GUEST: Screenwriter Christopher Markus

In the hospital room, Steve Rogers sits up in bed, his eyes narrowing at the woman in the WWII-era uniform. “Really?” he says, his voice thick with skepticism.

“I’m afraid I don’t understand,” she replies, her tone even.

“The game,” Steve snaps, pointing at the radio. “It’s from May 1941. I know, ’cause I was there. Now, I’m going to ask you again.” He swings his legs out of bed, standing. “Where am I?”

“Captain Rogers—” she starts, but he cuts her off.

“Who are you?” he demands.

Two military police burst through the door. Steve reacts instantly, slamming them through the “hospital” wall, which collapses to reveal a larger, modern room—a facade. He leaps over the stunned MPs, the woman in pursuit, shouting into a walkie-talkie, “Captain Rogers, wait! All agents, code 13! I repeat. All agents, code 13!”

Steve sprints into the lobby of a sleek, modern office building, where startled people turn to chase him. Bursting outside, he stumbles into the dazzling chaos of modern-day Times Square, neon lights and towering screens overwhelming his senses. Confused and disoriented, he freezes as Nick Fury, flanked by S.H.I.E.L.D. agents, approaches.

“At ease, soldier!” Fury calls, his voice commanding yet calm.