- + fly zone. + (then) + Viper 2: you get a clean shot you + take it. + 123. + + + + + Rhodey’s eyes are locked on the screens. + + CUT TO: + + Viper 2 fires its missile. It races towards Iron Man. + Evasive maneuvers, chaff released. Then the explosion, way + too close for comfort. Iron Man is thrown from the frame by + the fireball. + + CUT TO: + + Iron Man’s “dot” vanishes from the screens. + + MAJOR ALLEN + Viper 2. Can you confirm the kill? + + + + VIPER 2 (O.S.) + I got him good. He went down, he + was smokin’. But I cannot confirm. + + + + Rhodey reacts. + + + + +121 INT. TONY’S DUBAI VILLA - ALCOVE - SAME TIME - DAY 121 + + Pepper sitting on a small bench, head propped in her hand, + having dozed off. + + A WHOOSH and a streak flashes outside the window, startling + her awake. + + Pepper rises, looking around, then exits frame -- + + + + +122 INT. TONY’S DUBAI VILLA - SITTING ROOM - MINUTES LATER - 122 + DAY + + Pepper enters, cautiously, moving towards something in the + shadows. We hinge as she passes us, to REVEAL Tony, sitting + in a huge chair, the armor scarred and still smoking. + Helmet off, bleeding from the nose and ears. A drink in one + shaky hand. + 124. + + + TONY + Get me home-- + + + + +123 EXT. SNOW-COVERED WASTELAND - OUTSKIRTS OF GULMIRA - NIGHT 123 + + A few yurts. Raza’s bivouacked men lick their battle + wounds. A devastated band. They grab their guns and stand- + to as a train of black Suburbans arrive. Private Security + Guards exit and take up positions. + + Then the scarred Raza saunters out of a yurt and goes to + the lead Suburban. Its door opens and out steps Obadiah + Stane gazes about, unfazed, then -- + + RAZA + Welcome. + + + + Obadiah assesses the scars on Raza’s face. + + RAZA + Compliments of Tony Stark. + + + + OBADIAH + If you’d killed him when you were + supposed to, you’d still have a + face. + + + + RAZA + You paid us trinkets to kill a + prince. An insult, to me and the + man whose ring I wear. + + + + CLOSE ON - RAZA’S RING: the familiar ten interlocked rings. + + OBADIAH + I think it’s best we don’t get him + involved in this. + (then) + I’ve come a long way to see this + weapon. Show me. + 125. + + + RAZA + Come. Leave your guards outside. + + + + +124 INT. RAZA’S YURT - NIGHT 124 + + Obadiah enters and stares down, transfixed. + + STANE’S POV: THE REASSEMBLED GRAY ARMOR suspended on wires. + + RAZA + His escape bore unexpected fruit. + + + + OBADIAH + (as it dawns on him) + --so this is how he did it. + + + + RAZA + This is only a crude first effort. + But he’s perfected his design-- + + + + Raza hands grainy surveillance photos to Stane. + + CLOSE ON - VARIOUS PHOTOS: Iron Man wreaking havoc in + Gulmira. + + Stane has seen the future. Then he looks down at -- + + Tony’s crusty laptop. The onion-skin schematics. + + OBADIAH + What’s this? + + + + RAZA + The inside of Tony Stark’s mind. + + + + Raza arranges the schematics on a light board, and the + sketches laid together become-- Iron Man. + + RAZA + 126. + + + Everything you will need to build + this weapon. + + + +Obadiah is circling the armor now, taking it all in. Raza +sits and pours tea. + + RAZA + Stark has made a masterpiece of + death. A man with a dozen of these + could rule from the Pacific to the + Ukraine. And you dream of Stark’s + throne -- we have a common enemy. + + + +Now Stane pokes at the vacant hole in the chest plate. + + RAZA + If we are back in business, I give + you these designs as my gift. In + turn, I hope you will repay me with + a gift of iron soldiers. + + + +Obadiah smiles, places his hands on Raza’s shoulders, as if +going to hug him in brotherhood. + + OBADIAH + (in perfect Urdu) + This-- is the only gift you shall + receive. + + + +Raza is strangely confused. Paralyzed. Blood begins running +from his ear. + +And now, in Obadiah’s hand, we realize he’s holding a +device. A sonic taser. + +Obadiah removes a pair of filtering ear-plugs as Raza +crumples to the dirt. + + OBADIAH + Technology -- + (holds up the taser) + it’s always been your Achilles + Heel. Don’t worry, it’ll wear off + in fifteen minutes -- but that’s + the least of your problems. + 127. + + + + + Obadiah removes Raza’s ring, studies it. Then he turns and + exits-- + + + + +125 EXT. RAZA’S YURT - CONTINUOUS - NIGHT 125 + + As he steps out of the tent, Obadiah sees by the Suburbans, + Raza’s men kneel, guns to their heads. + + OBADIAH + (to head guard) + Crate up that armor and the rest of + it. + + + + We TRACK WITH Obadiah as he passes Raza’s kneeling men. + + OBADIAH + Send them to their virgins. + + + + The SOUND of MACHINE GUN FIRE. Obadiah does not flinch. + + + + +126 INT. PHIL COULSON’S OFFICE - DAY 126 + + Phil Coulson at his desk. He picks up the phone and dials. + + COULSON + Ms. Potts. It’s Agent Coulson from + the Strategic Homeland Inter-- + + + + PEPPER (O.S.) + Yes, I know. Unfortunately Tony is + not going to be available to sit + down with you for a while. + + + + COULSON + Really? And why is that? + 128. + + + + + PEPPER (O.S.) + He’s uh, there’s a-- Tony won’t be- + - + + + + COULSON + Maybe I can meet with you instead? + + + +INTERCUT - TONY’S LIVING ROOM - SAME TIME + + PEPPER + Why? I don’t know anything. + + + + COULSON (O.S.) + About what? + + + + PEPPER + About anything. + + + +There’s a BUZZ. Pepper eyes the security monitor and sees +Rhodey. + + RHODEY (ON MONITOR) + Pepper. It’s Rhodey. + + + + PEPPER + (pressing a button) + Come in. + + + + COULSON (O.S.) + I’d just like to ask you a few + questions. + + + + PEPPER + 129. + + + I’m really jammed right now. Booked + solid for the next few weeks. I + have to go. + + + +Rhodey enters, grim. + + COULSON + Let’s just put something on the + books. How about + (checks his calendar) + the twenty-eighth? Seven PM, at + Stark Industries? + + + + PEPPER + Great. Perfect. Bye. + + + +She hangs up. + + RHODEY + How’s he doing? + + + + PEPPER + Not so good. + + + + RHODEY + I want to see him. + + + + PEPPER + You can’t see him right now. + + + +Rhodey eyes the hole in the ceiling, worried now. + + RHODEY + What the hell is going on here? + (off her silence) + Let me in there, Pepper. + 130. + + + She faces off with him. Then allows him by. + + PEPPER + You want to see him? Fine. See what + you’ve done to him. + + + + +127 INT. TONY’S BEDROOM - STARK ESTATE - MINUTES LATER 127 + + Tony lies in bed, tethered to all sorts of medical + equipment. + + Rhodey enters, stunned at Tony’s state. Pulls up a chair + and sits. Tony drifts in and out of consciousness. + + RHODEY + Look at you-- what were you + thinking? + + + + TONY + Weapons I built are being used to + kill innocent people. Can’t let + that happen anymore. + + + + RHODEY + You can’t go around and blow up + stuff every time you see something + you don’t like on TV. + + + + TONY + Yes I can. + + + + RHODEY + You got lucky, next time they’ll + blow you to pieces. + + + + TONY + Next time, maybe I won’t play + defense. + 131. + + + + + Rhodey, floored, gets to his feet. Paces. + + RHODEY + Does Pepper know about this? + + + + He nods, his eyes starting to flicker. + + RHODEY + You’ve put me in a tough spot here. + What am I supposed to do? + + + + TONY + That’s up to you. I’ve made my + choice -- I’m not going to sit on + the sidelines anymore -- I’m going + to fight for what’s right. + + + + RHODEY + Don’t you get it? It’s not up to us + to decide. + + + + TONY + That’s where you’re wrong-- + + + + He drifts into unconsciousness. + + + + +128 INT.SUB-BASEMENT PIPE ROOM - STARK INTERNATIONAL HQ - DAY 128 + + Windowless and full of pipes. The Mark I armor, dissected + into its pieces, hovers mid air, suspended by wires. + + Elite Engineers from the Stark empire are hard at work, + milling and machining armored parts. Obadiah walks among + them. + + OBADIAH + 132. + + + Civilization, gentlemen, has been + preserved by the right people + having the right idea at the right + time. You are shaping in your + hands, this very moment, the future + of this company, and this nation. + But it is imperative this project + remain data-masked, that it’s + existence never leave these walls. + Make no mistake -- this is a + ‘tool’, that in wrong hands, could + jeopardize civilization as we know + it. + + + + Obadiah faces the Head Engineer. + + HEAD ENGINEER + Give us full access to the Sampson + Cluster, and we’ll have you a + prototype in record time. + + + + OBADIAH + The Sampson’s yours. We go 24-7. + + + + +129 EXT. CAVE - AFGHANISTAN - DAY 129 + + Yinsen, framed by the mountains in the b.g., stares at us. + + YINSEN + Are you on the right path? I don’t + know-- what does your heart tell + you, Stark? + + + + HOLD on Yinsen, then -- + + CUT TO: + + + + +130 INT. TONY’S BEDROOM - DAY 130 + + Tony waking up in his gilded bedroom, alone. + 133. + + + He catches his own sad reflection in a mirror. Hooked up to + IVs and machinery that PINGS and HISSES. + + + + +131 INT. TONY’S BEDROOM - DAY 131 + + Pepper enters and finds Tony’s bed empty. + + + + +132 INT. TONY’S WORKSHOP - DAY 132 + + Pepper enters as Tony toils away at an eviscerated suit + suspended from a chain winch. + + TONY + This device will hack into Stark + Industries mainframe. I need you to + go to there and retrieve all + shipping manifests. + + + + PEPPER + What are you doing? Absolutely not + you should be in bed-- + + + + TONY + --they’ve been dealing weapons + under the table and I’m going to + stop them. + + + + PEPPER + Absolutely not. I’m not helping you + with anything if you’re going to + start this again. + + + + TONY + There is nothing else. There’s no + art opening. There’s no benefit. + There’s nothing to sign. There’s no + decisions to be made. There’s the + next mission and nothing else. + There’s nothing except this. + 134. + + + + + PEPPER + I quit. + + + + TONY + Really? You stood there by my side + when all I did was reap the + benefits of wholesale + irresponsibility and destruction + and now that I’m trying to right + those wrongs and protect the people + I put in harms way you’re going to + walk out on me. + + + + PEPPER + You’re going to kill yourself. I + can’t support that. + + + + TONY + So far so good. + (beat) + Pepper. I know what I have to do. I + don’t know if I can, but I know in + my heart that it’s right. And you + do too. And I can’t do it without + you. + + + + +133 INT. SUB-BASEMENT PIPE ROOM - SAME TIME - DAY 133 + + Obadiah, next to his Head Engineer. Behind them are the + hulking steel legs of the Dynamo, extending out of frame. + The sparks from a welding gun shower down. + + HEAD ENGINEER + There’s no technology that can + power this thing. + + + + OBADIAH + I told you, miniaturize the ARK + reactor. + 135. + + + + + HEAD ENGINEER + I’m sorry, Mr. Stane, I’ve tried. + What you’re asking for can’t be + done. + + + + OBADIAH + Tony Stark was able to do it in a + cave -- with a box of scraps. + + + + HEAD ENGINEER + Well-- I’m not Tony Stark. + + + + HOLD ON - OBADIAH: his mind churning something. + + + + +134 INT. HALLWAY - STARK INDUSTRIES - NIGHT 134 + + After hours, few people around. Pepper hurries down the + dimmed main hallway of Stark Industries. Casting nervous + glances back behind her. + + + + +135 INT. TONY’S OFFICE - MINUTES LATER - DAY 135 + + Pepper at Tony’s computer. She plugs in the hacking device + (the size of a jump-drive) Tony gave her. + + MONITOR: the screen as the device starts hacking through + Obadiah’s passwords, firewalls, security nets. + + She’s in. She watches items scroll up from Obadiah’s hard + drive. + + MONITOR: Jericho Missile orders. Shipping manifests. + + PEPPER + Make a copy of everything-- + 136. + + +More. Schematics and blueprints. For sections of the Dynamo +suit. For the pipe room under the Ark Reactor. + + PEPPER + What are you doing, Obadiah? + + + +She glances towards the door, thinking she heard something. +Waits. Nothing. + +THE MONITOR: an icon now appears, with Arabic text +underneath. An icon for a video clip. + +She double clicks, watches MONITOR a grainy video clip +opens: Tony, half-dead, tied to a chair. Raza and his +henchmen behind him. It’s the ‘decapitation tape’ made in +the cave months ago. + +She shakes her head, disbelieving. + + PEPPER + Translate-- + + + +CLOSE ON - MONITOR: as the clip plays, the translated text +appears like subtitles: “Obadiah Stane, you have deceived +us...the price to kill Tony Stark has just gone up...” + +Pepper, shell-shocked, gapes at the monitor. + +PEPPER’S POV: she looks up from the monitor to see Stane +standing there in the doorway. + +She nearly leaps out of her skin. + + OBADIAH + What a nice surprise. + + + + PEPPER + I-- just wanted to get some of my + personal stuff. + (nods to the monitor) + And my resume. In case. + (grins) + You know how I love job hunting. + 137. + + +He circles around the desk and Pepper quickly changes +screens, replacing the DOWNLOAD INDICATOR with GOOGLE. + + OBADIAH + How’s Tony? + + + + PEPPER + Honestly-- I don’t know. He’s shut + me out. + + + + OBADIAH + You and everyone else. + + + +He circles her, picking up a photo on the desk of Tony. +Pepper stiffens, flicks a glance at the hacking jump-drive +protruding. The WHIRR and GRIND of the hard drive as it +copies Stane’s files. + + PEPPER + This-- thing between you, it’s + hurting him. You’re the only real + father Tony ever had. It would mean + so much if you could just talk -- + + + + OBADIAH + (matter-of-fact) + Tony’s imploding -- it’s + unfortunate. + (then) + You should consider whether you + want to take that ride with him. + + + + PEPPER + “Unfortunate?” + + + + OBADIAH + You know I love Tony -- but this is + business. We can’t save him, but we + can save his legacy. + 138. + + + She flashes to the download screen, “87%” completed. + + OBADIAH + It’s tragic, but-- Tony never + really came home, did he? + + + + He circles behind her again, looking closely at the screen + again depicting Google ads. + + OBADIAH + This company has a bright future, + I’d like you to be a part of it. + + + + He smiles and touches her cheek. She shuts off the + computer. + + OBADIAH + Tony doesn’t understand your value. + He never did. + + + + PEPPER + Are you-- offering me a job? + + + + OBADIAH + Think about it. + (then) + Come on, I’ll walk you out. + + + + He takes her box of personal effects, waits for her. As she + passes the computer, she snatches the jump drive out, + palming it. A tense moment: did he see her? + + + + +136 INT. LOBBY - STARK INDUSTRIES - DAY 136 + + Pepper descends the stairs as Obadiah hovers above on the + balcony railing watching her. + + PEPPER’S POV: by the Security Desk, a savior: Agent Coulson + gestures and argues with the Security Guard. + 139. + + + Pepper rushes over, startles Coulson by linking arms with + him and dragging him towards the door. + + COULSON + Miss Potts, did you forget our + appointment? + + + + PEPPER + No. Of course not. I’ve been very + much looking forward to it. + Let’s-- + (looks over her shoulder) + why don’t we do this somewhere + else? + + + + They push outside. Obadiah still watches from above. + + + + +137 INT. TONY’S WORKSHOP - NIGHT 137 + + Noisy as Tony slaves away on the CNC machine. Behind him + is-- + + A SCREEN: listing six messages, all the same: “MISSED CALL + - PEPPER.” + + Suddenly, the CNC machine powers down unexpectedly. + + TONY + What gives, Jarvis? + + + + JARVIS (O.S.) + You have a visitor, Sir. Obadiah + Stane is here. + + + + +138 INT. TONY’S LIVING ROOM - NIGHT 138 + + Obadiah holds a pizza. + + OBADIAH + 140. + + + It’s UNOS. Four cheese. I just had + it flown in from Chicago. + + + +Tony remains stoic. Obadiah puts the pizza down, crosses to +Tony and hands him a letter. + + OBADIAH + I’d like you to proofread something + for me. + + + + JARVIS (O.S.) + Would you like me to spell-check + it, Sir? + + + + OBADIAH + Can you turn him off? All the way? + + + + TONY + (as he scans the letter) + Spin down Jarvis. + + + +Tony looks up from the letter, surprised. + + TONY + Your resignation. + + + + OBADIAH + You were right. It’s not my company + -- not my name on the building. + We were a great team-- but I guess + this is where our paths diverge. + + + +Tony hears a blip from the phone system. + +CLOSE ON - ANSWERING SYSTEM LCD + +“INCOMING. PEPPER POTTS” appears. + 141. + + +Tony looks to Obadiah. + + TONY + Pepper. I should take that. + + + + OBADIAH + Tony. Please. I’ll be out of here + in a minute. + + + +Tony finally nods, pushes a button, sending the call to +voicemail. + +Obadiah meets Tony’s eyes, fatherly. Puts a hand on Tony’s +shoulder. + + OBADIAH + We have too much history to part on + bad terms. I’d like your blessing. + + + +Tony’s eyes, suddenly registering a paralyzing pain. + +FLASH ON: Stane’s ear, the blue electronic ‘filter’, like +the ones he wore with Raza. + +Tony sinks back in his chair. Stane places the sonic taser +down on the table. + + OBADIAH + Easy, now. Try to breathe-- + + + +He kneels beside Tony. Unbuttons Tony’s shirt. + + OBADIAH + You can’t mess with progress, Tony. + It’s an insult to the Gods. You + created your greatest weapon ever + but you think that means it belongs + to you. It belongs to the world. + + + +CLOSE ON - TONY’S EYES: wide with pain, unable to move. All +he can do is gasp and gurgle as Stane begins removing the +chest-piece from its socket. + 142. + + + OBADIAH + Your “heart” will be the seed of + the next generation of weapons. + They’ll help us steer the world + back in the right direction -- put + the balance of power back in our + hands. The right hands. + + + + CLOSE ON - OBADIAH: he removes Tony’s “heart”, the RT glow + reflecting on his face. + + OBADIAH + By the time you die, my prototype + will be operational. + (smiles) + It’s not as conservative as yours. + + + + He wraps the heart in cloth. Then stands, clicking off the + sonic taser and pocketing it. + + Tony rolls from the chair, onto his back, staring at the + ceiling. Already slipping away. Then-- + + OBADIAH + The sad thing is-- we’re both the + good guys. + + + + Obadiah kills the lights and leaves + + + + +139 INT. RHODEY’S OFFICE - NIGHT 139 + + Rhodey is on the phone with Pepper. + + RHODEY + What do you mean, he paid to have + Tony killed? Slow down. Why would + Obadiah-- + (listens) + Where is Tony now? + + + + +A140 INT. PARKING GARAGE - NIGHT A140 + 143. + + + Pepper, Coulson and five dark-suited Agents walk with + urgency towards two Crown Victorias. Pepper is on her + cellphone, worried-- + + PEPPER + --I don’t know, he’s not answering + his phone. Will you just go over + there and check on him? Thanks + Rhodey. + + + + She CLICKS off. The Agents pile into the Crown Vics, and + Coulson holds a door open for her. + + Pepper instead beelines for her parked Audi. + + PEPPER + I know a shortcut. + + + + She hops in. Coulson looks at the Agent behind the wheel, + then back at Pepper. + + COULSON + I’ll ride with her. + + + + Coulson hurries over, jumps in and the Audi races off. The + Crown Vics try to keep up. + + + + +141 INT. TONY’S LIVING ROOM - NIGHT 141 + + Tony, on fumes, pulls himself up a shelving system. It + topples, spilling items, including the Lucite-encased heart + Pepper gave him. + + He crawls to it, smashes it open. + + CLOSE ON - TONY’S HAND: lifting the glowing chest piece. + + + + +142 INT. SUB-BASEMENT PIPE ROOM - NIGHT 142 + 144. + + + Obadiah inserts the glowing “heart” he stole from Tony’s + chest into the Dynamo’s chest. We can only see slivers of + the full suit on its scaffolding. + + The heart locks in place and we go -- + + CLOSE ON - DYNAMO’S EYES: coming alive. + + + + +143 EXT. ARK REACTOR - STARK INT’L HQ - NIGHT 143 + + Pepper and the Agents stand outside the locked door to the + sub-basement pipe-room. An Agent finishes laying detonator + cord around the door hinges. + + AGENT + Clear. + + + + They take cover and the Agent hits a clacker. The door is + blown off its hinges. + + + + +144 INT. SUB-BASEMENT PIPE ROOM - NIGHT 144 + + Obadiah looks up at the SECURITY MONITORS: bad news. + + Pepper and the Agents infiltrating and moving towards the + pipe room stairway. + + Obadiah’s face sets. He begins climbing up the scaffolding + to the Dynamo. + + + + +B145 INT. TONY’S LIVING ROOM - NIGHT B145 + + We HEAR A DOOR SPLINTERING. Rhodey rushes in and finds + traces of blood on the floor. The collapsed shelving unit. + Tony staggering to stay on his feet. + + RHODEY + TONY-- + 145. + + + TONY + Where’s Pepper? + + + + RHODEY + Don’t worry, she’s with the Feds. + They’re on their way to Stark to + arrest Obadiah. + + + + TONY + (grim--) + They’re going to need a lot more + than a few Agents. Give me hand. + + + + +146 INT. TONY’S WORKSHOP - NIGHT 146 + + The door swings open and Tony and Rhodey enter. Rhodey + stops shocked, his eyes playing over The Hall of Armor. The + hanging Mark II suit. The weaponized battle-ready Mark III. + Components, rows of helmets, boots, gauntlets and future + design prototypes littered everywhere. + + + + +147 INT. SUB-BASEMENT PIPE ROOM - NIGHT 147 + + Pepper and the Agents drift through a metal jungle of vats, + machines, armored limbs and guts hanging from tethers. + Utility pipes run along the walls. + + They come upon the Mark I armor and stop, spooked. + + We notice: an empty scaffolding. + + Pepper advances, Coulson and his team fanning out. + + CLOSE ON - AN AGENT: looking off. Suddenly, he’s yanked out + of frame. + + + + +148 INT. TONY’S WORKSHOP - SAME TIME - NIGHT 148 + 146. + + + Rhodey helps Tony rivet a last panel in place, then tosses + him the Mark III helmet. + + Tony lowers the helmet. Blasts off through the hole in the + ceiling, knocking it even wider. + + Rhodey stares after him, impressed as hell. Then he sees + the Mark II, beelines for it. + + Considers, then shakes his head. + + He moves for Tony’s car collection. Likes the R8. Hops in, + fires her up and screeches after Tony. + + + + +149 INT. SUB-BASEMENT PIPE ROOM - SAME TIME - NIGHT 149 + + Wandering the fringes, Pepper tries to make a call on her + cell. No signal. + + PEPPER’S POV: through the pipes and girders, she spots what + may be a pair of glowing eyes. The WHIRR of hydraulics and + GRINDING METAL wild gunfire suddenly breaks out. Bullets + ricochet, hitting pipes, spewing steam and coolants. + + Pepper rushes away from the pandemonium. + + She whirls, squinting through the machine gears and steam, + seeing flashes of agents running for cover, firing their + guns at some giant flitting shadow. Another agent is yanked + out of view and SCREAMS. + + ANGLE ON - PEPPER + + Panicked, trying to find a way out. + + A piece of metal zips at her head, cutting pipes before it + embeds itself in the cement above her. And now an Agent + staggers out of the murk with his radio. + + AGENT + Agents down, agents down! + (seeing Pepper) + GET OUT OF HERE -- + 147. + + + He throttles her towards the exit, then runs off, firing + and Pepper, halfway up the stairs, turns hearing the three- + ton THUMP of the Dynamo’s legs charging out of the mist, + but the armor is too big for the stairwell and crashes into + it in a shower of debris. + + All we see is a brightly glowing chest-piece and arms, + raking cement, grinding, trying to get up the stairs after + Pepper, who fumbles her way up and out. + + + + +150 EXT. ARK REACTOR - CONTINUOUS - NIGHT 150 + + Pepper slams the door behind her. Silence. She catches her + breath, dials on her cell with shaky fingers -- + + PEPPER + Tony! Obadiah’s got a whole + assembly line under the Ark. He’s + inside one of them--! + + + + TONY (O.S.) + Where are you--? + + + + Now she hears THUMP from below her. The asphalt cracks. + Another THUMP and another and Pepper is knocked over as the + asphalt bulges open to reveal the Dynamo’s fist. + + Her cellphone skitters away. Like a hatching dinosaur, he + peels away asphalt, pulling himself out of the ground, and + finally Rises to his full height. He turns, face-to-face + with Pepper, who’s a gnat against this dull-grey leviathan. + + PEPPER + (backpedaling) + Obadiah-- + + + + Dynamo keeps coming, not a single forgiving feature in the + steel-face and dead eyes. Her foot hits her cellphone and + she grabs it. And now she’s almost backed up against the + Plexiglas of the ARK Reactor when -- + + PEPPER + Tony-- + 148. + + + + + TONY (O.S.) + Pepper, I have one thing I need to + say to you: DUCK! + + + + Pepper dives as-- + + The Dynamo stops, jerking his head up to see Iron Man, + diving out of the sky at him, feet first. + + He lands on the Dynamo’s shoulders, and the iron giants + crash back into the hole Dynamo crawled from. + + + + +151 INT. SUB-BASEMENT PIPE ROOM - CONTINUOUS - NIGHT 151 + + The warriors fall and hit a grating. Dynamo breaks through, + plunging through pipes and into the water below, while -- + + Iron Man tumbles along the unbroken part of the grating and + falls out of sight. + + + + +152 EXT. ARK REACTOR - SAME TIME - NIGHT 152 + + The atrium glass ruptures outward from the underground + impact. Pepper dives to shield herself. + + She sees the reactor-housing has been cracked. KLAXONS + BLARE. Warning lights flash as the damaged reactor begins + to ‘melt down’. + + + + +153 INT. SUB-BASEMENT PIPE ROOM - SECONDS LATER - NIGHT 153 + + DYNAMO’S POV: We emerge out of the water, searching for + Iron Man. + + + + +154 INT. TONY’S SUIT - SAME TIME - NIGHT 154 + 149. + + + POV - MOVING: sweeping around the steel-maze with his + INFRARED, but perforated steam pipes cast red plumes and + confusing shadows everywhere. + + OBADIAH (O.S.) + It’s miraculous, Tony, it’s your + Ninth Symphony. Trying to rid the + world of weapons, you gave it its + best one ever. + + + + TONY + This wasn’t meant for the world. + + + + Still moving, still swiveling through the murk -- + + OBADIAH (O.S.) + How can you be so selfish? Do you + understand what you’ve created? + This will put the balance of power + back in our hands for decades. Your + country needs this. + + + + TONY + What kind of world will it be when + everybody’s got one? + + + + OBADIAH (O.S.) + Your father helped give us the + bomb. What kind of world would it + be if he’d failed us? + + + + +155 INT. DYNAMO SUIT - SAME TIME 155 + + STANE’S POV: waiting, as Iron Man emerges from behind + machinery and girders. He doesn’t see Dynamo, who charges - + - + + CUT TO: + 150. + + +156 INT. PIPE ROOM - SAME TIME 156 + + Iron Man realizes too late that Dynamo is coming at him + like a bullet-train. He’s hit, driven backwards in Dynamo’s + vice- grip, and they smash into the cement wall and punch + clean through it onto -- + + + + +157 EXT. HIGHWAY - CONTINUOUS - NIGHT 157 + + They crash into a truck trailer, passing through it and + onto the highway, tossing vehicles aside. + + More cars screech, collide. A HYDROGEN-POWERED bus jack- + knives, narrowly averting disaster. People flee vehicles. + + In Tony’s H.U.D., “INCOMING CALL” flashes-- + + PEPPER (O.S.) + TONY -- ARE YOU THERE? + + + + TONY + A little busy, Pepper-- + + + + PEPPER (O.S.) + The reactor’s been it-- + + + + TONY + Get to the control room. Shut it + down-- + + + + PEPPER (O.S.) + How the hell do I shut it down?? + + + + Dynamo rises first, grabs a Volvo station-wagon with a + stunned mother and kids inside. + + Iron Man rises as the Dynamo lifts the car over his head. + + TONY + 151. + + + Don’t. This is our fight. + + + + OBADIAH + People are always going to die, + Tony -- part of the chess game. + + + + +158 INT. VOLVO - SAME TIME - NIGHT 158 + + The world skewed fifteen feet below them. The mother white- + knuckles the steering wheel in terror. The kids scream. + + CUT TO: + + Tony, trying his palm RTs. Nothing. + + TONY (O.S.) + Emergency power! + + + + JARVIS (O.S.) + Sir, you’ll drain the -- + + + + TONY (O.S.) + NOW! + + + + Dynamo winds up to throw the car when Iron Man nails him + with a huge Repulsor blast from his chest. Dynamo is + knocked back, throwing the car at Iron Man, who catches it. + + But the weight is too much for his armor to handle and he + buckles, saving the car from impact, but gets trapped + underneath it. + + CUT TO: + + Tony’s HEADS-UP DISPLAY: “POWER CRITICAL: RECHARGING.” + + CUT TO: + + Inside the Volvo, it takes everyone a moment to realize + they’re okay. Then, as Dynamo clumps towards them-- + 152. + + + KID IN THE BACKSEAT + GO, MOM! GO -- + + + + She stamps the gas. + + CUT TO: + + Iron Man, dragged as the Volvo speeds forward. A shower of + sparks fly from his suit. A wild weaving ride. + + Dynamo follows, using cars as stepping stones. People flee + pell-mell, jumping the highway divider. + + CUT TO: + + + + +159 INT. TONY’S AUDI R8 - SAME TIME - NIGHT 159 + + Rhodey driving like hell, HONKING. Tail lights flash past + like tracers as he slaloms through tight traffic. + + CUT TO: + + Iron Man finally manages to push the car off him. It speeds + away, three gaping Kids staring out the back. + + Tony staggers up, trying to regain his footing as Dynamo + pulls up. + + They clash in a CACOPHONY of steel and GRINDING HYDRAULICS. + Stane knocks Tony into a mini-van and pounds him + mercilessly. + + PEPPER (O.S.) + TONY? Where are you--? + + + + CUT TO: + + Tony, his helmet now being squeezed by the Dynamo. + + PEPPER (O.S.) + I’m in the control room. Now what? + + + + TONY + 153. + + + Central panel. Red button. Press + it. + + + + +160 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 160 + + DEAFENING KLAXONS. Pepper flips open a panel to find A + HUNDRED BUTTONS. All red. All flashing. + + PEPPER + Thanks, Tony. + + + + TONY (O.S.) + What’s the delta rate? + + + + Pepper finds the monitor. + + PEPPER + 1-2-5-0. + + + + TONY + Damn -- + + + + PEPPER + Damn?! I don’t want to hear “damn.” + GET UP HERE-- + + + + CUT TO: + + + + +161 INT/EXT. TONY’S H.U.D. - SAME TIME 161 + + Cracking under Dynamo’s pressure. + + TONY + Pepper, I’m delegating this to you. + FIND A WAY! + 154. + + + + + CUT TO: + + IRON MAN as he finally rolls and frees himself from Dynamo. + + TONY + You know what happens when that + reactor blows. A lot of people are + going to die. + + + + OBADIAH + It didn’t have to end like this, + Tony. You were down -- you + should’ve stayed down. + + + + And they’re about to collide again when a Shit Kicking + Biker on a Harley weaves from around a truck. + + He realizes his mistake and jams the throttle, but Dynamo + grabs the front wheel of the motorbike, (sending the Biker + flying), and in one swoop belts Iron Man with it. + + Tony tumbles away and struggles to get up. Falls, tries + again, but Dynamo is all over him, smacking him with the + bike. + + + + +162 INT. TONY’S AUDI R8 - DRIVING - SAME TIME - NIGHT 162 + + Rhodey, in the breakdown lane, weaving around waves of + fleeing people, toppled cars and debris till he sees -- + + Dynamo standing over Tony, about to deliver his death-blow. + He red lines the engine and pops the clutch. + + CUT TO: + + + + +163 EXT. HIGHWAY - SAME TIME - NIGHT 163 + + The R8 rockets forward. Zero to sixty in under three + seconds. + 155. + + + The Dynamo raises the Harley over his head, ready to smash + Tony’s already broken helmet. He looks up a second too late + the car hits Dynamo’s leg and crumples, tumbling away like + a toy, and now the Dynamo, un-weighted, reels around to + catch his balance, but pitches head-first into the hydrogen + bus perforating it. + + CLOSE ON - DYNAMO: struggling to free himself. His groping + fingers set off a spark and HELLFIRE ERUPTS blanking the + Dynamo and everything around it. Flames roll over Tony. + Over the crushed sports car, igniting its leaking tanks. + + Tony removes his broken helmet and staggers to the car, + tearing it open like a can. + + TONY + You had to take my car. + + + + He pulls out Rhodey, dazed and bloody. + + RHODEY + Saving your ass is getting to be a + full-time job. + + + + They regard the burning bus. Nothing moves. Just a heap of + red-hot steel. + + TONY + Get this area evacuated! There’s + going to be a meltdown-- + + + + Tony’s boosters ignite and he’s gone. + + TONY (O.S.) + Pepper, how we doing? + + + + +164 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 164 + + Pepper, awash in EMERGENCY MANUALS, throws one over her + shoulder flipping switches, turning dials. The whole place + THRUMS with energy. + + PEPPER + 156. + + + Thanks for checking in Tony. + Delta’s at 2300. It’s not going + down. + + + + TONY (O.S.) + It’s too late. + + + + PEPPER + Too late? What’s going to happen? + + + + TONY (O.S.) + It’s going to blow a crater a mile + wide. I’m coming to get you. + + + + She backs away from the monitors, disbelieving. + + + + +165 INT. TONY’S SUIT - FLYING - SECONDS LATER - NIGHT 165 + + He heads towards the reactor, now a shimmering mass of + energy. A row of SATELLITE DISHES on the roof of the + reactor. It sparks an idea. + + TONY + Pepper, wait. Stay put -- we’re + going to overload the reactor. + + + + +166 EXT. ROOF OF ARK REACTOR - SECONDS LATER - NIGHT 166 + + As Tony lands. + + PEPPER (O.S.) + IT’S ALREADY OVERLOADING -- + + + + TONY + 157. + + + No, it’s compressing energy. We’re + going to convert the plasma core to + electricity and channel it up + through the roof. Like a Tesla + coil. + + + + +167 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 167 + + Pepper watches the core bulge. + + PEPPER + I don’t need a science lesson, just + tell me what button to push -- + + + + TONY (O.S.) + See a red submarine hatch? A wheel + -- a red wheel. + + + + PEPPER + --no. YES -- + + + + She runs to it. + + + + +168 EXT. ARK REACTOR ROOF - SECONDS LATER - NIGHT 168 + + Tony re-arranges satellite dishes, pulling wires creating a + makeshift Tesla coil. + + TONY + Open it all the way, then standby + to hit the master. We’ve only got + one shot at this. + + + + He’s connecting a wire when the satellite dish beside him + reflects an eerie yellow flicker. He turns, stunned as -- + + THE DYNAMO LANDS on the roof. Flames still licking off his + blackened suit. Obadiah moves closer to Tony -- + 158. + + + TONY + Pepper, hit the switch. PEPPER -- + + + + +169 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 169 + + Electromagnetic tentacles arc from the reactor to the + control room around Pepper. + + PEPPER + TONY? Which Master Switch -- + + + + She eyes her phone. It’s dead. And in front of her -- + + A row of “MASTER” switches blink-- + + PEPPER + I am so looking for another job. + + + + +170 EXT. ARK REACTOR ROOF - SECONDS LATER - NIGHT 170 + + The Dynamo, smoking like an oil fire, about to reach Tony. + + + + +171 INT. ARK REACTOR CONTROL ROOM - SAME TIME - NIGHT 171 + + Pepper hits all the switches, then diving under the + consoles for cover as the world goes steel-blue. + + An electromagnetic pulse (EMP) flashes upwards along the + reactor. + + + + +172 EXT. ARK REACTOR ROOF - A SECOND LATER - NIGHT 172 + + As the searing flash of the EMP is momentarily ‘halted’ + between the satellite dishes, vaporizing the roof in + between. Then -- + + The EMP surges outwards, turning Dynamo and Iron Man into + statues as the pulse knocks out his power and electronics. + 159. + + +FROM UP HIGH: the EMP blast travels concentrically +outwards, rendering everything dark in its wake. + + BACK TO: + +The roof, as it sags down in the center. + +Tony, dazed, looks at his heart-device. It’s dead too. + +The Dynamo, closest to the collapsed section of the roof, +topples over. Its dead fingers catch on a seam and it lies +precariously on the edge of the ‘slope’. + +The Dynamo hatch opens, revealing Obadiah. + +OBADIAH’S POV: through the hole in the roof, the seething +plasma bubbling below. + +Tony, using his own waning strength, tries to extend a dead +Iron Man hand to Obadiah. + + TONY + Take my hand-- + + + + OBADIAH + So this is the answer, Tony? This + is how you’re going to save the + world? It’s not in you. Your father + told me before he died, my boy + doesn’t have a warrior’s heart. I + should have listened. + + + + TONY + My father never knew me. + + + + OBADIAH + But I do. + + + +Now we see what Stane is attempting: to manually winch his +forearm rocket bay open so he can blast Tony. + +But his movements unsettle the Dynamo suit and suddenly he +begins to slide. + 160. + + + OBADIAH + Goodbye, my boy-- + + + + TONY + This is just the beginning. + + + + And now Obadiah shuts the hatch and tumbles away. He + plunges down through the ARK’s silo, splashes into the + plasma which HISSES and swallows him up. + + Tony remains, shutting his eyes. + + + + +173 INT. ARK REACTOR - SECONDS LATER - NIGHT 173 + + Pepper rises, staring at the bubbling plasma. Not sure who + fell in there. She runs out. + + + + +174 EXT. ARK REACTOR ROOF - TEN MINUTES LATER - NIGHT 174 + + Tony frozen in his dead suit. He’s not moving. Two + flashlights cut the darkness and Tony bats his eyes to see + Rhodey and Pepper picking their way towards him. + + DISSOLVE TO: + + + + +175 INT. STARK INDUSTRIES - HALLWAY - MOVING - DAY 175 + + Tony and Pepper walk along the hallway. Pepper shoves a + written statement into his hands. + + PEPPER + Here, your alibi. You were on your + yacht. I’ve got port papers that + put you in Avalon all night, and + sworn statements from fifty of your + guests. + 161. + + + TONY + Maybe it was just the two of us. On + the yacht, I mean. + + + + PEPPER + Focus, please. + + + +Tony grabs an L.A. Times from the pile of papers in her +arms, glances at the headline: “WHO IS THE IRON MAN?” A +grainy newspaper photo of the iron battle at Stark +Industries. + + TONY + “Iron Man”. Not technically + accurate, since it’s mostly carbon- + fiber and ceramic. But I like the + ring of it. “Iron Man”. + + + +They turn a corner. Tony suddenly stops. Meets her eyes. + + TONY + You know-- that night at the + concert hall. Do you ever think + about it? + + + +For a moment there is nothing else in the world but the two +of them. Then, with a tinge of sadness-- + + + + PEPPER + I don’t know what you’re talking + about, Mr. Stark. + + + +She brings her hands up and fixes his unruly tie knot. All +business. + + PEPPER + Will that be all, Mr. Stark? + 162. + + + TONY + That will be all Miss Potts. + + + + +176 INT. STARK INDUSTRIES LOBBY - MINUTES LATER 176 + + Rhodey is in mid-speech, in front of assembled reporters. + + RHODEY + --I can confirm that a series of + military test-prototypes were + involved in the incident at Stark + Industries last night. I can also + confirm that there was, for a brief + time, the danger of an Ark Reactor + “incident”, which was rectified + without injury to the public -- and + all power outages have been + restored. Here now, to answer a few + brief questions, is Tony Stark. + + + + Tony walks out. Takes the podium. Puts a hand up to silence + the bubbling questions. + + TONY + I’ve seen the papers. I’ve heard + the reports. That’s why I want to + put an end to all this wild + speculation. The truth is-- + + + + He looks to Rhodey. To Pepper. To the crowd. + + TONY + I am Iron Man. + + + + The Reporters erupt in a CACOPHONY-- + + We end on Tony’s face. + + CUE MUSIC + + +177 INT. TONY’S LAB - MONTHS LATER - NIGHT 177 + 163. + + +Tony and Rhodey stare at a screen as the War Machine suit +is being designed. + + RHODEY + Good. And I want a Gatling gun on + the right shoulder. + + TONY + --and a rocket launcher on the + left? Where are you going to store + all that ammo? + + + + RHODEY + Who’s suit is this anyway? + (then) + And do it in silver and black, + would you? + \ No newline at end of file