Wonderwoman Page #17

Synopsis: When a pilot crashes and tells of conflict in the outside world, Diana, an Amazonian warrior in training, leaves home to fight a war, discovering her full powers and true destiny.
Year:
2017
105 Views


Diana storms out. Steve and Sir Patrick exchange a look --

62 INT. WAR OFFICE - LOBBY - DAY 62

Diana leaves the War Office in a rage. Steve follows.

STEVE:

Diana, wait!

(CONTINUED)

59.

62 CONTINUED:
62

She wheels on him, furious and confused.

DIANA:

That's your leader? How could he

say that? Believe that?

(points at Steve)

And YOU! Was your duty to simply

give them a book? You didn't

stand your ground! You didn't

fight!

STEVE:

Because there was no chance of

changing his mind! Listen to me --

DIANA:

This is Ares and he isn't going to

allow a negotiation or a

surrender. The millions of people

you talked about? They will die.

My people? They're next!

STEVE DIANA

If you just listen to me -- How can you call yourselves

good men?

STEVE:

(shouting)

WE'RE GOING ANYWAY!

DIANA:

What? You mean you were lying?

STEVE:

Diana, I'm a spy. That's what we

do. Now are you coming or not?

DIANA:

How do I know you're not lying to

me right now?

Steve grabs hold of Diana's lasso, wraps it around his

wrist and looks right into her eyes.

STEVE:

(speaking the truth)

I'm taking you to the front.

(then)

And we're probably going to die.

Steve's surprised that last part came out. Diana's

skeptical.

DIANA:

You have no faith in yourself.

(CONTINUED)

60.

62 CONTINUED:
(2) 62

STEVE:

(keeps speaking the

truth)

This is a terrible idea...

(lets go of the

lasso; frustrated)

Come on. If we're going to get to

the front on our own... we're

gonna need reinforcements.

63 EXT. PUB (LONDON) - NIGHT 63

Steve and Diana move towards a shady PUB. Diana squints,

doesn't like the look of this place.

64 INT. BRITISH PUB - NIGHT 64

Diana follows Steve into the seedy, dimly-lit pub. She

gets a look at its rough `n tumble clientele and frowns.

DIANA:

These are the reinforcements? Are

these even good men?

STEVE:

Relatively good.

DIANA:

Relative to what?

Steve and Diana move behind a GROUP of OFFICERS, out

slumming. One of them, SAMEER (30s) dashing, exotic, has

been holding court.

SAMEER:

... In Africa, gentlemen, we had

no such luxuries...

The OFFICERS laugh, agree, as Steve and Diana approach.

SAMEER:

But the luxuries we have now.

It's like we can't stop making

money. My uncle, the Prince, and

I would keep it all, but we want

to extend the opportunity to a few

good soldiers --

STEVE:

Which Prince was that?

(grabs Sameer)

I need to talk to you, Prince

Madras Angora Cashmere...

(CONTINUED)

61.

64 CONTINUED:
64

Sameer turns and glares. Sameer smiles to the men around

him -- Forgive my rude friend -- and excuses himself.

SAMEER:

(to Steve)

You bugger. I been greasing those

peacocks all night...

(sees Diana)

My goodness gracious, that's a

work of art.

STEVE:

Sameer. This is Diana.

Diana studies the man with suspicion. And rightly so.

He, meanwhile, is infatuated with her, all charm and

smiles.

SAMEER:

Diana, call me `Sammy.' Please.

DIANA:

Sammy. Please.

YELLING O.S., TWO MEN are having an argument that

threatens to boil over. They tune it out as:

STEVE:

Sameer's a top undercover man.

Can talk the skin off a cat in as

many languages as you.

Diana speaks Spanish.

DIANA:

[He doesn't look that impressive

to me?]

SAMEER:

[You do to me. Your eyes, as soft

as your smile...]

Then in Chinese.

DIANA:

[And your eyes look like they want

something.]

SAMEER:

[I know Chinese, too, tricky

girl.]

Then in Ancient Greek.

(CONTINUED)

62.

64 CONTINUED:
(2) 64

DIANA:

[But can you recite Socrates in

Ancient Greek?]

Sammy blinks. He has no idea what she's saying. Diana's

unimpressed.

STEVE:

Where's Charlie?

Sameer points at TWO MEN FIGHTING: a huge BRUISER

beating the hell out of a smaller, younger man. Diana

looks at the Bruiser and nods approvingly.

DIANA:

At least this Charlie is good with

his fists.

STEVE:

That's not Charlie.

The Bruiser lands a blow that knocks the smaller guy off

his feet. Steve winces, nodding at the smaller guy.

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Allan Heinberg

Allan Heinberg (born June 29, 1967) is an American film screenwriter, television writer and producer and comic book writer. Heinberg is the screenwriter of the film Wonder Woman, directed by Patty Jenkins. His television writing and producing credits include The Naked Truth, Party Of Five, Sex And The City, Gilmore Girls, The O.C., Grey's Anatomy, Looking, and Scandal. Most recently, Heinberg developed, wrote, and ran ABC’s The Catch, starring Mireille Enos and Peter Krause. For Marvel Comics, Heinberg created and wrote Young Avengers and its sequel, Avengers: The Children’s Crusade with co-creator/artist Jim Cheung. For DC Comics, Heinberg co-wrote JLA: Crisis Of Conscience with Geoff Johns (art by Chris Batista), and re-launched Wonder Woman with artists Terry and Rachel Dodson. more…

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