Wonderwoman Page #19

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


ETTA:

(nearly wetting her

pants)

Run the mission, sir?

He slides an envelope to Steve.

SIR PATRICK:

(re:
Charlie and

Sameer)

It's enough for a few days.

STEVE:

Thank you, sir.

Diana turns to Steve.

DIANA:

The gas, Ludendorff, Maru... You

realize they are all symptoms.

Ares is the disease. And once I

find him, none of this will

matter.

Steve looks at her, no time to argue.

STEVE:

I'll take you to the front, but I

can't make any promises about

finding `your friend' any more

than I can Santa Claus.

DIANA:

You won't need to. I'll know him

when I see him.

66 INT. PADDINGTON STATION - MORNING 66

Diana takes herself into the throng, OBSERVING all the

DIFFERENT KINDS OF PEOPLE hustling and bustling in the

station.

(CONTINUED)

67.

66 CONTINUED:
66

The atmosphere is weirdly JUBILANT and GUNG HO. Two

sikhs ride through the station on bicycles, a WILLFUL

LITTLE GIRL runs away from her mother, NURSES and WOMEN

FACTORY WORKERS board the train, solemnly and

purposefully.

Diana takes in an array of HUMAN EMOTION. Mothers

CRYING, fathers PROUD, sons COMMITTED and BRAVE, going

off to war. GIRLFRIENDS are swept passionately into

BOYFRIEND'S ARMS. DOGS are scooped up and hugged

goodbye.

Diana's eyes well as Steve checks his WATCH.

STEVE:

Train leaves in a few minutes.

But Diana is engrossed with the joy around her. Steve

looks around at what she's seeing, then back at her a

beat longer than he would expect.

Diana watches a MAN and his DAUGHTER walk away from an

ICE CREAM VENDOR, eating an ICE CREAM CONE. Steve spots

her eyeing the girl eating, curious.

STEVE:

Hungry?

Diana nods, smiling. Steve buys TWO ICE CREAM CONES.

Hands her one. She examines it, delighted.

DIANA:

It's cold.

STEVE:

It's ice cream.

Diana tastes it -- her eyes go wide, the best thing she's

ever tasted in her life.

DIANA:

It's wonderful.

(to the ice cream

vendor)

You should be very proud.

Steve pulls her away, sheepishly smiling and nodding at

the confused vendor.

STEVE:

Forget the countries or the

territory or the Generals.

(looks around)

This is what we're really fighting

for.

(CONTINUED)

68.

66 CONTINUED:
(2) 66

Then Diana sees something odd as they board the train: a

PUNCH & JUDY PUPPET SHOW, one puppet hitting the other --

people LAUGHING at the violence -- and to her, that's

very strange. Almost ominous.

67 EXT. DOVER DOCKS - HOURS LATER 67

The train rolls into the station at the Dover Docks.

68 EXT. DOVER DOCKS - HOURS LATER 68

The train sits at the top of Dover Docks. Its STEAM

engulfs HUNDREDS OF ALLIED SOLDIERS disembarking, among

them, Diana, Steve, Sameer, and Charlie. The new

recruits are jubilant, singing "It's A Long Way To

Tipperary" as they walk toward the waiting STEAMSHIP.

Steve checks his watch again --

STEVE:

We've got to get a move on. Chief

won't wait.

DIANA:

Chief?

STEVE:

Smuggler. Very reputable.

Diana looks at the ragtag team Steve's assembled, shakes

her head.

DIANA:

A liar, a murderer, and now a

smuggler?

STEVE:

Careful, I might get offended.

DIANA:

I wasn't referring to you.

STEVE:

I went undercover and pretended to

be something else, I shot people

on your beach, and I smuggled a

notebook. Liar, murderer,

smuggler.

(beat)

You still coming?

Diana's confusion only grows as Steve LEADS a reluctant

Diana and the group away from the soldiers, down a

different path.

(CONTINUED)

69.

68 CONTINUED:
68

NURSES in the same uniforms as the clean and pristine

ones who boarded the train are now soiled, stressed,

wretched as they transfer the WOUNDED YOUNG SOLDIERS from

a HOSPITAL SHIP to a TRAIN back to London. Steve

purposely BLOCKS HER VIEW of the wounded men and women.

Diana pushes him aside, taking in the horror and despair

until she can look no longer. She grabs Steve's arm,

firm.

Steve looks at her, still thinking she's a bit crazy --

but right now, she's absolutely right. He doesn't know

how to stop it, but he nods at her just the same.

The team moves towards a PASSENGER BOAT.

69 EXT. SHORELINE (BELGIUM) - DAY 69

Diana looks around warily as she walks off the boat.

She follows the team across the docks where workers load

and unload HORSES, some of the animals wear GAS MASKS.

Diana registers the bizarre sight.

DIANA:

The gas will kill everyone...

everything.

Steve nods.

DIANA:

What kind of weapon kills

innocents?

STEVE:

In this war? Every kind.

70 EXT. CAMPFIRE - DUSK 70

The sky grows DARK as the sun sets, Diana and the team

walk up to a CAMPFIRE.

THE CHIEF (O.S.)

You're late.

THE CHIEF (30), a bright-eyed Native-American, steps to

the fire, dropping more WOOD into it. He smiles.

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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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