A type of subplots was described in Markus and McFeely’s notes as merely “Steve Ages: Some dimensional horseplay might lead to Steve Rogers ageing to his precise hundred-year age.” Nonetheless, it was an entire different deserted Captain America thread that basically grabbed McFeely’s consideration through the interview:
“Holy crap, Chris, it says, ‘Again to the Future: Steve someway lands in 1945, realizes that he wants an Infinity Stone with a purpose to return to the current. Happily, Howard Stark has fished it out of the North Atlantic.’ [Laughs] So yeah, it actually all stems from the manifesto.”
It appears this story thread might have been an early prototype for a subplot that truly did make its method into “Endgame.” The “Again to the Future”-y sequence in query sees Steve and Tony Stark (Robert Downey Jr.) make a fast detour to 1970, the place Tony encounters the middle-aged model of his father Howard performed by John Slattery. One can perceive why Markus and McFeely initially had their eyes on sending Steve again to 1945, although. That may’ve seen him as an alternative crossing paths with Dominic Cooper’s Howard Stark, the youthful iteration of the character the 2 writers launched in “Captain America: The First Avenger” earlier than spinning him off into the “Agent Carter” sequence (which they co-created).
Presumably, the abandoned 1945 subplot would’ve additionally seen Steve getting a glimpse at Peggy Carter (Hayley Atwell), thus establishing their eventual comfortable ending. Finally, by going with the ’70s thread, Markus and McFeely had been capable of kill two birds with one stone, laying the muse for Peggy and Steve’s reunion whereas additionally offering closure to Tony’s relationship together with his late father. It is that sort of financial storytelling that forestalls “Endgame” from collapsing beneath the sheer weight of its many, many transferring components.