WONDER WOMAN
Screenplay by
Allan Heinberg
Story by
Zack Snyder & Allan Heinberg and Jason Fuchs
based on characters from DC Comics
WONDER WOMAN created by William Moulton Marston
FINAL SHOOTING SCRIPT
FADE IN:
1 EXT. THE EARTH (FROM SPACE) 1
The EARTH as seen from space, perfect and seemingly
serene.
DIANA (V.O.)
I used to want to save the
world...
The distant SOUND OF TRIBAL DRUMS as we DESCEND planet-
ward. CIRCLING the globe, CLOSER as the DRUMS BUILD.
DIANA (V.O.)
This beautiful place.
LOUDER DRUMS SOARING OVER oceans and continents. CLOSER.
DIANA (V.O.)
But the closer you get, the more
you see the great darkness
simmering within.
Finally, we arrive in PARIS, FRANCE.
2 EXT. LOUVRE MUSEUM (PARIS) - EARLY MORNING 2
The LOUVRE MUSEUM -- with its 16th-Century architecture
and its I.M. Pei glass-and-metal PYRAMIDS -- a place
where the past and the future meet.
DIANA PRINCE (30), antiquities expert, strides towards
the Louvre, passing ARMED MILITARY at guard and alert.
DIANA (V.O.)
And mankind? That's another story
altogether.
A TRUCK pulls up, blocking our VIEW. ARMED SECURITY
OFFICERS exit, unloading a CRATE from WAYNE ENTERPRISES
addressed to DIANA PRINCE: CURATOR.
3 INT. LOUVRE MUSEUM - CORRIDOR - CONTINUOUS ACTION 3
Diana walks down a HALLWAY with Assyrian bas-relief
sculptures showing the good, and the bad, of humanity
throughout history. She takes this in.
DIANA (V.O.)
What one does faced with the
truth, is more difficult than you
think.
2.
4 INT. LOUVRE MUSEUM - DIANA'S OFFICE - MINUTES LATER 4
The CRATE is delivered to Diana -- a wall-mounted
COLLECTION OF ANCIENT WEAPONRY and GREEK ANTIQUITIES
behind her.
She eyes the WAYNE ENTERPRISES LOGO warily.
Now alone at her desk, Diana opens the crate and looks
inside, stunned.
REVEAL THE ORIGINAL DAGUERREOTYPE of Diana from BvS --
She's in her WONDER WOMAN ARMOR, surrounded by a band of
SOLDIERS -- her friends -- from long ago.
DIANA (V.O.)
I learned this the hard way. A
long, long time ago. And now I
will never be the same.
She holds up the unsigned note accompanying the photo:
"I found the original. Maybe one day you'll tell me your
story."
She contemplates the faces of her friends long dead. Her
eyes focus in on a man we'll soon know as STEVE TREVOR.
She lingers on him, and then drifts to herself.
Surrounded by HISTORY, Diana is overwhelmed by the memory
of how this photo -- and Wonder Woman -- came to be --
CUT TO:
5 EXT. ARMY TRAINING GROUNDS (THEMYSCIRA) - DAY 5
THE PAST. Flashes of AMAZONS as they train for COMBAT on
VARIOUS PLATEAUS extending from the edge of the CLIFFS of
Themyscira.
The Amazons train with WEAPONS, CLASHING and TESTING one
another to their limits.
DOZENS of ARMORED FEMALE WARRIORS -- AMAZONS -- engage in
a dazzling array of training exercises. Every Amazon is
an ageless beauty, between 30 and 50. They spar with BO
STAVES, KNIVES, SWORDS. Practice ARCHERY, SPEAR
THROWING, and LASSO from HORSEBACK. It's breathtaking --
-- and YOUNG DIANA (8), Princess of Themyscira, watches
it all from the edge of the field. Her eyes blaze with
admiration.
(CONTINUED)
3.
5 CONTINUED: 5
ANTIOPE, the demanding GENERAL, oversees the Amazons.
She wears a distinctive HELMET. At her side, the Amazon
PHILIPPUS (African, regal).
Diana fixates on one Amazon in particular, FIERCE and
POWERFUL -- ARTEMIS. She sends her opponent to the
GROUND, then SPINS to face another!
ANTIOPE
Yes, the blow was strong, but
Eliana's footwork betrayed her! A
battle is like a river-crossing,
every step must find a safe spot --
Diana REHEARSES Artemis' moves, her young face set in a
fierce scowl. She stabs at imaginary enemies, then looks
up to find --
Antiope STARING AT HER from across the grounds. She's
caught! But instead of hiding -- she looks back to
Antiope: I'm ready to fight! LET ME TRY!
Antiope shakes her head but smiles -- Diana smiles back.
MNEMOSYNE (O.S.)
Diana!
Diana freezes, then BOLTS, before MNEMOSYNE (Diana's long-
suffering tutor) can push through the crowd.
MNEMOSYNE
Diana, I see you!
6 EXT. PUBLIC SQUARE (THEMYSCIRA) - CONTINUOUS ACTION 6
Diana dashes through the crowded marketplace, hoping to
lose Mnemosyne, but every Amazon whose path she crosses
greets her with a smile or "Good morning, Princess!"
"Hello, Diana!" We realize that Diana is the ONLY CHILD
in this world.
Diana races past a MURAL in the public square of QUEEN
HIPPOLYTA, Diana's mother, triumphantly leading the
Amazons.
MNEMOSYNE
Diana, come back!
A young AMAZON GUARD sees Diana coming, holds out her
hand, STOP! Diana sees up a narrow stairway, grins -- an
escape! She darts up it and back down another straight
into a DEAD END.
(CONTINUED)
4.
6 CONTINUED: 6
Looking for a way out, she sees a long jump she just
might make. There's a big fall, but Diana loves a
challenge! She smiles mischievously, runs and LEAPS --
-- but she's NOT GOING TO MAKE IT! Diana stretches out,
her face falling as she realizes she's missed the jump,
when --
A hand grabs her wrist!
7 EXT. OTHER BRIDGE (THEMYSCIRA) - CONTINUOUS ACTION 7
Dangling, Diana's pulled up to see: QUEEN HIPPOLYTA,
ethereally beautiful, holding Diana easily by one arm as
if Diana weighed nothing. She sits HORSEBACK, the
mounted QUEEN'S GUARD behind her.
Diana twists uneasily, smiling up at her mother.
YOUNG DIANA (8)
(breathless;
innocently)
Hello, Mother. How are you today?
HIPPOLYTA
(sighs)
How many times, Diana?
YOUNG DIANA (8)
I haven't actually counted. Quite
a few?
HIPPOLYTA
(smiles; nods)
Let's get you back to school
before another tutor quits.
YOUNG DIANA (8)
But, Mother... Don't you think
it's time to start my training?
HIPPOLYTA
Training? You are training.
Hippolyta softens, she loves her daughter more than
anything, and PULLS DIANA into an embrace.
HIPPOLYTA
Your mind is your most powerful
weapon.
(beat)
All battles begin here --
(taps Diana's head)
-- before they end here --
(CONTINUED)
5.
7 CONTINUED: 7
Hippolyta motions to the world around them. Diana
frowns.
Antiope RIDES to meet them, PHILIPPUS at her side.
Antiope catches Diana's hopeful eyes.
YOUNG DIANA (8)
Antiope thinks I'm ready.
HIPPOLYTA
(eyeing Antiope)
Does she?
Antiope approaches, Philippus respectfully keeping a
distance.
ANTIOPE
I could begin showing her some
things.
(off Hippolyta's
silence)
She should at least be able to
defend herself.
HIPPOLYTA
From whom?
ANTIOPE
In the event of an invasion.
HIPPOLYTA
Isn't that why I have an army at
my command, General?
ANTIOPE
I pray a day will never come where
she has to fight, but you, the
wisest of us all, know that one
cannot deny their inner nature. A
scorpion must sting, a wolf must
hunt --
HIPPOLYTA
She's a child. The only child on
the island. Please, let her be
so.
ANTIOPE
But, sister --
YOUNG DIANA (8)
But, Mother --
(CONTINUED)
6.
7 CONTINUED: (2) 7
HIPPOLYTA
(a final declaration)
There will be no training.
Hippolyta rides a crestfallen Diana away. She looks back
at Antiope, who nods at Diana pointedly.
8 INT. HIPPOLYTA'S PALACE - DIANA'S BEDCHAMBER - NIGHT 8
Hippolyta attempts to tuck a wide-awake Diana (8) into
bed.
YOUNG DIANA (8)
What if I promised to be careful?
HIPPOLYTA
It's time to sleep.
YOUNG DIANA (8)
What if I didn't use a sword?
HIPPOLYTA
Fighting doesn't make you a hero.
YOUNG DIANA (8)
(not listening)
Just a shield then! No sharp
edges!
HIPPOLYTA
Diana... You are the most precious
thing in this world to me. So
much so, I sculpted you from clay
and begged Zeus to give you life.
YOUNG DIANA (8)
(bored)
You've told me that story.
Hippolyta steps away and removes a GOLDEN-BOUND TRIPTYCH.
HIPPOLYTA
Then I will tell you a new one.
One of our people, and my days of
battle...
Diana's face LIGHTS UP, but Hippolyta raises her voice to
correct her mood.
HIPPOLYTA
So you will finally understand...
why war is nothing to hope for.
(CONTINUED)
7.
8 CONTINUED: 8
Hippolyta slowly unfolds the large TRIPTYCH, revealing an
elaborate PAINTING illustrating the history of the
Amazons.
HIPPOLYTA
Long ago, when time was new, and
all of history was still a
dream... the gods ruled the Earth,
Zeus king among them.
PUSH IN as the painting seems to come alive, subtly
animates. Lightning and thunder herald the arrival of
ZEUS atop Olympus, surrounded by the PANTHEON OF GODS.
HIPPOLYTA (O.S.)
Zeus created beings over which the
gods would rule -- beings born in
his image -- fair and good, strong
and passionate. Zeus called his
creation... man.
(beat)
And mankind was good.
Another flash of lightning REVEALS MANKIND.
HIPPOLYTA (O.S.)
But one grew envious of Zeus' love
for mankind -- and sought to
corrupt his creation.
The painting seems to come alive again -- ARES, features
hidden in shadow beneath a fearsome, HORNED HELMET.
HIPPOLYTA (O.S.)
This was Ares. The God of War.
The sky splits open and fire rains from the heavens. Men
take up arms, falling in line around Ares and becoming
his ARMY.
HIPPOLYTA (O.S.)
Ares poisoned men's hearts with
jealousy and suspicion, vengeance
and rage. He turned them against
one another.
The DYING and the DEAD litter a RAGING BATTLEFIELD.
8A INT. HIPPOLYTA'S PALACE - DIANA'S BEDCHAMBER - NIGHT 8A
BACK TO Young Diana (8), her eyes WIDE.
HIPPOLYTA (V.O.)
And war ravaged the Earth.
8.
9 EXT. PALACE (THEMYSCIRA) - NIGHT 9
YOUNG DIANA (8) sneaks out of the palace, past her
GUARDS. Pleased with herself, she runs off into the
night!
10 EXT. SECRET TRAINING LOCATION 1 (THEMYSCIRA) - NIGHT 10
Antiope and Young Diana (8), now dressed for training,
raise their BO STAFFS. Antiope strikes, gently at first,
but not for long. Diana works hard to defend herself.
11,12 OMITTED -- INCORPORATED INTO SCENE 8, 8A 11,12
13 EXT. BATTLEFIELD (PAINTING) 13
APHRODITE, Goddess of Love, stands beside Zeus and the
other gods at the shore of a turbulent sea, waving her
hands as the ocean churns.
From out of the sea rises: HIPPOLYTA, ANTIOPE, and
countless other figures -- WARRIOR WOMEN.
HIPPOLYTA (V.O.)
So the gods made us, the Amazons,
to influence men's hearts with
love and to restore peace to the
world.
Standing behind Aphrodite on the shore, MEN watch the
women approach in awe, lowering their weapons.
HIPPOLYTA (V.O.)
For a brief time, there was peace,
even a unity among the world, as
the gods and man fought side-by-
side against a great evil.
An ancient war is subtly depicted, but not lingered on.
If one looks close you'll see: THREE ARMIES -- The gods,
Amazons, and Atlanteans battling JACOB. Each army in
possession of a LOTUS.
ARES cleaves Jacob, then he looks to the LOTUS the humans
have discarded. He reaches for it --
ANTIOPE (V.O.)
But it did not last.
ARES' ARMY OF MEN swing a barrage of weapons at Hippolyta
and the Amazons, led by the God of War himself.
(CONTINUED)
9.
13 CONTINUED: 13
ANTIOPE (V.O.)
Ares refused to give up his hold
on mankind. Tightening his grip,
he turned them against us.
ARES AND HIS ARMY OF MEN lead Hippolyta and the other
Amazons out of a BURNING CITY in SHACKLES and CHAINS.
ANTIOPE (V.O.)
When Zeus led the gods to our
defense, Ares killed them, one-by-
one...
Ares grabs Apollo from behind, slitting his throat --
elsewhere, he assassinates Aphrodite -- elsewhere, Hermes --
ANTIOPE (V.O.)
.... until only Zeus himself
remained.
HIPPOLYTA breaks the chains between her bracelets!
ANTIOPE (V.O.)
Your mother, the Amazon Queen, led
a revolt that freed us all from
enslavement.
Hippolyta leads the Amazons in battle against Ares,
swinging her sword, a feral CHEETAH fights at her side --
14 EXT. WOODS (THEMYSCIRA) - DAY 14
Young Diana (8) mimics her mother in battle, thrusting
her WOODEN SWORD as she runs.
HIPPOLYTA (V.O.)
While Zeus used the last of his
power to stop Ares...
15 EXT. BATTLEFIELD (PAINTING) 15
Ares and Zeus CLASH in the eye of a STORM, each at the
edge of death. Zeus throws his last THUNDERBOLT, hitting
Ares.
HIPPOLYTA (V.O.)
... striking him such a blow, the
God of War was forced to retreat.
Ares staggers back, a large gash in his chest leaks
VIOLENT, BLUE POWER! He's swallowed up by DARKNESS.
(CONTINUED)
10.
15 CONTINUED: 15
HIPPOLYTA (V.O.)
With Zeus' dying breath, he
created this island to shield us
from the outside world. Somewhere
Ares could not find us.
16 EXT. SECRET TRAINING LOCATION 2 (THEMYSCIRA) - DAY 16
Antiope attacks! Young Diana (8) tries to keep up -- and
to Antiope's surprise and satisfaction -- she does!
ANTIOPE (V.O.)
But in the event he did, Zeus left
us a weapon, one powerful enough
to kill a God... to destroy Ares
before he could destroy mankind...
and us... with an endless war.
17 EXT. SCENIC OVERLOOK (THEMYSCIRA) - DAY 17
Hippolyta and Young Diana (8) look across their island
home.
Hippolyta smiles, ending her story... But Diana looks out
across the oceans, wondering if Ares is still out
there...
HIPPOLYTA
We give thanks to the gods for
this paradise.
YOUNG DIANA (8)
And the Godkiller?
Hippolyta isn't sure what Diana is referring to...
HIPPOLYTA
The Godkiller?
YOUNG DIANA (8)
Yes. The weapon that can kill
Ares if he ever finds us. May I
see it, Mother?
Hippolyta's conflicted by Diana's excitement. A beat.
Then she nods, Diana elated.
11.
18 EXT. ARMORY - DAY 18
Hippolyta and Young Diana (8) ride their HORSES to the
ARMORY, a heavily guarded keep at the top of Themyscira's
hillside. The QUEEN'S GUARDS follow. Diana's eyes drift
up at a HIGH TOWER with a single window.
19 INT. ARMORY - CONTINUOUS ACTION 19
Young Diana (8) follows Hippolyta down a torch-lit tunnel
and into the open-air center. One high window.
HIPPOLYTA
This is where we keep all the
gifts the gods have given us.
Diana's eyes drift past a dazzling array of items,
including a glowing GOLDEN GIRDLE, LASSO, and at the
center, an ornately-crafted SWORD. Diana gently touches
the hilt of the sword, in awe.
YOUNG DIANA (8)
The Godkiller... It's beautiful...
Hippolyta watches her carefully.
YOUNG DIANA (8)
Who would wield it?
HIPPOLYTA
I pray there will never come a
time when it is called to arms.
But only the fiercest among us
even could... And that is not you,
Diana.
She takes Diana's hand away from the sword.
HIPPOLYTA
So you see, my daughter, you are
safe. And it is nothing for you
to concern yourself with.
But Diana is determined to prove her mother wrong --
20 EXT. SECRET TRAINING LOCATION 3 (THEMYSCIRA) - DAY 20
SWORDS clash! Young Diana (now 12) continues to train
with Antiope -- more skilled, stronger -- but not yet the
warrior she will one day be. As Antiope pushes her --
ANTIOPE
You're doubting yourself.
(CONTINUED)
12.
20 CONTINUED: 20
YOUNG DIANA (12)
(defiant)
No, I'm not.
Antiope swings, the swords clashing! Young Diana (12)
loses her footing, falling to the ground --
ANTIOPE
Yes, you are.
(beat)
But you're stronger than you
believe...
HIPPOLYTA (O.S.)
Diana!
Hippolyta rides towards them, her GUARDS follow.
The Queen climbs down, furious. She checks her daughter
for injury.
YOUNG DIANA (12)
Mother... I'm fine... I was just --
HIPPOLYTA
Training.
(to Antiope)
It seems I am not the revered
queen I should be. Disobeyed,
betrayed, by my own sister --
YOUNG DIANA (12)
Mother! It was me. I asked her
to --
HIPPOLYTA
(to her Guards)
Take her to the palace.
Crestfallen, Young Diana (12) is led away by Hippolyta's
guards. She locks eyes with Antiope as she leaves.
ANTIOPE
You left me no choice, Hippolyta.
You neglect your duty if she
cannot fight.
HIPPOLYTA
You speak of a time that may never
come. He may never return! He
could have died of his wounds.
Antiope raises her voice to meet Hippolyta's for the
first time in three thousand years.
(CONTINUED)
13.
20 CONTINUED: (2) 20
ANTIOPE
You think I don't wish that were
true?!
(beat)
You feel it in your bones, just as
I do. Ares is still alive... He
is out there... and it's only a
matter of time before he returns.
HIPPOLYTA
The stronger Diana gets --
ANTIOPE
Nobody wants this less than I. I
love her as you do.
(beat)
But this is the only way to truly
protect her.
Hippolyta's pained eyes look away, pause for a beat, and
then return to meet Antiope's with a steely stare.
HIPPOLYTA
She is to never know the truth
about what she is and how she came
to be.
(beat)
You will train her harder than
every Amazon before her.
ANTIOPE
Hippolyta --
HIPPOLYTA
Five times harder -- ten times
harder.
(beat)
You will train her until she is
unconquerable.
A beat. Then Antiope nods.
SMASH CUT TO:
21 EXT. TRAINING GROUNDS (THEMYSCIRA) - DAY 21
An AMAZON rolls across the ground with a BOW AND ARROW,
rising up and letting an ARROW fly! It's DIANA! She's
now fully grown, striking and formidable, with a sly
smile -- the arrow HITS the target DEAD CENTER and she
moves on --
(CONTINUED)
14.
21 CONTINUED: 21
Antiope nods to Diana to look across the audience of
Amazons and up to the hillside -- where Hippolyta has
arrived on HORSEBACK. Diana grins, drawing her sword.
Diana moves THROUGH and OVER obstacles, where she faces
off against one of ANTIOPE'S GUARDS (African), using her
SHIELD, BRACELETS and SWORD -- then ARTEMIS joins. Diana
now taking on TWO AMAZONS -- and excited for the
challenge.
Diana dispatches Antiope's guard.
The Amazons' brawler -- Artemis -- bares her teeth and
attacks with no mercy, striking Diana hard! Artemis is
fierce, revered by the other Amazons.
Diana blocks the next blow, then sends Artemis crashing
to the muddy ground at the feet of the other Amazons!
The Amazons step back from Artemis. Humiliated, Artemis
scowls. Diana, grins --
Then Antiope and Diana go into battle! Warriors in
violent, graceful combat. Antiope feels her holding
back.
ANTIOPE
Come on, Diana. You're stronger
than this.
Diana attacks Antiope with strength previously unseen!
The Amazons watch with awe. Even Hippolyta.
Unrelenting, Diana strikes hard, AGAIN AND AGAIN, until
she knocks Antiope's sword out of her hands! Cocky,
Diana points the sword at Antiope, who holds up her hands
in surrender, proud. Diana nods, lowering the sword --
she's won.
Diana turns to her mother, looking for her approval but --
-- WHAM! Out of nowhere, Antiope sends Diana to the
ground with a BRUTAL BLOW! Not so fun anymore. Diana
takes a breath, recovering.
Hippolyta watches from the hill --
HIPPOLYTA
(under her breath)
Get up, Diana.
Diana glances at Antiope -- it was a dirty move -- but
Antiope faces off against Diana!
(CONTINUED)
15.
21 CONTINUED: (2) 21
ANTIOPE
NEVER let your guard down! Your
opponents will have no honor.
They will strike at you from
behind! They will attack without
provocation!
Antiope knocks Diana's sword aside!
ANTIOPE
Show me the Amazon you are!
(pushing Diana)
Or was I wrong to put such faith
in you?
Pushed to her limit, Diana brings both arms up -- then
SLAMS her bracelets together!
BOOSH! A FIELD OF ENERGY EMANATES FROM DIANA'S CORE.
We get the sense that this is just the beginning of her
true POWER. Still, it's powerful enough to knock Antiope
off her feet. Diana stumbles back...
Diana, amazed and elated, realizes that something
unbelievable has happened. A tiny GOLDEN SPARK in her
eye quickly fades.
Diana's ecstatic, scared and confused. She looks to her
mother: Did you see that?
But Hippolyta is worried about the implications of
Diana's power -- and Diana mistakes it for judgment.
HIPPOLYTA
What have you done?
Diana looks to Antiope, blood streaming from a cut to the
head. Diana rushes to her side.
DIANA
I'm sorry --
But Antiope holds up her hand --
ANTIOPE
Stay back.
Diana looks at the other Amazons, who all stare back in
silence, even Artemis -- then back to her mother's
forlorn face, filled with fear. Diana slowly takes a
step away, feeling frightened, guilty, rejected --
And Diana runs --
(CONTINUED)
16.
21 CONTINUED: (3) 21
A COLD WIND blows across the hill. Fear falls on
Hippolyta's face, taking in Diana's actions.
22 EXT. CLIFF (THEMYSCIRA) - CONTINUOUS ACTION 22
Diana races up a grassy embankment to a CLIFF overlooking
the ocean.
She looks down at her open palms, clenches them shut.
What was that? Then --
An UNFAMILIAR SOUND: a strange gnawing BUZZ. Diana
looks upward, quickly spotting --
A SHAPE on the horizon, moving closer. Something she has
never seen before: A GERMAN WARPLANE, a Fokker, out of
control, trailing SMOKE.
Diana's sharp gaze catches sight of SOMEONE IN THE
COCKPIT, struggling to escape.
The PLANE dives down, crashing into the water!
Without hesitation, Diana DIVES off the cliff, hurtling
hundreds of feet through the air and into the sea.
23 EXT. UNDERWATER (AEGEAN SEA) - MOMENTS LATER 23
The plane SINKS, its PILOT already underwater.
He struggles to break free from the cockpit, but his
MESSENGER BAG is caught!
A loud CREEEEAAAK pierces the water. The PILOT looks up
to see a deep FISSURE running along the tail. It BREAKS
free and the engine and cockpit sink like stones.
As he sinks, he loses breath, the light fading.
Suddenly, out of nowhere, DIANA APPEARS ON THE PLANE'S
TAIL, above the surface. The sun blazes, framing her, an
epic vision -- like an angel.
The PILOT blinks into the light one last time. The DARK
DEPTHS closing in on his face as his eyes fall shut.
Diana DIVES in and grabs the Pilot.
She braces her feet against the plane and rips him away,
kicking to the surface.
17.
24 EXT. SURFACE (AEGEAN SEA) - CONTINUOUS ACTION 24
Diana surfaces with the Pilot, swimming effortlessly to
shore, unaware that behind them a WWI GERMAN
BATTLE-CRUISER and its THREE LANDING CRAFT head towards
the island.
25 EXT. GERMAN BATTLE-CRUISER - DECK - CONTINUOUS ACTION 25
A GERMAN COMMANDER stares into the THICK FOG with FIELD
GLASSES. His LIEUTENANT at his side, bewildered.
GERMAN LIEUTENANT
Where did this fog come from?
GERMAN COMMANDER
Find the plane.
26 EXT. GERMAN LEAD LANDING CRAFT 1 - CONTINUOUS ACTION 26
GERMAN SOLDIER #1 spots something, pointing --
GERMAN SOLDIER #1
(to ship's tillerman)
It's there!
Landing craft 1 steers through the FOG toward the
Fokker's TAIL SECTION, still afloat.
27 EXT. GERMAN LANDING CRAFT 1 - CONTINUOUS ACTION 27
German Soldier #1 REACHES OUT over the side and HIS HAND
disappears in a BLINDING REFLECTION, like fractal SHARDS
of LIGHT hitting a mirror.
He briefly sees a flash of a beautiful island --
startled, he jolts back, the image vanishing into fog.
He leans back out and there it is again! Beyond the
protective RING of FOG and reefs -- AN ISLAND! And Diana
swimming the Pilot toward the beach!
Stunned, he leans inboard, once again enshrouded in a
foggy, cold, gray day.
GERMAN SOLDIER #1
(stammering)
The pilot. He's... there?
The tillerman is skeptical but slowly turns the boat.
18.
28 EXT. BEACH (THEMYSCIRA) - CONTINUOUS ACTION 28
Diana drags the Pilot onto the beach, his bag around his
shoulder.
She gently lays him on the sand and gets her first real
look at the FIRST MAN SHE'S EVER SEEN. His mouth, lips,
jaw, hair, stubble -- captivating.
This is CAPTAIN STEVE TREVOR (30s), rugged, handsome. An
American fighter pilot undercover for the British.
Steve wakes, squinting in the sun, surprised to discover
Diana's not a hallucination. He takes in the strange
surroundings, blown back by her breathtaking beauty.
STEVE (PILOT)
Wow.
She backs away as he sits up, surprised by the timber of
his voice. Diana studies his eyes. They're so blue.
DIANA
You are a... man?
STEVE
Yes, I mean --
(lowering his voice)
Yeah. Do I not look like a...
where am I?
DIANA
You are on Themyscira.
STEVE
Thema-- say it again?
DIANA
Who are you?
They're cut off by the ear-splitting SOUNDS OF SCRAPING
METAL. Diana and Steve turn to see the GERMAN
BATTLE-CRUISER running aground on the protective REEF
around Themyscira.
STEVE
I'm one of the good guys, and
those are the bad guys.
The wounded battle-cruiser sinks, but her THREE GERMAN
LANDING CRAFT steam towards the beach.
STEVE
Y'know... Germans.
(CONTINUED)
19.
28 CONTINUED: 28
DIANA
Germans?
STEVE
We gotta get out of here.
HIPPOLYTA (O.S.)
Diana!
Diana and Steve look up to the cliffs to see --
Battle-ready HIPPOLYTA on HORSEBACK, with the QUEEN'S
GUARD, all with ARROWS pointed directly at Steve.
HIPPOLYTA
(to Steve; enraged)
Step away from her! NOW!
STEVE
Where are their guns?
ANOTHER WAVE OF GUARDSWOMEN arrive behind Hippolyta on
HORSEBACK, aiming ARROWS at the German ships.
STEVE
Do they only have arrows? We need
guns. Because the Germans have
guns. Lots and lots of --
A torrent of FLAMING ARROWS sail from the cliff top, over
Diana's and Steve's heads, hitting all three landing
craft.
The Germans FIRE back in retaliation!
STEVE
Get down!
Steve pulls Diana behind a ROCK FORMATION, out of sight
of the invading Germans now fanning out across the beach.
MORE AMAZONS join the others on the cliff, led by ORANA.
Orana shoots a GRAPPLING ARROW into the rock wall of the
opposite cliff. She swings down the attached line toward
the beach, firing ARROW AFTER ARROW at the Germans.
ON THE BEACH: Diana and Steve watch her, stunned.
Diana turns as a soldier lifts his rifle and FIRES. She
sees the BULLET leave the gun, heading straight for her
in SLOW MOTION --
Steve TACKLES DIANA, pushing her to the ground as the
BULLET just misses her.
(CONTINUED)
20.
28 CONTINUED: (2) 28
Diana's heightened senses allow her to see the bullet
sailing past -- she's confused by what she's seeing --
until it HITS ORANA!
Diana is aghast as Orana falls slack on the grappling
line, her lifeless body swinging against the cliff wall.
DIANA STEVE
NO! Keep your head down!
The Germans continue to FIRE at the Amazons atop the
cliff, several of whom plummet to their deaths on the
beach below.
Orana's slayer squints down his rifle's eyesight --
WHUNK! An arrow now sprouts from the rifle barrel.
A STAMPEDE OF HORSEWOMEN ride through a massive STONE
ARCHWAY onto the beach. The AMAZON CAVALRY, led by
ANTIOPE.
Antiope, MENALIPPE and ARTEMIS at her side, BLOCKS
BULLETS with her SHIELD and cuts through Germans with her
SWORD, trampling them beneath her horse's feet.
Steve crawls out, seeing a soldier taking cover behind a
rock nearby.
STEVE
(to Diana)
Stay here!
A GLINT of a KNIFE in Steve's hand as he leaps on the
soldier, dragging him down -- then quickly reappearing,
SHOOTING a RIFLE.
Diana grabs the SWORD and SHIELD of a fallen sister and
joins the battle. She's quickly surrounded, but holds
her own, fending off a SWARM of Germans.
ANTIOPE
(shouting to her
troops)
Omicron formation!
Antiope's team organizes into a formation, working
together but still overwhelmed until --
HIPPOLYTA arrives on the beach, joining the battle in
spectacular fashion. She slashes through the Germans
like no other Amazon, proving why she is QUEEN!
Diana is in awe of her mother -- it's the first time
she's witnessed her fight.
(CONTINUED)
21.
28 CONTINUED: (3) 28
Antiope finds relief as Hippolyta joins her side -- the
two sisters fight back-to-back, wiping out all but FIVE
GERMANS.
ANTIOPE
(to Menalippe)
SHIELD!
Steve watches as MENALIPPE takes her SHIELD with both
hands, holds it parallel to the ground. Antiope
dismounts, runs at her, then jumps onto the SHIELD,
springing HIGH INTO THE AIR!
One of the five remaining Germans raises his rifle to
fire at Antiope, but Steve SHOOTS him first, saving
Antiope's life, which is not lost on Diana.
At the height of her mid-air arc, Antiope FIRES THREE
ARROWS AT ONCE, eliminating all but ONE remaining German
who raises his gun at Diana.
STEVE
Diana!
Steve aims at the soldier as he fires, but Antiope steps
in front of her niece. TAKING THE BULLET, she falls to
the ground. Steve fires and the German falls, too.
DIANA
Antiope!
The noise, the battle, everything falls away as Diana
races to Antiope's side.
DIANA
No! Please no!
Diana races to Antiope, dying, struggling to speak --
ANTIOPE
Diana. The time has come...
you... you must...
DIANA ANTIOPE
What!? Antiope!! (barely audible)
The Godkiller, Diana, go --
DIANA
(uncomprehending)
Go where? Antiope! No!
Hippolyta rushes to Diana, falling to her knees in front
of Antiope's lifeless body.
(CONTINUED)
22.
28 CONTINUED: (4) 28
HIPPOLYTA
Sister!
Antiope stills. Diana's devastated, her first experience
of death. Philippus looks on, saddened.
Hippolyta grabs her sword and turns to Steve.
HIPPOLYTA
You!
Diana rushes between them.
DIANA
Mother, no! He fought at my side
against the invaders.
MENALIPPE
Typical. The man fights against
his own people.
STEVE
They weren't my people.
MENALIPPE
Then why do you wear their colors?
ARTEMIS
Tell us!
Steve looks down at his German uniform.
STEVE
I -- I'm not at liberty to say.
MENALIPPE
What is your name?
STEVE
I can't tell you that, either.
VENELIA
We should kill him right now and
be done with it.
Philippus talks, calm despite her friend's death.
PHILIPPUS
He dies now and we know nothing
about why they came here and who
they are.
(CONTINUED)
23.
28 CONTINUED: (5) 28
STEVE
Ladies, I'm sorry. I can only
tell you one thing about me: I'll
never talk.
29 INT. PALACE - THRONE ROOM - LATER 29
Steve's overcome by an unseen force. He struggles.
STEVE
My name's Captain Steve Trevor.
Pilot... American Expeditionary
Forces. Serial number 8121941.
That's all I'm at liberty to s--
REVEAL: Steve, bleeding from injuries sustained in
battle, bound by a GLOWING GOLDEN LASSO controlled by
Menalippe.
Diana and Hippolyta, battle weary, watch him. With them
the QUEEN'S GUARDS, what's left of ANTIOPE'S GUARDS and
SENATOR ACANTHA (50s).
Steve strains to keep his mouth shut. He can't.
STEVE
Seconded... to British
Intelligence.
(re: lasso)
What the hell is this thing,
anyway?
DIANA
The Lasso of Hestia compels you to
reveal the truth.
MENALIPPE
It is pointless -- and painful --
to resist.
HIPPOLYTA
What is your mission?
STEVE
Whoever you are, you're in enough
danger as it is. You shouldn't --
HIPPOLYTA
What is your mission?
(CONTINUED)
24.
29 CONTINUED: 29
STEVE
(exhales; caves)
I'm a spy.
CUT TO:
30 FLASHBACK - EXT. MILITARY INSTALLATION (OTTOMAN EMPIRE) - 30
DAY
Steve, in his GERMAN PILOT'S UNIFORM, stands on an
AIRSTRIP next to several other PILOTS and PLANES.
STEVE (V.O.)
British Intelligence got word that
the leader of the German Army,
General Ludendorff, was visiting a
secret military installation in
the Ottoman Empire.
STEVE'S POV
FOLLOWING GENERAL LUDENDORFF as he and his troops enter a
large, nondescript WAREHOUSE.
STEVE (V.O.)
I posed as one of their pilots,
then flew in with them.
31 INT. MILITARY INSTALLATION - FACTORY/LABORATORY - DAY 31
Steve follows the others into the warehouse.
STEVE (V.O.)
According to our intel, the
Germans had no troops left, no
money, no munitions of any kind...
Steve discovers this is an immense MUNITIONS FACTORY
manned by elderly men, women, and children, all of whom
appear to be slave labor for the Germans in the mass
production of BOMBS.
STEVE (V.O.)
... but our intel was wrong. The
Germans had the Turks making bombs
for them. And not just bombs...
Ludendorff approaches a SCIENTIST, wearing head-to-toe
protective gear. Removing mask and goggles, we meet the
STUNNINGLY BEAUTIFUL DR. MARU, 40s. She finishes writing
a CHEMICAL FORMULA in a NOTEBOOK. She turns, greets
Ludendorff with respect and confidence.
(CONTINUED)
25.
31 CONTINUED: 31
STEVE (V.O.)
New weapons. Invented by
Ludendorff's chief psychopath.
Dr. Isabel Maru.
Steve can't help but stare admiringly... until Maru turns
her head, revealing METAL PLATES on her face, hiding
damage incurred by her own experiments.
STEVE (V.O.)
Boys in the trenches call her `Dr.
Poison.'
Maru leads LUDENDORFF to her lab, to a fully-enclosed
TEST CHAMBER with a VIEWING WINDOW.
In the chamber, Steve sees a gruesome site: A PRISONER,
his terrified face covered by a GAS MASK, his wrists and
ankles stretched out and restrained by CHAINS. Another
CHAIN leads from the top of the prisoner's gas mask.
Out of earshot, Steve watches as Maru shows Ludendorff
the formulas in her notebook, explaining them.
Maru closes the notebook and sets it down, then releases
GLOWING GAS into the chamber. Panicked, the prisoner's
terrified eyes widen, MUFFLED SCREAMS cry out behind his
gas mask.
Enraptured, Maru puts a hand against the window, her
anxious eyes follow the SMOKE filling the chamber: It
has to work this time.
Ludendorff watches, waiting.
Steve looks on in horror as the prisoner's gas mask
begins to show slight signs of disintegration: thin
cracks in the glass, wear on the straps, corrosion on the
metal -- Maru isn't even aware she's grinning, but then --
The prisoner realizes the gas mask is resisting the gas,
protecting him. He calms. Maru's face falls.
Her eyes dart to Ludendorff who shows obvious signs of
disappointment.
Steve watches as a frustrated Dr. Maru pulls a LEVER --
and the chain connected to the prisoner's gas mask tears
the mask off, exposing him to what's left of the gas!
The panicked prisoner screams in pain as he breathes in,
dying horribly!
Steve can barely watch, he glances away -- and his eyes
lock on Maru's notebook.
(CONTINUED)
26.
31 CONTINUED: (2) 31
STEVE (V.O.)
From what I saw... if Dr. Maru was
able to complete her work,
millions would die. The war would
never end.
(beat)
I had to do something...
Steve makes a decision, knowing it could cost him his
life -- he grabs the notebook.
STEVE
Dammit.
Maru turns to see her notebook gone! She looks around
just in time to see Steve leaving. They lock eyes
briefly as he exits --
32 EXT. MILITARY INSTALLATION - AIRSTRIP - CONTINUOUS ACTION 32
An ALARM BLARES as Steve -- pursued by a dozen German
soldiers -- runs to a FOKKER, props already rotating.
33 EXT. SKY ABOVE THE MILITARY INSTALLATION - CONTINUOUS 33
ACTION
Steve's plane takes off, but he doesn't fly away.
Instead, he doubles back toward the warehouse, where
Ludendorff and Maru escape in a MILITARY VEHICLE.
34 INT. STEVE'S FOKKER - CONTINUOUS ACTION 34
Steve uses the Fokker's 12-BARREL ROTARY CANNON to FIRE
on Ludendorff's vehicle -- but it gets away.
Steve trains the gun on the evacuated military
installation's glass roof, whose WORKERS have just
evacuated. He STRAFES it, taking out all of the glass
panes before dropping HAND-BOMBS into the complex.
The factory EXPLODES in a fire ball as he flies off into
the sky!
END FLASHBACK.
35 INT. PALACE - THRONE ROOM - DAY 35
Steve tries to resist the lasso again, but can't --
(CONTINUED)
27.
35 CONTINUED: 35
STEVE
I was on my way back to London
when the Germans shot me down...
Steve's eyes firmly on his BAG at Hippolyta's feet.
Diana removes Dr. Maru's notebook.
STEVE
But if I can get those notes to
British Intelligence in time, it
might make a difference...
(emotional)
... stop millions more from
dying... Stop the war...
DIANA
War? What war?
STEVE
... The War to End All Wars. Four
years, twenty-seven nations,
twenty-five million dead --
soldiers... and civilians...
Steve swallows hard, forced by the lasso to reveal all.
Not just the facts, but also his feelings about them.
STEVE
(with difficulty)
... Innocent people. Women and
children. Slaughtered. Their
homes -- villages -- looted,
burned. Weapons deadlier, more
horrifying than you can imagine.
Like nothing I've ever seen...
It's like...
(absolute truth to
him)
... like the world is going to
end.
Steve's head hangs low, Diana looks at him with sympathy
and sadness.
HIPPOLYTA
(stoney-faced)
Take him to the infirmary.
Diana tenses, clearly shaken by this.
36 EXT. PALACE - COURTYARD - NIGHT 36
Diana follows Hippolyta and the cortege into the
courtyard, trying to lend voice to their debate.
(CONTINUED)
28.
36 CONTINUED: 36
PHILLIPUS
Should we let him go?
HIPPOLYTA
And risk him bringing more men to
our shores. Phillipus...
DIANA
(quiet)
Mother -- ?
PHILLIPUS
We can't hold him forever, my
Queen.
DIANA
Excuse me, Mother. But after
everything the man said... this
must be Ares.
They all stop and face Diana.
SENATOR ACANTHA
What are you talking about, child?
DIANA
Forgive me, Senator Acantha,
but... the man called it a war
without end. Millions of people
already dead. Like nothing he's
ever seen. Only Ares could do
such a thing. We cannot simply
let him go.
(then)
We must go with him.
HIPPOLYTA
We are not deploying our army and
leaving Themyscira defenseless to
go and fight their war!
DIANA
It is not their war.
(repeating the
history lesson)
Zeus created man to be just and
wise, strong and passionate.
HIPPOLYTA
That was a story, Diana. There is
much you do not know. Mankind is
easily corruptible.
(CONTINUED)
29.
36 CONTINUED: (2) 36
DIANA
But Ares is behind that
corruption. It is Ares who has
these Germans fighting. And
stopping the God of War is our
foreordinance --
HIPPOLYTA
We must care to our wounded, honor
our fallen!
DIANA
Themyscira has seen death for the
first time, Mother. Ares must not
be allowed to threaten us again.
We know only too well what happens
if he finds us -- and he will.
Never again shall we be enslaved.
And now mankind must be freed. As
Amazons this is our duty!
HIPPOLYTA
You are not an Amazon like the
rest of us, Diana.
That strikes Diana in the heart. Hippolyta stops herself
from revealing more, covering --
HIPPOLYTA
You don't know war like we do.
DIANA
(accusatory)
You may be afraid to face Ares,
Mother, but I am not.
HIPPOLYTA
(angry; for her own
good)
Afraid? You know nothing of fear,
child. Nothing of war. Nothing
of pain. Nothing of sacrifice.
So you will do nothing.
(beat)
Your Queen forbids it.
Diana leaves, brimming with anger -- Hippolyta with
conflict.
37 INT. INFIRMARY - EPIONE'S ROOM - NIGHT 37
EPIONE, a skilled healer, stitches up a wound on Diana's
ARM. Diana doesn't flinch.
(CONTINUED)
30.
37 CONTINUED: 37
EPIONE
Is it true you saved his life?
DIANA
Who told you that?
EPIONE
He did.
(beat)
What will the Queen do with him?
Will she kill him?
OFF Diana, wondering herself.
38 INT. INFIRMARY - STEVE'S ROOM - LATER 38
Diana enters to find Steve stepping out of a TUB -- his
back to her -- NAKED. She studies his body as he towels
himself dry.
Steve's shoulder has been BANDAGED, but his body is
covered with CUTS, BRUISES, SCARS from other battles.
Diana touches her own wound, sympathetic. Steve finally
turns, startled to see her there.
STEVE
Didn't hear you come in./Didn't
hear you knock.
Diana stares at him. Puzzled. Steve isn't enjoying the
look on her face.
DIANA
Would you say you're a typical
example of your sex?
Steve raises an eyebrow, slightly offended, but he
doesn't cover himself.
STEVE
I like to think of myself as...
above average.
DIANA
What is that?
Steve is relieved to see she means his POCKET WATCH on
top of his clothes.
STEVE
It's a watch.
DIANA
A watch.
(CONTINUED)
31.
38 CONTINUED: 38
STEVE
My father gave it to me. Been
through hell and back with him,
and now me, and it's still
ticking.
DIANA
(listening to it
tick)
Why?
STEVE
Because it tells time.
(off her look)
So, I know when to wake up, work,
eat, sleep.
DIANA
(that's ridiculous)
You let this little thing tell you
what to do?
Steve takes the watch from her, covers up.
STEVE
Do you mind if I ask you a couple
hundred questions?
Diana shrugs.
STEVE
What is this place?
DIANA
Themyscira.
STEVE
I caught that before. I mean what
is this place? How come I've
never heard of it? Who the hell
are you people? How do you know
English?
DIANA
We speak hundreds of languages.
We are the bridge to a greater
understanding between all men.
STEVE
Funny, because I understand even
less now than before you walked
in.
The way Steve watches her makes Diana self-conscious.
(CONTINUED)
32.
38 CONTINUED: (2) 38
STEVE
Hey, I didn't get to say it
earlier... but thanks for dragging
me out of the water.
DIANA
Thank you for what you did on the
beach.
STEVE
So... Are you here to let me go?
DIANA
I'm sorry... It's not up to me. I
tried. I even asked them to send
me with you --
Steve's eyes brighten. Diana backpedals in
embarrassment.
DIANA
-- or anyone. An Amazon. The
Amazons.
STEVE
The Amazons?
DIANA
It is our sacred duty to defend
the world... and I wish to go.
But my mother will not allow it.
Which, from her tone, clearly disappoints Diana. Steve's
surprised to find himself disappointed, too, though his
better sense tells him not to be.
STEVE
Can't say I blame her.
(off Diana's
surprise)
The way this war is going, I
wouldn't let anyone I care about
near it.
DIANA
Then why do you want to go back?
Steve starts dressing.
STEVE
I don't think want is the word,
but... I've gotta try.
(wistful; remembering
his father)
My father used to say.
(MORE)
(CONTINUED)
33.
38 CONTINUED: (3) 38
STEVE (CONT'D)
`You see something wrong in the
world, you can either do nothing,
or you can do something. And you
already tried nothing.'
Moved, Diana takes that in. Determination on her face.
39 EXT. ARMORY (THEMYSCIRA) - NIGHT 39
On this still, MOONLIT night, the armory stands
monolithic amongst the other buildings of Themyscira.
Diana surveys from an opposing hillside. The building's
face an impenetrable mountainside, accessible by only one
main entrance, completely blocked by SEVERAL GUARDS who
stand watch -- and even if she could take them all on,
Diana doesn't want to hurt them.
Studying the building further, she focuses on the SINGLE
WINDOW in the HIGH TOWER.
Diana's face darkens with fixed focus. She looks down at
her feet, back at the space -- calculating it all. She
turns to the hillside behind her, spots a distant branch
twisting from a tree. It looks relatively equidistant to
the armory.
She takes a step towards it, then another -- and another --
and Diana leaps into the air, locked on the branch -- but
she lands far before reaching it!
As Diana jogs to a stop, her frown fades: I know that I
can do this.
Diana sets off in a dead sprint towards the cliffside --
she LEAPS over the abyss below. Her face calm as she
SOARS through the night --
THE BUILDING BARRELS TOWARDS HER, her eyes widen.
Thinking fast she GRASPS a SPUR and --
She SLAMS into the side, holding on. She revels in the
moment briefly and then sobers: Now what?
The window is at least 30 feet above her -- below, the
abyss. The wind MOANS.
Diana's GRIP TIGHTENS on the spur.
Suddenly, the SPUR CRACKS! Diana falls --
She scrambles against the wall, her hands grasping at the
stone face. SHARDS FLYING around her, she realizes she's
strong enough to make her own handholds -- SLAM!
(CONTINUED)
34.
39 CONTINUED: 39
Her hand catches and she YANKS to a stop!
Shocked, she hangs there for a second, then grins
fiercely. She begins to CLIMB her way straight up the
stone wall, her fingers slamming into the tower, making
her own ladder out of solid stone.
40 EXT. ARMORY - ROOFTOP - CONTINUOUS ACTION 40
Diana FLIPS herself up onto a tiny ledge outside of the
window. She moves in --
41 INT. ARMORY - CONTINUOUS ACTION 41
In the moonlit darkness of the deserted armory, Diana
moves towards the GODKILLER SWORD. She takes it from its
SCABBARD, awed by its weight, its sheer power in her
hands. She holds it tight. It feels right.
As she leaves, she passes a suit of ancient armor and
SNATCHES ITS SHIELD.
Then the LASSO OF HESTIA disappears from its hook.
Diana, now half-dressed in GREEK ARMOR, admires a glowing
GOLDEN BELT-LIKE GIRDLE, then looks ahead to something
that really catches her eye.
BLURRY in our f.g., the silhouette of a woman's form
GLOWS GOLD, RED, AND BLUE from its display.
Diana's eyes widen with delight.
42 INT. INFIRMARY - STEVE'S ROOM - MINUTES LATER 42
Diana enters, waking Steve --
STEVE
Nice outfit.
DIANA
(without irony)
Thank you. Now I will show you
the way off the island. And you
will take me to Ares.
STEVE
(as she's a bit nuts)
Deal.
Steve grabs his watch and bag.
35.
43 EXT. HARBOR (THEMYSCIRA) - DOCK - CONTINUOUS ACTION 43
Diana and Steve on HORSEBACK emerge from the forest at
the edge of a harbor. Diana and Steve turn to the front
of a not-very-modern-looking (by 1918 standards) AMAZON
SAILING VESSEL.
STEVE
(skeptical)
I'm leaving in that?
DIANA
We are.
STEVE
We're leaving in that?
DIANA
Do you not know how to sail?
STEVE
(a touch of bravado)
Of course, I know how to sail.
Why wouldn't I be able to sail?
(beat)
Just haven't since I was a kid --
She nods, motions to the boat with encouragement.
DIANA
Then there's nothing to be afraid
of.
Steve hesitates.
DIANA
What?
Steve nods at the valley behind them, where HIPPOLYTA and
the QUEEN'S GUARD thunder in on their horses.
Hippolyta raises her hand, ordering her GUARDS to halt.
She approaches Diana ALONE.
Diana takes a breath, reluctantly meeting her mother's
eyes, dreading this.
DIANA
(defiant; strong)
I can't stand by while innocent
lives are lost. If no one else
will defend the world from Ares, I
must. I have to go --
(CONTINUED)
36.
43 CONTINUED: 43
HIPPOLYTA
I know.
Diana finds not fury on her mother's face, but sadness.
HIPPOLYTA
Or at least I know that I cannot
stop you. There is so much... so
much you do not understand.
DIANA
I understand enough. That I'm
willing to fight for those who
cannot fight for themselves. Like
you once did...
HIPPOLYTA
You know that if you choose to
leave us, you may never return.
Once you leave this island, its
location will fade from your
memory...
Hippolyta relents, nodding. She climbs down from her
horse, taking something from the saddle. She presents
Diana with ANTIOPE'S HEADBAND.
HIPPOLYTA
This belonged to the greatest
warrior in our history -- make
sure you are worthy of it.
DIANA
I will.
She hands it to her daughter.
HIPPOLYTA
Be careful in the world of men,
Diana, they do not deserve you.
Hippolyta tries to memorize her daughter's face,
believing it's the last time she'll ever see it.
HIPPOLYTA
You have been my greatest love.
Today you are my greatest sorrow.
Diana WALKS AWAY from her mother, and the only home she's
ever known, towards Steve and the ship.
The weight of this good-bye doesn't go unnoticed by
Steve.
37.
44 EXT. THEMYSCIRAN SAILING VESSEL (AEGEAN SEA) - NIGHT 44
Diana looks back towards the island, her whole world
until now.
45 EXT. SHORELINE (THEMYSCIRA) - NIGHT 45
Menalippe approaches, joining Hippolyta's side.
MENALIPPE
Should you have told her?
HIPPOLYTA
The more she knows, the faster he
will find her.
46 EXT. THEMYSCIRAN SAILING VESSEL (AEGEAN SEA) - NIGHT 46
A BREEZE moves through Diana's hair as she takes a
breath, watching the island drift away, and in a SUDDEN
FLICKER of fog -- it is gone. Bittersweet. She eyes
Steve at the TILLER. He looks at his WATCH, still
ticking, then pockets it.
DIANA
How long until we reach the war?
STEVE
The war? Well, which part? The
Eastern Front in France is 400
miles long -- from the Alps to the
Atlantic. Then there's the
Dolomites in Italy, Turks in
Arabia -- there used to be a
Russian Front but they quit last
year so they could kill the Tzar
and have a revolution.
DIANA
Where the fighting is the most
intense then. If you take me
there, I am sure I will find who
I'm looking for.
STEVE
Who's that?
DIANA
Ares.
STEVE
Ares? As in the God of War?
(CONTINUED)
38.
46 CONTINUED: 46
DIANA
The God of War is our
responsibility. Only an Amazon
can defeat him. With this.
Diana points the SWORD at Steve, he holds his hands up.
DIANA
And once I do, the war will end.
Steve gently pushes the sword away from him. He would
normally refute this outright, but after all he's seen
today, he's turned upside down --
STEVE
Look, Princess, I like your
spirit, and maybe you know
something I don't, but this war is
so sprawling, there's nothing the
two of us can do about it. But we
can try to get to the men who can.
DIANA
You're looking at the person who
can. And after I find and destroy
Ares, the German armies will be
freed from his influence -- and
they will be good men again.
STEVE
(as she's nuts)
I'm starting to understand why
your mother didn't want you to
leave.
(beat)
How much do you really know about
the rest of the world?
DIANA
The world of men? I know all
there is to know about them --
from the great books.
Steve can't tell whether she's joking or not.
STEVE
The great books. Those books
explain why there are no men on
that island? Or kids?
DIANA
I was raised on the island.
(CONTINUED)
39.
46 CONTINUED: (2) 46
STEVE
Just you?
(off her nod)
Sheltered upbringing.
DIANA
My mother sculpted me from clay.
I was brought to life by Zeus.
STEVE
Oh. Well, that's not how babies
are made where I come from.
Diana turns to Steve, moving closer. The tension between
them palpable. Diana gets close --
DIANA
You refer to reproductive biology.
STEVE
I refer to more than that.
DIANA
Ah. The pleasures of the flesh.
Steve gets closer.
STEVE
(pleasantly
surprised)
You know about that?
DIANA
Of course. I've read all twelve
volumes of Clio's Treatises on
Bodily Pleasure.
STEVE
All twelve, huh?
(off her nod)
You bring any of them with you?
Steve moves closer to Diana. She grins --
DIANA
You would not enjoy them. They
came to the conclusion that men
are essential for procreation, but
when it comes to pleasure...
unnecessary.
Steve gives Diana a look that seems to suggest he'd
challenge that. Diana takes that look in for a split
second, then turns away, self-conscious. Steve does the
same. And they sail on...
40.
47 EXT. HANGAR (BELGIUM) - DR. MARU'S LABORATORY - DAY 47
GENERAL LUDENDORFF marches toward a HANGAR that's become
Dr. Maru's new FACTORY. He's followed by a CAPTAIN and
his GUARDS. Ludendorff does not look happy, despite the
hustle and bustle of workers.
LUDENDORFF
How long until we are operational?
CAPTAIN
Two days, sir.
LUDENDORFF
You have until tonight, Captain.
CAPTAIN
Sir, the men have had no food. No
sleep.
LUDENDORFF
Do you think I've had food or
rest, Captain? Do you hear me
making excuses? Your men are
weak. Complacent. You've spoiled
them. You've let them forget that
an attack can come at any time --
from any quarter -- so let's you
and I remind them, shall we?
Ludendorff SHOOTS the Captain, making an example of him.
His body THUDS to the ground.
48 INT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 48
Ludendorff walks into Maru's new lab in mid-construction.
BARRELS of CHEMICALS and EQUIPMENT line the hangar.
48A INT. HANGAR - DR. MARU'S LAB - DAY 48A
Maru furiously works, looking at the chemicals, her
formulas, writing in a NEW NOTEBOOK -- she's at a
crossroads. She stops, stuck -- when Ludendorff
approaches.
LUDENDORFF
Doctor. Are you making progress?
MARU
Not enough... It is over, General.
Germany is giving up.
(MORE)
(CONTINUED)
41.
48A CONTINUED: 48A
MARU (CONT'D)
Von Hindenburg has recommended the
Kaiser sign the armistice. We
have run out of time.
LUDENDORFF
Once the Kaiser sees your newest
weapon, he will never sign the
armistice.
MARU
But without my book...
Ludendorff turns to Maru, gazes at her.
LUDENDORFF
We will get your book. But I
believe in you, not it. I KNOW
that you CAN and you WILL succeed.
(beat)
It is what you were put on this
Earth to do.
The way he says it, as if he were God himself.
MARU LUDENDORFF
Something did come to me (ALT)
last night. For you... It has been a long journey.
I need...
Doctor Maru pulls out a METAL CASE, produces a GLASS
CAPSULE full of BLUE GAS.
MARU
A different type of gas.
(beat)
To restore your strength.
General Ludendorff takes the capsule, examines it.
MARU
And make you into the god you are.
He breaks the capsule under his nose, inhales -- his
veins GLOW as he breathes in. He stands taller, re-
energizes, confident, his hand holds a GUN -- and CRUSHES
it.
A STRANGE WIND BLOWS across Maru... she turns, as if she
can hear a VOICE. Then she grins.
MARU
General... I have it. And if it
is what I think... it's going to
be... terrible.
(CONTINUED)
42.
48A CONTINUED: (2) 48A
LUDENDORFF
And our war will swallow this
world... Forever.
PRE-LAP -- The HORN and BELLS of a STEAMSHIP.
49 EXT. THEMYSCIRAN SAILING VESSEL (OCEAN) - MORNING 49
Diana wakes to find an enormous STEAM SHIP, its HORN
BLARING, towing their boat into the harbor. She blinks,
never having seen anything like it.
STEVE (O.S.)
Good morning.
(beat)
We got lucky, caught a ride. Made
good time.
Over Steve's shoulder, Diana gets her first eye-popping
view of industrialized LONDON (circa 1918).
STEVE
Welcome to jolly ol' London.
Diana, awestruck, takes in the city's skyline.
DIANA
It's hideous.
STEVE
Eh. It's not for everyone.
50 EXT. PICADILLY CIRCUS (LONDON) - DAY 50
Diana, eyes-wide, takes in the COBBLESTONE STREETS.
OVER-DRESSED PEOPLE, a HORSE-DRAWN CARRIAGE, NEWSSTANDS
shout out headlines of WAR and VOTES FOR WOMEN. These
are all FIRSTS for Diana, and she seems fascinated by
them -- to her this is the world of good men.
She looks through various STORE WINDOWS with wonder. She
moves past a BAKERY, breathing in the wonderful smell.
A HORSELESS CARRIAGE HONKS, Diana watching it drive by,
moving out of its way -- but with a smile.
STEVE (O.S.)
Diana!
Steve is working to keep up with Diana. She sees
something she can barely fathom -- a MAN and WOMAN
holding hands, very much in love. It's captivating.
(CONTINUED)
43.
50 CONTINUED: 50
DIANA
Why are they holding hands?
STEVE
Well, because they're... together.
Diana takes Steve's hand. He lets it go.
STEVE
No, we're not together... I mean,
like that. Look, we need to go
this way.
DIANA
Because this is the way to the
war?
STEVE
(points the opposite
way)
Technically, that's the way to
war.
DIANA
Then where are we going?
STEVE
(pats his bag)
I have to get this notebook to my
superiors.
DIANA
I let you go, you take me to Ares.
We made a deal, Steve Trevor. A
deal is a promise. A promise is
unbreakable.
STEVE
(almost finds that
endearing)
Oh, boy. Okay...
(stuck with her)
Dammit.
(beat)
Come with me to deliver this, then
we'll talk about getting you a
train ticket.
Someone glares at Steve's clothes -- the remains of a
German pilot.
STEVE
I need to change.
(to Diana)
And you...
(CONTINUED)
44.
50 CONTINUED: (2) 50
People stare at Diana, her cloak open, revealing her
armor. She smiles and nods, "Hello!," they back away.
Steve tries to keep her cloak closed -- he can't help but
take a second glance at her leg.
DIANA
What are you doing?
STEVE
(sneaks a third
glance)
We need to get you some clothes.
DIANA
Why?
STEVE
Because you aren't wearing any.
Diana, confused, looks down at her armor, then looks
around at the mostly overdressed women on the street.
DIANA
What do these women wear into
battle?
STEVE
(how to say it?)
Well, women don't exactly --
Diana's eyes snap to a YOUNG MOTHER holding a BABY.
DIANA
A baby.
The mother looks at Diana quite oddly. Steve takes Diana
gently by the arm, nods to the mother, and keeps moving.
STEVE
And that one wasn't made out of
clay.
They move on, both unaware that they're being following
by a MAN IN A SUIT.
VOICE (V.O.)
(pre-lap)
It's true! You're alive!
51 EXT. SELFRIDGE & CO. - DAY 51
ETTA CANDY, Steve's loyal, cheeky, secretary spies Steve
and Diana walking towards her.
(CONTINUED)
45.
51 CONTINUED: 51
ETTA
Well, thank God for that! I
thought you were dead this time, I
really did, then I got your call --
(to Diana)
He was gone for weeks! Not a
word. Very unlike him.
Etta extends a hand to Diana. Diana just looks at it.
ETTA
Hello. I'm Etta Candy. Captain
Trevor's secretary.
DIANA
What is a secretary?
ETTA
Well, it means I do everything. I
go wherever he goes. Do whatever
he tells me to do.
DIANA
(glaring at Steve)
Where I'm from, that's called
slavery.
ETTA
(to Steve; re:
Diana)
Ooh, I like this one.
(to Diana)
It does rather feel like that
sometimes. But the pay's good and
he's almost never here.
Eyes Diana's clothing.
ETTA
We've got our work cut out for us.
We FOLLOW Diana in --
52 INT. SELFRIDGE & CO. - CONTINUOUS ACTION 52
Diana examines a CORSET tight on a MANNEQUIN, Etta and
Steve with her.
DIANA
Is this what passes for armor in
your country?
(CONTINUED)
46.
52 CONTINUED: 52
ETTA
Of a sort. It's fashion. Keeps
our tummies in.
DIANA
Why must you keep them in?
ETTA
Only a woman with no tummy would
ask that question.
Etta holds up an OUTFIT for Diana.
ETTA
Conservative, but not entirely...
un-fun.
Diana looks at Steve as if to say, "Do I have to?"
STEVE
At least try it on.
Diana, sighs, then starts to take off her cloak. Etta's
eyes go wide. She rushes to stop Diana from removing it.
ETTA
Oh, my! Aren't you terribly cold
out here where everyone can see...
everything? Let's get you into a
nice, warm, private dressing room,
shall we?
Etta leads Diana off, looking to Steve as if to say,
"Where did you find this woman?"
53 INT. SELFRIDGE & CO. - WOMAN'S WEAR - MOMENTS LATER 53
Diana, in OUTFIT #1 -- frilly and silly -- stands in
front of the mirror, miserable. It's ridiculous. Diana
pulls the dress up, wondering aloud --
DIANA
How can a woman possibly fight in
this?
ETTA
We fight with our principles.
It's how we got the vote.
She winks at Diana, who relates to principled fighting.
(CONTINUED)
47.
53 CONTINUED: 53
ETTA
Not that I'm opposed to engaging
in a bit of fisticuffs when the
situation calls for it, mind you!
53A INT. SELFRIDGE & CO. - WOMAN'S WEAR - MOMENTS LATER 53A
Diana in OUTFIT #2 -- a tight skirt and top. Etta
admires it.
ETTA
There we are. Very nice.
Diana tries to kick, impossible in this dress. It rips.
She shakes her head at Etta. This dress won't do.
54 INT. SELFRIDGE & CO. - WOMAN'S WEAR - MOMENTS LATER 54
Diana, in OUTFIT #3 -- almost exactly what Etta wears -
yanks at its high collar impatiently.
DIANA
So itchy. And it's choking me.
ETTA
(exasperated)
I can't say that I blame it.
55 INT. SELFRIDGE & CO. - MOMENTS LATER 55
Steve walks up to Etta. He's now dressed in his SUIT.
STEVE
Where is she?
ETTA
Trying on outfit number two
hundred and twenty-six.
Diana emerges from the dressing room in FASHIONABLE
WOMAN'S DRESS that, on any other woman, would be
unremarkable. On Diana, it's spectacular.
DIANA
Why is everyone staring? Is it
because I can barely breathe in
this?
Diana shifts uncomfortably, self-conscious, and disliking
the restrictions. Steve, catching himself staring, snaps
out of it.
(CONTINUED)
48.
55 CONTINUED: 55
STEVE
(to Etta)
Etta, the whole point was to make
her less conspicuous.
Steve looks around the store, grabs a pair of GLASSES.
He gently puts the glasses on Diana's face. Looks
satisfied.
ETTA
Really, Steve? All it takes is a
pair of specs, and suddenly she's
not the most beautiful woman
you've ever seen?
Diana LOOKS into the mirror, takes a deep breath and
settles into the dress. She smiles as she fixes her
glasses.
56 EXT. SELFRIDGE & CO./OXFORD ST. - CONTINUOUS ACTION 56
Diana, HAIR UP, in her GLASSES and NEW OUTFIT pushes
through the door as DIANA PRINCE. The MAN IN THE SUIT
from earlier, holds it open for her.
DIANA
Thank you.
Etta follows Diana and Steve out with the SHOPPING BAGS.
Diana tucks the LASSO into the inside of her coat --
ETTA
Right then, I'll take the rest of
this. Good luck, I'll take these
back to the office and meet you
both later.
Etta goes for Diana's SWORD, but Diana yanks it back.
ETTA
It really doesn't go with the
outfit.
STEVE
It'll be safe. You can trust her.
(beat)
I don't think we're going to run
into Ares at the meeting.
Diana reluctantly lets Etta take the sword along with the
SHOPPING BAGS, presumably carrying her armor.
(CONTINUED)
49.
56 CONTINUED: 56
DIANA
(earnest)
Please. Protect it with your
life.
ETTA
(raising an eyebrow)
... Who wouldn't?
57 EXT. STREET (LONDON) - CONTINUOUS ACTION 57
Diana and Steve walk down the street, the SUITED MAN from
earlier follows them. He's suddenly distracted by the
reappearance of the Suited Man from earlier, who confers
with A SECOND SUITED MAN (SM #2).
STEVE
Come on.
DIANA
What is it?
STEVE
Hopefully nothing.
Steve leads Diana down a less-populated street.
Diana sees SM #1 and SM #2 tracking them on opposite
sides of the street.
Steve, distracted, bumps right into SUITED MAN #3 and
looks down to find a GUN aimed at his gut.
SUITED MAN #3
Captain Trevor, I believe you
have something that is the
property of General Ludendorff.
58 EXT. ALLEYWAY (LONDON) - CONTINUOUS ACTION 58
SM #3 backs Steve and Diana into an ALLEYWAY where TWO
MORE men wait. Now all FIVE of the SUITED MEN gather,
THREE of them have their GUNS out on Diana and Steve.
STEVE
Quite a reception.
SUITED MAN #3
Give us Dr. Maru's notebook.
Steve steps in front of Diana, searching his jacket --
(CONTINUED)
50.
58 CONTINUED: 58
STEVE
Where did I put that thing?
At which point -- Steve KICKS THE GUN OUT OF SM #3's
HANDS, HITTING HIM INTO THE TWO OTHERS HOLDING GUNS.
Steve holds his arm up, "protecting" Diana --
STEVE
(to Diana)
Stay behind me!
SM #2 FIRES!
Steve pushes Diana out of the bullet's path, but Diana
reaches out -- THE BULLET BOUNCES OFF HER BRACELET!
EVERYONE FREEZES WITH ASTONISHMENT as Diana realizes her
bracelets may be more than just symbolic.
STEVE
Or not.
SM #2 and SM #3 FIRE!
Diana RAISES BOTH BRACELETS, deflecting their bullets.
Her technique is clumsy at first as she gets used to the
torque, impact and SOUND.
Steve takes out SM #1 while Diana grabs SM #3 as his LAST
SHOT fires -- and lays him out with a blow.
Diana deflects the last of SM #2's bullets as his gun
runs EMPTY. Everyone is amazed, especially Steve --
STEVE
How'd you do that?
She smiles as if to say, you ain't seen nothing yet --
The remaining THREE SUITED MEN rush Steve and Diana.
Diana slams her fist into SM #2 while Steve takes on SM
#4.
Diana grabs the dazed SM #2 -- swings him around,
crashing him into SM #5 hard -- and they're both down. A
spilt second later, Steve finishes taking out SM #4.
The suited men run off, leaving only SM #1 behind. SM #1
stirs. Diana and Steve turn to see him make a run for it --
ETTA (O.S.)
I thought you looked suspicious.
SM #1 is stopped in his tracks by Etta, wielding the
GODKILLER, shopping bags at her feet.
(CONTINUED)
51.
58 CONTINUED: (2) 58
ETTA
Where do you think you're going?
SM #1 runs in the other direction, but Diana retrieves
the LASSO from inside her coat and uses it to pull him
off his feet, onto his back.
As the lasso glows, Diana kneels at his side,
compassionately placing her hand on his chest. In her
mind, his actions are not his fault.
DIANA
I am sorry. You are clearly under
his control. Let me help you get
free. Tell me where he is...
Where will I find Ares?
But the suited man pops a CYANIDE pill between his teeth
before she can get an answer.
DIANA
He's dead.
Diana looks at Steve and Etta, horrified.
59 INT. WAR OFFICE BLDG. - ASSEMBLY HALL - DAY 59
Diana follows Steve into an ASSEMBLY HALL, where an
unruly group of men, MILITARY LEADERS and MEMBERS OF
PARLIAMENT, shout down SIR PATRICK MORGAN (40s), kindly
faced, a CANE at his side. Diana gazes across the hall
like a tourist.
STEVE
Stay here.
Diana nods -- a beat -- then she proceeds to follow Steve
down the aisle, running her hand across the rows of
chairs, nodding and smiling to the dumbfounded men
staring at her.
SIR PATRICK
Gentlemen! Germany is a proud
nation who will never surrender.
The only way to end this war and
restore world peace is to
negotiate an armistice.
The ASSEMBLY ROARS objections at Sir Patrick as Steve
finds COLONEL PHILLIP DARNELL (40s) in the crowd.
(CONTINUED)
52.
59 CONTINUED: 59
STEVE
(to Darnell; urgent
whisper)
Colonel!
SIX COLONELS, who are not Darnell, turn their heads.
STEVE
(to the Colonels)
Sorry.
(another urgent
whisper)
Phillip! Phil!
Darnell turns, amazed to see Steve there -- alive! Steve
nods toward the door, then realizes the room has gone
silent.
Every eye in the hall is fixed on Diana, the only woman
in a room that doesn't allow women. Diana, oblivious,
looks up at Sir Patrick.
SIR PATRICK
(distracted by Diana)
Our only aim at this moment --
must be to achieve peace at any
cost.
The crowd GRUMBLES again, about a woman's presence there
as much as Sir Patrick's rhetoric. Steve takes Diana's
arm and leads her out of the auditorium, Darnell follows.
SIR PATRICK
Gentlemen, I beg you, please, if
you'll just hear me out --
DIANA
Why will they not let him speak?
He's talking peace.
STEVE
That's why they won't let him
speak.
DIANA
But if they want to stop the war,
isn't that foolish?
(beat)
Are they fools?
STEVE
(shakes his head
"no")
Most of `em.
53.
60 INT. WAR OFFICE BLDG. - LOBBY - CONTINUOUS ACTION 60
An agitated and embarrassed Colonel Darnell makes his way
to Steve and Diana, glancing at others watching him.
Colonel Darnell makes his way to Steve and Diana.
COLONEL DARNELL
Trevor?! What the hell were you
thinking bringing a woman into the
council chamber?
Diana looks at Steve, indignant. He holds his hand up,
calming Diana --
STEVE
(to Darnell)
I'm sorry, sir, but the intel I've
brought back is very time
sensitive. We were attacked by
men looking for it on the way
here. One of Maru's notebooks.
STEVE
We need to get it to Cryptography.
And I need an immediate audience
with the Generals --
COLONEL DARNELL
You don't just rush in here, like
this, and demand an audience with
the cabinet. Cryptography takes
time and --
SIR PATRICK (O.S.)
Captain Trevor!
Sir Patrick emerges from the auditorium, making his way
over to the threesome.
SIR PATRICK
I'd heard you were lost on one of
your missions, yet here you are.
And you've brought a friend.
Sir Patrick smiles sweetly at Diana, she smiles back,
noticing his cane.
COLONEL DARNELL
Our deepest apologies for the
interruption, sir --
SIR PATRICK
Nonsense.
(MORE)
(CONTINUED)
54.
60 CONTINUED: 60
SIR PATRICK (CONT'D)
Thanks to this young woman, the
room was finally quiet enough for
me to get a few words in.
(a humble bow)
Sir Patrick Morgan, at your
service.
Diana bows her head in return.
DIANA
Diana, Princess of --
STEVE
(over)
Prince, Diana Prince. We... she
and I... we work together. She
helped me get this notebook here.
From Maru's lab --
Steve presents the notebook. Sir Patrick takes it,
understanding the implications immediately.
SIR PATRICK
`Dr. Poison' herself? My God...
(to Darnell)
I suggest we assemble the war
cabinet so they can tell us more.
Darnell hesitates, then nods. Steve and Diana grateful
for the assist --
60A INT. HANGAR - DR. MARU'S LABORATORY - DAY 60A
TIGHT ON: a GAS CANISTER. Maru turns a valve on it,
adjusting the pressure.
She screws the canister onto the side of a small GLASS
CHAMBER containing a GAS MASK. She locks the canister in
place, then releases the gas into the chamber.
Ludendorff and Maru watch as the NEW GAS hisses in,
creeping towards the gas mask, enveloping it.
The mask begins to disintegrate -- thin cracks in the
glass, wear on the straps, corrosion on the metal. It's
just as it was before.
Maru, filled with anticipation, wonders: Will it work
this time? It does. The gas continues, eating away at
the mask -- the glass cracks apart, the straps sever, the
metal breaks. A sign of the pain and horror it will soon
inflict. It is Maru's greatest achievement -- then even
the glass chamber itself starts to shudder -- and crack!
(CONTINUED)
55.
60A CONTINUED: 60A
Maru grins, waiting until the last possible second before
unleashing a SINGLE SPARK into the chamber, causing the
highly flammable gas to COMBUST in a burst of FLAME!
Elated, Maru looks to Ludendorff. He nods with approval.
LUDENDORFF
Congratulations, Doctor.
OFF the steaming, rotting gas mask...
61 INT. WAR OFFICE - WAR ROOM - LATER 61
Steve, Darnell, Sir Patrick, GENERAL DOUGLAS HAIG, and
the BRITISH WAR CABINET crowd in a room, walls full of
MAPS and PHOTOS of LUDENDORFF and DR. MARU (before her
metal implants) and the notebook. A TERRAIN MAP in the
center.
Diana stands near the door watching, LISTENING. She
walks to the wall of PHOTOGRAPHS.
COLONEL DARNELL
Cryptographers had no luck. It
seems like a mixture of two
languages.
Diana hones in on the PHOTOS OF LUDENDORFF, even
examining the PINS holding them to the board, then looks
at THE NOTES.
DIANA
Ottoman and Sumerian.
Everyone turns to look at her.
DIANA
(sincere)
Surely someone else in this room
knew that.
GENERAL HAIG
(incorrectly
offended)
Who is this woman?
Darnell glares at Steve. He'd like to know that, too.
STEVE
She's my... secretary.
Having learned what a secretary is, Diana doesn't like
being called one.
(CONTINUED)
56.
61 CONTINUED: 61
GENERAL HAIG
(skeptical)
And she speaks Ottoman and
Sumerian?
STEVE
She's a very good secretary.
GENERAL HAIG
See her out.
COLONEL DARNELL
(reluctant, but
practical)
If this woman can read it, sir...
we should hear what she has to
say.
General Haig takes a beat, then nods.
DIANA
(nods at Darnell)
Thank you.
(beat)
It's a formula... for a new kind
of mustard...
Haig scoffs: mustard?
DIANA
Mustard gas. Hydrogen-based,
instead of sulfur.
They react gravely to this...
DARNELL
Gas masks would be useless against
hydrogen.
DIANA
The book says they plan to release
this gas at... the front...
(unsure what it
means)
Front of what?
STEVE
(alarmed; to
Generals)
General, you have to find out
where they're making this gas.
Burn it to the ground. Destroy
it.
(CONTINUED)
57.
61 CONTINUED: (2) 61
COLONEL DARNELL
Ludendorff was last seen in
Belgium --
GENERAL HAIG
(dismissive)
We can't be seen sending troops
into German-occupied Belgium when
we're negotiating their surrender.
STEVE
Sir, I saw this gas with my own
eyes. All the men on the front
line could die on both sides
unless you --
GENERAL HAIG
That's what soldiers do, Captain.
Diana's shocked by the callousness. Sir Patrick looks at
her apologetically.
GENERAL HAIG
What? Would you have us abandon
the front altogether?
STEVE
Pull the troops out. Send me in.
With some strategic support, I
could take Ludendorff and his
operation out myself.
GENERAL HAIG
Are you insane, Trevor? I can't
introduce rogue elements this late
into the game.
STEVE
But, General --
Before Steve can argue further, Sir Patrick speaks up --
SIR PATRICK
Now more than ever, the armistice
is of paramount importance, we
must get it negotiated and signed.
That is the surest way of stopping
the war.
GENERAL HAIG
You will do nothing, Captain
Trevor. That's an order.
Diana expects Steve to defy the General like she defied
her mother, but --
(CONTINUED)
58.
61 CONTINUED: (3) 61
STEVE
Yes, sir. I understand, sir.
Diana blinks, confused, astonished, disappointed.
DIANA
I don't.
STEVE
(warning)
Diana. I know it's confusing --
DIANA
It's not confusing. It's
unthinkable.
GENERAL HAIG
I'm sorry, who did you say this
woman was?
STEVE
She's with me. With us.
DIANA
(appalled)
I am not with you. You would
knowingly sacrifice all those
lives? Do they mean less than
yours? Where I come from Generals
don't hide in their offices like
cowards. They fight alongside
their soldiers. They die with
them on the battlefield.
STEVE
Diana. Enough.
(to Haig)
My apologies, sir.
Diana gapes at him, sickened, betrayed.
DIANA
You should be ashamed!
(to the room)
All of you.
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.
STEVE
That's Charlie.
The two GRUNT at one another in Scottish slang, but the
Bruiser sees Charlie's got friends -- and quickly leaves.
The surprisingly cheerful CHARLIE (30s) gets to his feet.
65 INT. BRITISH PUB - MOMENTS LATER 65
Diana, Steve, and Sameer sit with bruised Charlie,
Scottish and deeply drunk. A WHISKEY GLASS in each fist.
STEVE
All right, Charlie?
CHARLIE
Steven. May God put a flower on
your head.
Charlie downs the whiskey in a fluid sip. Gone.
DIANA
What were you fighting about?
CHARLIE
I mistook his drink for mine.
Diana looks at Steve, clearly concerned by his choice of
reinforcements.
(CONTINUED)
63.
65 CONTINUED: 65
DIANA
This man is no fighter.
STEVE
Charlie here's an expert marksman.
(off her look)
He shoots people.
SAMEER
From very far away.
Charlie grabs a drink from a patron who isn't looking.
CHARLIE
(cheers)
They never know what hit `em.
There's a darkness behind Charlie's polite smile.
DIANA
How do you know who you kill if
you can't see their face?
CHARLIE
I don't. Better that way.
DIANA
My aunt warned me about men like
you.
CHARLIE
Ain't the first time I heard that,
lassie.
DIANA
You fight without honor.
Deep down, Charlie already knows that.
CHARLIE
Don't get paid for honor.
SAMEER
What's the job, Trevor?
STEVE
Two days tops. We need supplies
and passage to Belgium --
CHARLIE
What's the going rate?
SAMEER
Better be good pay.
(MORE)
(CONTINUED)
64.
65 CONTINUED: (2) 65
SAMEER (CONT'D)
(to Diana; in French)
[And perhaps a picture of your
lovely face. Something to keep me
alive.]
Diana hides her disdain as best she can.
DIANA
[You won't need a picture. I'm
coming with you.]
Sammy's smile fades.
SAMEER
What is this?
STEVE
We're dropping her off at the
front.
SAMEER
Dropping her off?
CHARLIE
(to Diana)
No offense, cherie, but I don't
wanna get killed helping a girl
out of a ditch, ya know what I
mean?
The Bruiser that Charlie was fighting returns, this time
with several ROUGH-LOOKING FRIENDS!
BRUISER
You got your friends.
(lifts up a gun)
These are mine.
Charlie's knocked to the ground! He doesn't see Diana
move fearlessly, grabbing the BRUISER -- as if he weighed
nothing -- and tosses him across the room!
The Bruiser smashes into the wall, crumpling to the
floor. His friends make a quick exit. Sameer is
smitten, helping Charlie up.
SAMEER
I am both frightened and aroused.
CHARLIE
(to Sameer;
unimpressed)
When aren't you?
(CONTINUED)
65.
65 CONTINUED: (3) 65
ETTA (O.S.)
There they are.
Etta arrives, flustered, a forced smile on her face.
ETTA
Hello, all! Sorry, I'm late. I
got waylaid by --
DIANA
Sir Patrick!
ETTA
That's what I was going to
mention.
Steve, Sameer, and Charlie STAND out of respect. Steve
glares at Etta. She shrugs apologetically, raises a
hand: Just listen, you'll see.
SIR PATRICK
Sit, gentlemen. Please, sit.
Sir Patrick pulls up a chair.
SIR PATRICK
I assume you're here planning
something that's either going to
get you court-martialed or killed.
STEVE
I assume you're here to stop us.
SIR PATRICK
No. Not that I like any of this.
(beat)
As one of your American authors,
Thomas Paine, so eloquently put
it, `I prefer peace. But if
trouble must come let it come in
my time, so that my children can
live in peace.'
Diana nods, liking the sentiment.
SIR PATRICK
Now nothing can jeopardize the
armistice talks, but... I also
believe in insurance. I'm here to
help you. Unofficially, of
course. What's your plan?
(CONTINUED)
66.
65 CONTINUED: (4) 65
STEVE
If there is another weapons
facility, find it and destroy it.
Along with Ludendorff and Maru.
A dark understanding passes between them. Sir Patrick
nods.
SIR PATRICK
Etta will run the mission out of
my office, to allay suspicion.
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.
STEVE
Chief!
He embraces Steve, then nods and smiles to Sammy and
Charlie.
(CONTINUED)
70.
70 CONTINUED: 70
SAMEER
It's good to see you.
CHARLIE
Aye.
The Chief looks at Diana and, for the first time in the
world of men, a man looks her square in the eye.
THE CHIEF
Who is this?
Chief extends a hand to shake. Diana grabs his wrist in
a manner not unlike the Amazons. Chief responds,
grabbing hers back, seemingly familiar with the gesture.
Both Diana and Steve are surprised. Chief speaks his
NATIVE TONGUE --
THE CHIEF
Niitangio, Napi.
And Diana understands.
DIANA
I am Diana.
Chief does not let go, still looking intensely in Diana's
eyes. She grips tighter. Surprised, he steps back with
one foot. To stay on balance, she does so with the
opposite. Suddenly, Chief and Diana are arm wrestling,
each trying to throw the other off balance. Then Chief
laughs, letting go, conceding lest he find himself flat
on his face.
THE CHIEF
Where did you find her?
STEVE
She found me.
DIANA
I plucked him from the sea --
STEVE
(waving Diana to
stop)
It's a long story.
Diana looks at a pile of packages behind Chief, along
with some GUNS --
STEVE
British tea for the Germans.
German beer for the British.
(MORE)
(CONTINUED)
71.
70 CONTINUED: (2) 70
STEVE (CONT'D)
Edgar Rice Burroughs novels for
both sides.
CHARLIE
And guns.
Charlie grabs a RIFLE, looks through the SCOPE and gives
it a kiss -- like a father reunited with his long-lost
child. The others help themselves to GUNS.
Steve, Sameer, and Charlie take BOTTLES OF BEER they pay
The Chief for.
THE CHIEF
(whispering to Diana)
It's not even very good beer.
Charlie's the only one that doesn't seem to mind.
Steve looks at a MAP.
STEVE
Ludendorff was last seen at the
front --
(points on the map)
-- near the Somme. Front's about
three miles away. Chief will get
us there.
THE CHIEF
Then it's another day to safely
cross it.
STEVE
As soon as we have daylight, we
move. I'll take first watch.
CHARLIE
No need. I'll take it. I never
sleep on the job!
71 EXT. CAMPFIRE - NIGHT 71
Charlie FAST ASLEEP -- along with Steve and Sameer,
around the fire. Chief is heating cans of food. Diana
turns to RUMBLING in the distance.
DIANA
Strange thunder.
THE CHIEF
German seventy-sevens.
(off her confusion)
Guns. Big ones.
(MORE)
(CONTINUED)
72.
71 CONTINUED: 71
THE CHIEF (CONT'D)
(points out)
That's the front out there. The
evening hate.
Chief hands her a can of beans. She tries it, frowns.
Not all the food here is good. Chief counts his money.
Diana eyes him warily --
DIANA
So... who do you fight for in this
war?
Chief stuffs the money in his pocket.
THE CHIEF
I don't fight.
DIANA
You're here for profit then?
THE CHIEF
Nowhere better to be.
DIANA
Nowhere better to be than a war
you don't take a side in?
THE CHIEF
I have nowhere else and no side
left. The last war took
everything from my people. We
have nothing left. At least here,
I'm free.
DIANA
Who took that from your people?
Chief cocks his head to the side. How could she not
know?
THE CHIEF
(motions to Steve;
almost casually)
His people.
Before Diana can ask more about that, Charlie suddenly
starts to murmur, suffering through some kind of terrible
nightmare.
Diana watches until -- Charlie CRIES OUT, waking himself
and Steve and Sameer. Diana reaches out to Charlie,
compassionately --
(CONTINUED)
73.
71 CONTINUED: (2) 71
DIANA
You're safe.
(trying to help)
What did you see?
Gruff, Charlie pulls away from Diana --
CHARLIE
I'm fine, `right?
(mumbling)
Bloody broad.
Charlie gets up and grabs another BEER. Chief looks at
Diana.
THE CHIEF
He sees ghosts.
Steve takes a BLANKET --
STEVE
You're going to get cold. Here.
DIANA
No, I'm --
She's not cold, but Steve places the blanket on her
shoulders anyway. The gesture isn't lost on Diana. She
nods, appreciative.
72 INT. GERMAN OPERATIONS BUNKER - NIGHT 72
SENTRIES patrol a fortified bunker deep in enemy
territory.
Ludendorff enters to find the GERMAN WAR COUNCIL, chief
among them COMMANDER VON HINDENBURG.
VON HINDENBURG
You were absent at the council
meeting, General.
LUDENDORFF
(frustrated)
You've begun negotiating the terms
of the armistice.
VON HINDENBURG
On the Kaiser's behalf.
LUDENDORFF
(accusatory)
But on your insistence.
(MORE)
(CONTINUED)
74.
72 CONTINUED: 72
LUDENDORFF (CONT'D)
(to the council)
We can easily win this war
still...
(beat)
If only you had faith in me.
The way Ludendorff says it, he almost expects everyone to
simply agree with him, but Von Hindenburg gets to his
feet, angry --
VON HINDENBURG
We don't. There are shortages of
food, medicine, ammunition. Every
hour we delay costs thousands of
German lives.
LUDENDORFF
One attack and the war is ours.
As we speak, my chemist and her
team are --
VON HINDENBURG
We stand against you and your
witch, Ludendorff! Enough!
(calming)
Twenty-four hours from now this
war will end. It is over.
Ludendorff looks around, nods.
LUDENDORFF
For all of you.
Ludendorff turns and exits --
73 EXT. GERMAN OPERATIONS BUNKER - CONTINUOUS ACTION 73
Ludendorff nods to Dr. Maru who throws a CANISTER OF GAS
in.
Maru watches curiously as Ludendorff then tosses a GAS
MASK in. Von Hindenberg and the men look at the mask.
Ludendorff closes the doors as the canister erupts.
A COMMOTION within the room breaks out as the gas
spreads. Unable to escape, the men desperately fight
over the gas mask.
MARU
The mask won't help.
LUDENDORFF
Yes, but they don't know that.
(CONTINUED)
75.
73 CONTINUED: 73
Ludendorff cracks open a CAPSULE of GAS, inhaling it.
Again, it's a PAINFUL process -- again Ludendorff's veins
BULGE and PULSATE.
With heightened strength, Ludendorff presses against the
doors -- the SCREAMS of the dying men in the bunker seep
out. It's music to Maru. She can hear a HISSING as the
gas scars the doors inside. Ludendorff pulls Maru away --
LUDENDORFF
It's time to stage our
demonstration for the Kaiser.
74 OMITTED 74
74A EXT. DIRT ROAD (WOODS) - DAY 74A
DIANA, CHARLIE, SAMMY, and THE CHIEF follow STEVE down a
MUDDY ROAD in the woods, the SOUNDS OF BOMBS in the b.g.
Diana takes in the bleakness of the world. A cluster of
villagers runs past. Fleeing from something. A BABY
cries in its mother's arms. Diana stares -- hears
SCREAMS ahead.
IN A DITCH on the side of the road, TWO HORSES pulling a
CART OF MUNITIONS (that has tipped) are stuck in the MUD.
A SOLDIER whips the horses, trying to get them out.
DIANA
Those animals. Why are they
hurting them?
CHARLIE
Because they need to move. Like
us.
DIANA
But I can help them!
CHARLIE
There's no time! C'mon, woman.
Steve and the team jog down the road, Diana reluctantly
following. A WAILING man is heard ahead.
ON THE ROAD.
Diana looks ahead to where a WOUNDED SOLDIER crying out
in pain, surrounded by OTHER SOLDIERS trying to
administer help (as best they can).
(CONTINUED)
76.
74A CONTINUED: 74A
WOUNDED SOLDIER
Oh, God. God, help me! Please.
He continues to CRY OUT. Diana horrified.
DIANA
That man... He's injured.
SAMEER
There is nothing we can do about
it, Diana. We must keep moving.
AS THEY MOVED FORWARD, Diana looks ahead sees beyond the
woods -- NO MAN'S LAND...
PRE-LAP: The SOUNDS of RAIN and THUNDER, which BOOMS,
then fades into the SOUNDS of GUNFIRE and EXPLOSIONS.
75 EXT. RAIN-SOAKED COUNTRYSIDE (BELGIUM) - DAY 75
Chief leads the team through the muddy Belgian
countryside on their HANDS AND KNEES, bullets flying
overhead. They stop at a DUGOUT ENTRYWAY to --
76 EXT. ALLIED TRENCH (BELGIUM) - CONTINUOUS ACTION 76
-- the ALLIED TRENCH at the BELGIAN FRONT.
The team moves into the muddy trench, occupied by TOMMIES
-- BRITISH SOLDIERS. Diana and the others get to their
feet, bullets and shells whistling and EXPLODING
overhead.
DIANA
Where are we?
STEVE
You wanted me to take you to the
war. This is it. The front
lines.
DIANA
But where are Ares' men -- the
Germans?
Charlie motions past the shelling and flying bullets.
CHARLIE
Couple hundred yards that way. In
a trench like this one.
(CONTINUED)
77.
76 CONTINUED: 76
Diana's dismay grows. She looks at the faces of the
frightened, worn-down soldiers as they move through a
seemingly endless, narrow passage carved deep into the
earth, walled on either side by SANDBAGS and DIRT, which
is quickly pooling into MUD at their feet.
SENTRY
Chief!
(shouting down the
line)
Oi! Chief's back!
TRENCH OFFICERS (O.S.)
Chief!/Welcome back!/Nick of time!
The Chief tosses out PACKS OF CIGARETTES, MATCHES, and
other goods to grateful soldiers. Diana watches the
MONEY exchange hands, then she hears the sound of
anguished tears:
A YOUNG MOTHER, MARIE (25), holds her DAUGHTER, NINA (6),
sobbing to The Chief. Diana listens, though Steve can't
understand:
MARIE
[The Germans took everything --
homes, food... the ones who
couldn't escape... they took as
slaves.]
DIANA
[Where did this happen?]
Marie points: beyond the trench.
DIANA
(to Steve)
We need to help these people.
Steve looks across no man's land, shakes his head.
STEVE
We need to stay on mission.
THE CHIEF
(nods to Steve)
And there's no safe crossing for
at least a day ahead.
Charlie takes a swig from his well-worn FLASK.
CHARLIE
Then what are we waitin' for?
(CONTINUED)
78.
76 CONTINUED: (2) 76
DIANA
But these people are dying,
they've nothing to eat. And in
the village... Enslaved, she said.
Women. Children.
STEVE
There's nothing we can do about
that.
DIANA
How can you say that? What is the
matter with you?
STEVE
This is no man's land, Diana. It
means no man can cross it. This
is the worst point on the entire
front. This battalion has been
here for nearly a year and they've
barely gained an inch because on
the other side are Germany's
deadliest soldiers. Pointing
machine guns at every square inch
of this place. This is not
something you can cross. It's not
possible.
DIANA
So we do nothing?
STEVE
We are doing something. We can't
save every person in this war.
Besides, it's not what we came
here to do.
She steps away from the group, turning away from them.
Steve thinks she's upset.
But when Diana turns back to Steve, he sees her face of
determination, wearing --
ANTIOPE'S TIARA --
AND FOR THE FIRST TIME -- WE REALLY SEE WONDER WOMAN!
DIANA
No, but it's what I'm going to do.
Diana moves past the team, stepping over the top of the
trench --
STEVE
DIANA, NO!!!
79.
77 EXT. WESTERN FRONT (BELGIUM) - CONTINUOUS ACTION 77
-- onto the BATTLEFIELD.
DIANA stands in her WONDER WOMAN ARMOR with THE GODKILLER
SWORD in her hand, THE SHIELD on her back, and THE LASSO
SHINING at her side.
She surveys the battlefield. It's quiet. Empty. She
takes a step forward...
IN THE GERMAN TRENCH
A SOLDIER takes AIM at Diana -- and FIRES!
ON THE BATTLEFIELD
The bullet moves towards Diana. With her heightened
perception, she watches it in SLOW MOTION, swatting it
aside with her bracelet. She blocks another --
IN THE ALLIED TRENCH
Everyone watches Diana with awe. Even Charlie has to
admit --
CHARLIE
How the hell'd she do that?
ON THE BATTLEFIELD
Diana continues walking across the battlefield, step-by-
step, blocking bullets. Her pace begins to quicken --
and then she starts to RUN.
IN THE ALLIED TRENCH
Steve's heart pounds as he watches Diana. He motions to
the team. He can't believe he's about to do this, but --
STEVE
She's drawing their fire! Let's
go!
Steve and his team climb over the trench, leaving the
hesitant British soldiers behind!
(CONTINUED)
80.
77 CONTINUED: 77
THROUGH A GERMAN SCOPE
Diana races TOWARDS them, knocking bullets aside!
IN THE GERMAN TRENCH
GERMAN SOLDIERS react, unsure of who or even what Diana
is. One of the soldiers motions to others -- they lift a
MORTAR, bringing it forward as the others continue to
FIRE. Soldier after soldier joins in.
ON THE BATTLEFIELD
Diana runs, more bullets ricocheting off her bracelets.
IN THE GERMAN TRENCH
They FIRE a mortar into the air!
ON THE BATTLEFIELD
Diana uses her SHIELD to bat aside the MORTAR SHELLS --
they EXPLODE around her!
With her shield, Diana blocks the increasing barrage of
bullets coming at her! ONE of TWO MACHINE GUN NESTS
fires at Diana --
IN THE ALLIED TRENCH
Inspired, the British soldiers SURGE OVER THE TRENCH WITH
A CHEER!
ON THE BATTLEFIELD
The SECOND MACHINE GUN NEST fires at Diana --
She does her best to repel the machine gun fire, but
together the two are SLOWING HER DOWN, taking a toll.
Diana falls to one knee, then turns, grateful to see
behind her --
Steve, the team -- and the allied soldiers! Steve raises
his rifle and takes out some of the shooters, giving
Diana some relief.
Charlie lays down cover fire as The Chief tosses Sameer a
GRENADE.
(CONTINUED)
81.
77 CONTINUED: (2) 77
Sameer lobs it at the NEST ON DIANA'S RIGHT. The
EXPLOSION knocks the machine gun off its base.
The second nest continues to fire on Diana!
Diana leaps up into the air, jumping down into the second
nest! She lands inside behind the soldiers, spinning
around -- slamming into them. She raises her shield and
smashes it onto the machine gun, breaking it apart!
Steve, the team, and the Allies POUR INTO THE GERMAN
TRENCH, battling the soldiers within!
Diana looks at the village of Veld ahead of them. Grits
her teeth.
DIANA
We're not finished yet.
While the allies clear the trench, Diana takes off
through the rain and the mud toward the village! The
team heads after her!
78 EXT. VELD - SECONDS LATER 78
Diana and the team reach the village, taking cover as
they're fired upon. Diana looks to Steve --
DIANA
Stay here. I'll go ahead.
Before anyone can argue, she races towards the gunfire.
Diana, sword at her side, shield on her back -- runs,
avoiding gunfire and grenades!
Steve leads the team, covering for them as they follow
Diana. Steve fires --
STEVE
Go!
Diana jumps onto the wall of a building, springing off
it, SMASHING through a WINDOW of another building -- the
source of more gunfire!
INT. BUILDING (VELD) - CONTINUOUS ACTION
Diana lands in the middle of a group of ARMED GERMAN
SOLDIERS. She goes into action, kicking a TABLE --
smashing it into two soldiers!
(CONTINUED)
82.
78 CONTINUED: 78
She deflects bullets with her bracelets, turning to the
other soldiers -- sending them flying with her fists, her
shield. She hits a SOLDIER, he FLIES through a window --
EXT. TOWN SQUARE (VELD) - CONTINUOUS ACTION
-- the soldier falls onto the street -- where we FIND
Steve, Sameer, Charlie, and The Chief following Diana's
trail.
They watch as ANOTHER SOLDIER is thrown out of a window,
then they round a corner -- and find themselves pinned
down by gunfire.
The Chief hands Steve a grenade -- he tosses it, blowing
up the nearby shooters. As they continue to fight their
way into Veld --
INT. BUILDING (VELD) - CONTINUOUS ACTION
Diana continues to fight her way through the building,
breaking through a DOOR -- taking on more German soldiers
inside!
Diana rushes one, colliding into him -- using him as a
shield as she crashes out of a LARGE GLASS WINDOW --
EXT. TOWN SQUARE (VELD) - CONTINUOUS ACTION
-- Diana lands on a nearby rooftop. Steve watches her
run across it as he and the team head deeper into Veld,
all in the same direction.
Suddenly, Steve and the boys are pinned down from gunfire
by a TANK.
Charlie motions to a walkway between two buildings in
front of the tank. The Chief throws a grenade -- Charlie
shoots it, causing it to explode! The walkway falls,
blocking the tank.
Steve and the team make it to the center of the village
to find a TANK surrounded by DOZENS OF SOLDIERS. Sammy
throws more grenades, but it's not enough. The tank has
them pinned down -- until --
Diana rushes the tank, BARRELING into its side like a
bull -- the tank is thrown end-over-end across the town
square! The soldiers react in shock.
(CONTINUED)
83.
78 CONTINUED: (2) 78
Steve and the team use the opportunity to push forward.
As the team flanks up against a building, they see locals
LOCKED inside, crying out for help from behind CHAINED
DOORS.
IN THE TOWN SQUARE: Diana blocks bullets with her
bracelets, soldiers surrounding and firing on her from
all sides.
Steve throws two CONVENTIONAL GRENADES -- blowing German
soldiers by Diana sky high.
Diana turns to see Steve joining her.
As more soldiers pour in, one starts climbing the ladder
up the BELL TOWER.
BACK TO THE VILLAGERS
trapped in the building -- the team breaks open the
doors, letting them out.
ANOTHER ANGLE
Diana tosses the German soldiers around like rag dolls.
A German has Steve in his sights until --
Diana races in, breaking the German's gun and sending him
to the ground. She takes out several soldiers around
Steve.
Diana continues to block bullets while Steve fires --
they work side-by-side, until -- BANG!
The German in the bell tower starts firing down at them.
The team scatters, trying to help the villagers.
Steve motions up --
STEVE
Bell tower.
Diana sees the SNIPER at the top of the bell tower.
Steve motions to Charlie --
STEVE
Charlie!
Charlie pulls out his rifle, AIMS UP -- peering through
the site. But he's shaking. Sweats. Sameer watches as
Charlie FIRES!
(CONTINUED)
84.
78 CONTINUED: (3) 78
The bullet ricochets off the bell and gives away their
position. The sniper turns against Charlie, Chief, and
Sameer.
The three flank against the wall, Sameer looks at
Charlie, who is devastated.
SAMEER
You don't miss.
CHARLIE
(stammers; lies)
Bloody scope... lens is cracked.
But the lens looks fine.
Steve tries to take a shot at the bell tower, but he
can't do so without exposing himself to the shooter.
DIANA
Is there a way inside?!
Steve looks at Diana, an idea forming.
STEVE
There is if you jump!
DIANA
It's too high.
He taps her shield. Diana looks at him, remembering
Antiope's jump.
Steve holds the shield PARALLEL TO THE GROUND.
Diana runs toward Steve, JUMPS UP ONTO THE SHIELD -- and
she launches herself high into the air!
The sniper looks through his scope --
HIS POV
Diana leaping up AT him, gritting her teeth, angry --
BACK TO SCENE
Diana SMASHES into the sniper -- breaking apart part of
the tower -- sending him flying to the neighboring
rooftop below!
UP ON THE TOWER: Diana stands, strong and powerful --
the definition of heroic. Then --
(CONTINUED)
85.
78 CONTINUED: (4) 78
CHEERS! The TOWNSPEOPLE gather, emerging from hiding,
celebrating this heroic victory!
Diana looks down at them -- Steve among the villagers, in
absolute awe of Diana.
79 EXT. TOWN SQUARE (VELD) - DAWN 79
A PHOTOGRAPHER takes a DAGUERROTYPE of Diana, Steve,
Charlie, Sameer, and The Chief standing in the village.
FLASH.
The photograph sees our team imbuing a sense of pride and
accomplishment. Steve's face is turned towards Diana's,
with a look of something more than admiration.
Moments later, Diana walks with Sameer. They look back
at Charlie, head hung low, shaken. Charlie fumbles with
his flask, dropping it.
DIANA
For all his talk of murdering
people from afar, your shooter
can't shoot.
SAMEER
Not everyone gets to be who they
want to be all the time. Me, I
wanted to be an actor, not a
soldier. But I'm the wrong color.
Diana considers this, then she turns, sees The Chief with
a small group of BELGIANS from the trench, including
Marie and her family. All of them ragged, sleep-
deprived, and starving, but hopeful. The Chief dispenses
bread and cheese. Diana notices that no money changes
hands. Steve walks to her.
DIANA
(to Steve)
He doesn't charge them?
SAMEER
Money isn't the only profit.
(beat)
Everyone's fighting their own
battles, Diana. Just as you are
fighting yours.
Diana studies Chief with new eyes, touched by the man's
generosity. Her previous opinion of these men continues
to come into question.
(CONTINUED)
86.
79 CONTINUED: 79
A CHEER goes up from the liberated TOWNSPEOPLE who are
busying themselves in preparation for a party to
celebrate their heroes.
80 INT. INN (VELD) - FRONT DESK - DAY 80
Diana comes in to find Steve behind the front desk of the
inn, on the TELEPHONE.
STEVE
(into telephone)
Veld. Tiny village. It's
probably not even on the --
INTERCUT WITH:
81 INT. WAR OFFICE - SIR PATRICK'S OUTER OFFICE - DAY 81
ETTA is on the other end of the call.
ETTA
Found it.
Steve sees Diana standing on the stairs. He picks up an
extension and offers it. Diana listens in (it's her
first time using a phone):
STEVE
Have you found Ludendorff's
operation?
ETTA
Not yet, but we've located him.
And lucky you, he's only a few
miles away -- at German High
Command.
At first thought, Steve thinks: That doesn't sound
lucky.
STEVE
German High Command?
SIR PATRICK enters the room, overhearing...
ETTA
Intel reports Ludendorff is
hosting a gala -- a last hurrah
before the Germans sign the
Armistice. The Kaiser himself
will be there. As will Dr. Maru.
(CONTINUED)
87.
81 CONTINUED: 81
STEVE
Actually, that gala's perfect
cover --
SIR PATRICK
(not liking the sound
of that)
Captain Trevor, you are under no
circumstances to attend that gala
tomorrow night. We cannot risk
jeopardizing the Armistice.
DIANA
(to Steve)
You shouldn't be worried about
upsetting the peace accord. Ares
would never let that happen...
Steve motions her to please stop talking about "Ares."
Then Diana, a terrible realization.
STEVE
What is it?
DIANA
Of course... It makes complete
sense. Ares developed a weapon,
the worst ever devised.
STEVE
Ares? You mean Ludendorff.
She turns and look at Trevor.
DIANA
No. I mean Ares. Ludendorff is
Ares.
Steve's not sure what to believe at this point.
SIR PATRICK
Steve?
STEVE
Sir, this is our chance to find
the gas and learn how Ludendorff
plans on delivering it. Maybe our
only chance. Our last chance --
SIR PATRICK
I forbid it. Do you hear me?
Steve?
A beat of silence as Steve makes a decision...
(CONTINUED)
88.
81 CONTINUED: (2) 81
STEVE
I'm sorry, sir, you're breaking
up.
SIR PATRICK
Steve? Are you there -- ?
But Steve has clicked off.
82 EXT. PUB - COURTYARD (VELD) - NIGHT 82
The tables are crowded with VILLAGERS and all the food
the Germans left behind. Beer flows. Tea lights
twinkle. A FEMALE PIANIST plays, singing as couples
dance. The atmosphere is warm and jovial.
Diana and Steve stand at the edge of the crowd, unable to
put the urgency of their mission aside and join in.
Sameer approaches them with two tankards of ale. Steve
waves them off.
STEVE
Drinks later, Sameer. I need you
to rustle up me a German uniform.
Sameer puts the ale in front of Steve and Diana despite
his protest.
SAMEER
Already done. Now you two need to
relax. There's nothing we can do
until tomorrow. You said it
yourself, Steve.
Sameer strolls off. Steve drinks. Diana does, too,
surprised by the flavor.
DIANA
It's bitter.
STEVE
(agrees)
It's an acquired taste.
Diana smiles and nods, the world of men is an acquired
taste.
STEVE
It has hints of different flavors,
if you look for them.
Steve and Diana drink in unison. She nods, seems to like
it better.
(CONTINUED)
89.
82 CONTINUED: 82
A young girl hands Diana a FLOWER. She's moved. So's
Steve.
STEVE
You did this.
DIANA
We did.
STEVE
You have dancing on `Paradise'
Island?
DIANA
Dance on Themyscira is more --
STEVE
Interpretive?
DIANA
Precisely.
(then)
Perhaps you'd better show me.
Diana puts the flower behind her ear then moves out on to
the dance floor.
STEVE
Excuse me?
DIANA
If I'm going to a gala, I'll need
to know how to --
STEVE
You're not going to the gala.
DIANA
Of course, I am. Why wouldn't I?
STEVE
Because you don't know how to
dance, for one thing.
DIANA
(re: the other
dancers)
I would argue that they don't know
how to dance.
Steve finally smiles and moves out onto the floor to join
her. He takes her left hand and moves his arm around her
waist. It's the first time they've touched. Which
they're both keenly aware of.
(CONTINUED)
90.
82 CONTINUED: (2) 82
DIANA
You're awfully close.
Their faces are very near to one another's, neither makes
a move to pull away.
STEVE
That's kinda the point.
DIANA
Ah. I see.
Diana moves a bit closer to Steve, smiles. The music
changes as a NEW PIANIST begins a beautiful melody,
breaking into song with an incredible TENOR VOICE.
Diana and Steve look towards the piano and see that it is
CHARLIE WHO IS PLAYING AND SINGING. Diana can't help but
be surprised once again by these men.
Sameer and The Chief join the people crowding around
Charlie, smiling, laughing, grateful.
As the emotional song continues, they sway for a beat,
holding each other and then a SINGLE SNOWFLAKE falls.
Diana looks up as more and more white ice falls from the
sky, sprinkling her hair. She holds out a palm, CATCHING
A FLAKE and sniffing it.
STEVE
It's a snowfall.
DIANA
It's magical.
Steve takes it in, seeing beauty where she does.
STEVE
You're right.
Diana rests her head on Steve's shoulder. Steve can't
remember loving anything as much as this feeling.
DIANA
Is this what people do when there
are no wars to fight?
STEVE
This and other things.
DIANA
What things?
(CONTINUED)
91.
82 CONTINUED: (3) 82
STEVE
I don't know. They... make
breakfast.
DIANA
What else?
STEVE
Read the newspaper. Go to work --
(carefully)
They... get married. Maybe have
babies, grow old together.
DIANA
What is it like?
STEVE
No idea.
But something in his eyes tells Diana he'd like to find
out. Diana thinks she might, too. Steve pulls her in
closer. She looks deep in his eyes.
DIANA
Maybe... once I defeat Ares and
war ends forever... there will be
time to learn about... all kinds
of things.
The way Diana says it -- that look in her eyes -- for the
very first time in the film Steve finds himself believing
her story -- desperately wanting to believe it.
STEVE
(wistful)
God, I hope you're right.
83 INT. INN (VELD) - BEDROOM - NIGHT 83
Steve lays Diana gently down on the bed, brushing her
hair from her neck and KISSING IT. Diana's eyes are wide
and shocked by the ELECTRICITY of those LIPS ON HER SKIN.
She looks up at him, runs her hands through his hair and
pulls him to her, mouth-to-mouth, the most perfect,
passionate FIRST KISS ever.
... Steve's TICKING WATCH on the nearby nightstand.
84 EXT. TOWN SQUARE (VELD) - DAWN 84
The morning sun looks brighter to Diana than normal. She
smiles, turns to see the team, Steve dressed in a GERMAN
UNIFORM. They're rounded up with HORSES.
(CONTINUED)
92.
84 CONTINUED: 84
SAMEER
The villagers gave them to us.
THE CHIEF
A gracious gift.
SAMEER
They called us heroes.
DIANA
You are.
Everyone looks at Diana. The way she says it, Sameer and
Chief believe it -- and it feels good. Sameer smiles at
Charlie -- who forces a smile back, struggling to agree.
STEVE
(to team)
Guys, I'm fully aware that I said
this job was two days --
THE CHIEF
You would get lost without us.
SAMEER
Yeah, we know Diana's capable of
looking after herself, but I'm
worried you wouldn't make it.
STEVE
There's no more money, boys.
Sameer pets his horse with a smile.
SAMEER
We've been paid enough.
The Chief nods, but Diana spots Charlie's hesitation.
DIANA
If you're coming, Charlie, perhaps
you'll sing more for us.
(then; the truth)
I enjoyed it very much.
Charlie brightens at a rare compliment from Diana.
SAMEER
Ah! Don't encourage him!
Despite Sameer's protests, Charlie starts to SING LOUDLY --
but joyfully -- as the team moves on.
OFF Diana, moved by the continued goodness she's
discovering within these unlikely men.
(CONTINUED)
93.
84 CONTINUED: (2) 84
CHARLIE (V.O.)
(pre-lap)
She's a real life Amazon?
85 EXT. FOREST (BELGIUM) - DAY 85
Diana leads the men on HORSEBACK. They trail behind.
Diana turns, smiles, unaware Steve's just told them all
about her.
CHARLIE
(to the boys)
That's the craziest story I ever
heard!
SAMEER
Wait. There's a whole island of
women like her? And not a single
man among them?
(beat)
How do we get there?
STEVE
You're not their type.
CHARLIE
You're all going daft.
STEVE
It's true... every word.
SAMEER
And she thinks Ludendorff is Ares?
The God of War?
CHARLIE
And only by killing him will the
war end?
SAMEER
You saw what she did out there.
The way she charged that machine
gun nest. The way she took out
that tower. Maybe it's true!
Chief nods in agreement.
CHARLIE
(to Steve)
You don't really believe all this
rubbish, do ye?
Steve wishes he does, but deep down he doesn't...
94.
86 EXT. FOREST/CHÂTEAU (BELGIUM) - DAY 86
Through the trees, still on HORSEBACK, Diana and the team
see the WELL-GUARDED fortress that is German High
Command. Steve uses FIELD GLASSES to survey the scene.
Chauffeured LIMOUSINES go through a HEAVILY-GUARDED
CHECKPOINT at the gate, behind it, a long line of cars
delivering well-dressed GUESTS to the ENTRANCE of the
château, a SINGLE SENTRY stationed there.
STEVE
How the hell are we gonna get in?
THE CHIEF
The way in is through the gate.
CHARLIE
(sarcastic)
Thank you, Chief, for that ancient
tribal wisdom, that's very
helpful.
The Chief gets off his horse, hands the reins to Sameer,
then wanders off into the forest.
Charlie looks through his scope: several guards at the
gate, but only one at the door.
CHARLIE
If you could get through the gate
I only see one guard at the door
to distract.
STEVE
It won't look at all suspicious
when I come sauntering out of the
woods on foot --
DIANA
I could get in.
STEVE
You're not going in. It's too --
DIANA
Dangerous?
STEVE
I know how to do stealth -- been
doing it my whole life. I'll
follow them to wherever they're
working on the gas or better yet
find out where it is.
(MORE)
(CONTINUED)
95.
86 CONTINUED: 86
STEVE (CONT'D)
(beat)
Plus, we can't make a scene.
DIANA
I can be stealthy.
STEVE
Diana, what you're wearing doesn't
exactly qualify as `undercover.'
SAMEER
(attempting humor)
I don't know, I'd say she was
pretty under covered.
Only Charlie laughs.
STEVE
(to Diana)
There's no way to get you in. Let
me scout it and report back.
Worse case, we follow Ludendorff
when he leaves and you can use
that magic lasso of yours to get
him to tell us where it is.
DIANA
But as long as he's still alive --
STEVE
You can't go into German High
Command and kill anyone! You have
to trust me, Diana.
Suddenly, a gleaming, ROLLS-ROYCE LIMOUSINE pulls into
the forest, The Chief in the driver's seat.
STEVE
(to The Chief)
Where did that come from?
THE CHIEF
Field over there is full of them.
SAMEER
Can I drive it? Lemme drive it.
I'll be your chauffeur!
Steve looks at Diana.
STEVE
(pointedly)
Diana. Please, stay put.
(CONTINUED)
96.
86 CONTINUED: (2) 86
Steve climbs into the back seat and Sameer drives the
limo off.
CHARLIE
We should scout the area. In case
we need to beat a hasty retreat.
What do you think, Diana?
But when they look for her, Diana isn't there.
CHARLIE
Uh-oh.
87 EXT. CHÂTEAU - GERMAN HIGH COMMAND - MOMENTS LATER 87
A CAR rolls past the CHECKPOINT GATE, another stops.
GUARDS take an INVITATION from the driver, then wave the
car on.
IN THE NEXT CAR
Sameer, wearing a TEA TOWEL AS A TURBAN on his head,
watches the exchange, alarmed.
SAMEER
(talking through his
teeth to Steve)
Steve...
Steve in the back, decked out in his GERMAN UNIFORM.
SAMEER
... they have invitations.
Sameer has no choice but to pull up to the guards. One
of them holds out his hand, waiting for an invitation --
but Sameer takes the surprised guard's hand with both of
his!
SAMEER
Dhanyavaad, Sahib. The Colonel
and I wish many blessings and all
manner of other things to fall
upon your head --
Thinking fast, Steve belligerently yells at Sameer,
startling the guards.
STEVE
And your head's empty! He wants
my invitation, you idiot!
(CONTINUED)
97.
87 CONTINUED: 87
Sammy grovels to the guard, kissing his hand. The guard
tries to pull it away!
SAMEER
I must apologize a thousand
thousand times, my masters, for my
most horrid, wretched, and
unworthy soul has lost the
Colonel's invitation!
Steve checks his WATCH.
STEVE SAMEER
We drive hours through this I am a snail! No, a bug!
mud and filth! You're a No, the dung of a bug --
disgrace!
The bewildered and uncomfortable guards shoo them on.
As they drive, Sameer grins, glancing back at Steve.
SAMEER
Blessings be upon us.
Steve's smile fades when he sees soldiers setting up a
VIEWING PLATFORM with ROWS OF SEATS. Steve doesn't know
why.
AT THE FRONT OF THE CHÂTEAU
Sameer opens the LIMO DOOR for Steve.
STEVE
Keep the car running, Sahib. And
no joy riding.
Sameer smirks, bows. Steve heads to the château,
watching him bowing and blessing to Germans. Steve
shakes his head as he enters...
88 EXT. CHÂTEAU - GERMAN HIGH COMMAND - CONTINUOUS ACTION 88
Diana, her cloak concealing her armor, watches from the
shadows as Steve disappears inside.
Frustrated, she searches the exterior of the château for
another way in, but she's distracted by the insistent
HONKING of a CAR HORN behind her.
Diana turns to find a stunning, exquisitely dressed
woman, FAUSTA GRABLES (30) in an extraordinary gown,
leaning over her driver and honking the car's horn in a
futile attempt to get the traffic moving again.
(CONTINUED)
98.
88 CONTINUED: 88
FAUSTA
I am not spending the entire
evening out here, you idiots.
Move your cars! I said, move!
Infuriated, she marches up the long driveway toward the
door.
Diana steps out of the shadows and into Fausta's path.
FAUSTA
(snorting at Diana's
outfit)
What are you supposed to be?! Ha!
Out of my way.
But when Diana doesn't get out of her way -- and instead
sidles up to Fausta to see if they're the same height...
FAUSTA
What are you doing?
(then; calling out)
Guards -- ?!
Which is when Diana delivers a quick, judo-like CHOP to
Fausta's neck -- where it meets her lovely shoulder --
causing Fausta to collapse and lose consciousness. Off
Diana, catches Fausta as she falls...
For the first time in her life, Diana enjoys her own
roguishness. Like one of the boys.
DIANA
(realizing)
That was... fun.
89 INT. CHÂTEAU - FOYER - CONTINUOUS ACTION 89
Steve walks up the stairs, spotting the KAISER at the
head of the RECEIVING LINE atop them. Ludendorff is next
to him, talking intensely to Dr. Maru. As much as they
try not to, people can't help but stare at Maru.
MARU
They're starting to ask where Von
Hindenburg and the others are.
LUDENDORFF
Soon it won't matter.
MARU
But, General --
(CONTINUED)
99.
89 CONTINUED: 89
LUDENDORFF
We continue as planned. Now go.
I have people to tend to beyond
you.
Maru is taken aback by his firmness. Feels eyes staring
at her. She's used to rejection, but not from him.
She nods and breaks off, moving into the GRAND BALLROOM.
An ORCHESTRA plays, COUPLES waltz, CHANDELIERS blaze.
The room is full of OFFICERS, their WIVES and prominent
CIVILIANS in formal wear.
Maru moves to a FIREPLACE, staring at the fire.
STEVE
(to Maru)
Excuse me.
Maru turns to face Steve, holding TWO GLASSES OF
CHAMPAGNE -- he offers her one.
MARU
I don't drink.
(faintly recognizing
him)
Have we met?
STEVE
No, but I've been watching you.
Following your career, I mean.
You're Dr. Isabel Maru. The most
talented chemist in the German
Army. I'm a fan.
Steve keeps one eye on Ludendorff. Maru notices. He
covers --
STEVE
I hope I'm not crossing a line. I
hear you and General Ludendorff
are very close.
MARU
We work well together, yes.
STEVE
(flirting)
I'm sure he provides a great deal
of support for you and your work,
but having someone like me behind
you -- I could provide a lot more.
She's not falling for the man, but there's something
about him... a faint recognition --
(CONTINUED)
100.
89 CONTINUED: (2) 89
MARU
And who are you?
STEVE
A man who would show you the
appreciation a genius like
yourself deserves.
Maru stares into the fire, captivated.
STEVE
I love fire, don't you? It's like
a living act of entropy. The
ultimate weapon of destruction,
reminding us that, in the end,
everything returns to the ash it
once came from. There's something
reassuring about it.
(stares into Maru's
eyes)
I see all of that in your eyes.
Maru can't help but stare back deeply into Steve's eyes,
surprised to find her heart racing. For a brief moment,
she's unsure of what she's feeling.
STEVE
Perhaps you could show me what
you're working on. I hear it's
extraordinary.
Steve's about to get the answers he needs when -- DIANA,
in Fausta's gown, MAKES HER ENTRANCE, at the top of the
stairs -- her uniform underneath, the GODKILLER peeking
out from the back of her dress, the hilt looking like a
piece of JEWELRY. Heads turn at the stunning Amazon.
Steve's completely torn, does he stay and gets his
answers from Maru -- or stop Diana from getting to
Ludendorff? Maru makes the decision for him --
MARU
I appreciate your interest in my
work, but I am loyal to General
Ludendorff. Besides, I see now
your attention is elsewhere.
DIANA AND LUDENDORFF'S EYES MEET. It is an INTENSE
moment. She examines him, trying to confirm with her own
eyes that he is Ares.
Steve desperately wants to get to Diana, the tension
thick: What is she going to do?
(CONTINUED)
101.
89 CONTINUED: (3) 89
Seeing the most beautiful woman in the room, Ludendorff
can't help but give Diana a courtly bow, kisses her hand.
LUDENDORFF
Enjoying the party?
DIANA
(eyes narrow)
I confess, I'm not sure what we're
celebrating.
LUDENDORFF
A German victory, of course.
He offers her hand to dance. She takes it, sizing him
up.
DIANA
Victory? When I hear peace is so
close?
LUDENDORFF
`Peace is only an armistice in an
endless war.'
Diana understands, tenses.
DIANA
Thucydides.
LUDENDORFF
(happily surprised)
You know your Ancient Greeks.
They understood that war is a god.
One that requires human sacrifice.
Her heart pounds.
LUDENDORFF
And in exchange, war gives man
purpose. A chance to rise above
his petty, mortal little life and
be better than he is.
ON DIANA
There's no question now: This is Ares.
DIANA
Only one of the many gods believed
in that... and he was wrong.
She desperately wants to reach for her sword, but he's
still holding her.
(CONTINUED)
102.
89 CONTINUED: (4) 89
LUDENDORFF
You know nothing about the gods --
SOLDIER #1 (O.S.)
General?
Ludendorff looks over at a soldier. He checks his watch,
relaxes his hold on her.
LUDENDORFF
My apologies. You'll excuse me.
(beat)
Enjoy the fireworks.
Just as he turns his back on Diana, she reaches for her
SWORD. She's about to draw it when -- Steve gets between
them, facing her! He pulls Diana away from Ludendorff,
taking her hand -- dancing with her as cover.
DIANA
What are you doing?
The dancing is anything but what it was in last time.
STEVE
You agreed to wait.
DIANA
You agree to do things all the
time then don't do them. Let me
go --
STEVE
You can't kill Ludendorff inside
German High Command. The
Armistice won't be signed.
DIANA
It won't matter --
STEVE
What if you're wrong, Diana? What
if there is no Ares?
DIANA
(realizes)
You don't believe me.
STEVE
I can't let you do this.
DIANA
What I do isn't up to you.
(CONTINUED)
103.
89 CONTINUED: (5) 89
Reminding Steve of her strength, Diana uses only her
fingers to PUSH Steve away -- as if he were nothing --
and he almost loses his footing.
Diana looks for Ludendorff -- he's left! She runs out.
Steve follows.
90 EXT. CHÂTEAU - MOMENTS LATER 90
Diana exits, looks around, spotting Ludendorff, Maru, and
the soldiers entering one of the château's TOWER HOUSES,
which is quickly secured behind him.
STEVE
Diana!
Diana starts running towards it when -- the sound of a
MISSILE launching from the guardhouse. Then another.
And another.
STEVE
The gas.
Their eyes follow the PATH OF THE MISSILES -- she
understands, horrified, see the target is --
DIANA
The village.
Diana runs off towards the village while the audience at
the château behind her bursts into APPLAUSE and CHEERS.
90A EXT. FOREST - CONTINUOUS ACTION 90A
Sameer has regrouped with Chief and Charlie. Chief and
Sameer look up at SMOKING TRAILS in the sky, left by the
missiles, while Charlie peers through his SCOPE at the
château.
SAMEER
They're cheering.
Suddenly, they spot Diana racing through the forest on
her HORSE.
SAMEER
Diana!
Steve rides up to the team, out of breath.
THE CHIEF
What did they fire?
(CONTINUED)
104.
90A CONTINUED: 90A
STEVE
It was Ludendorff.
CHARLIE
(through scope)
I see him.
STEVE
Wherever he goes you follow him.
Steve chases after Diana!
SAMEER
(calls after to
Steve)
How will you find us?!
THE CHIEF
I know how.
91 EXT. OUTSKIRTS OF VELD - MINUTES LATER 91
Racing through the woods in the distance, Diana now in
her armor on horseback -- her torn off dress discarded,
floating behind her.
She arrives at the outskirts of the village, which is now
entirely engulfed in a THICK, COLORED CLOUD OF GAS.
She dismounts, enveloped by the gas. She can't see
anything in front of her, but knows immediately that all
the villagers have perished. She has trouble breathing,
her EYES RED AND STINGING. BLISTERS on her skin.
DIANA
No. Oh, no, no, no.
Tears fill her eyes.
STEVE (O.S.)
Diana.
Diana walks out to see -- Steve arrive, dismounting.
Diana points at Steve, her blisters HEALING before his
eyes.
DIANA
They're dead. They're all dead.
(a horrific betrayal)
YOU DID THIS!
STEVE
Diana, I'm sorry --
(CONTINUED)
105.
91 CONTINUED: 91
DIANA
You stopped me from killing Ares
when I had the chance. You
murderer! You killed these
people!
STEVE
(reaching out for
her)
No, I --
DIANA
STAY AWAY FROM ME!
Steve freezes in his tracks.
DIANA
Everything you've said to me is a
lie.
(fury growing)
But I see the truth now. It isn't
just the Germans that Ares has
corrupted. It's you, too. It's
all of you.
Steve is rattled --
DIANA
(determined; dark)
I will find Ares and I will kill
him.
Steve sees a TRAIL OF SMOKE in the sky in the distance.
STEVE
It's a signal from The Chief.
They followed Ludendorff --
Diana rides off in a fury.
STEVE
Diana?!
Steve starts to get his horse, then sees an abandoned
MOTORCYCLE on the road into town and changes his mind.
92 EXT. SECURITY POST (BELGIUM) - MOMENTS LATER 92
Along the road, Diana comes upon a GERMAN SECURITY POST:
THREE GERMAN SENTRIES but she refuses to stop. She
KNOCKS the Germans aside like bowling pins.
106.
93 EXT. FOREST (BELGIUM) - CONTINUOUS ACTION 93
Steve avoids the security post, tearing through the
woods.
94 EXT. COUNTRYSIDE (BELGIUM) - MOMENTS LATER 94
The last wash of sunlight FADES as NIGHT takes over.
Diana rides on horseback through the countryside at
amazing speed -- driven, possessed by rage.
She heads towards Charlie, Sameer, and The Chief -- who
are all at a FIRE Chief has set, used to create the SMOKE
SIGNALS. He points to the top of a hill. She rushes
past them and up the hill!
Cresting the hill, we see an AIRFIELD -- she heads down
towards it.
Steve isn't far behind her, racing past the team!
95 EXT. OUTSIDE THE AIRFIELD (BELGIUM) - CONTINUOUS ACTION 95
As Diana storms towards the airfield, her eyes land on
the CONTROL TOWER, where she sees --
LUDENDORFF on the balcony, looking out over the airfield,
a hive of activity.
She charges the tower, flipping off her horse and over a
BARBED WIRE FENCE -- she takes out more Germans --
slashes through a SECOND BARBED WIRE FENCE -- fights to
the tower and --
Diana lassos a soldier on the balcony, yanking him down
then leaping up to the tower herself!
96,97 OMITTED 96,97
98 INT. CONTROL TOWER - CONTINUOUS ACTION 98
Ludendorff turns as Diana arrives, wielding the
GODKILLER. He smirks, scoffing --
LUDENDORFF
Nice to see you again. This is a
surprise.
He aims his GUN at her --
(CONTINUED)
107.
98 CONTINUED: 98
LUDENDORFF
But I have things to do.
-- Ludendorff FIRES at Diana! She blocks the bullet with
her bracelet, ricocheting it back at Ludendorff's gun!
It explodes in his hand! He cries out in pain, shocked!
Diana lowers her smoking bracelet, looking him in the
eyes -- assuming he knows who she is now after that
display of power.
DIANA
You know why I'm here. I am Diana
of Themyscira, daughter of
Hippolyta.
Ludendorff turns away from Diana, cracking open a BLUE
CAPSULE. He inhales -- it's painful but powerful, veins
bulging.
99 OMITTED 99
100 EXT. CONTROL TOWER - WALKWAY - CONTINUOUS ACTION 100
Diana sees Ludendorff's veins bulging, almost
supernatural -- her eyes widen with confirmation.
Diana moves quickly, thrusting the Godkiller at him. He
dodges it. She strikes him in the face with her fist.
They trade blows.
He grabs a BAYONETTED RIFLE mounted on the wall.
Ludendorff uses the rifle as A GUN, A SPEAR, and A SWORD.
He HITS Diana again and again -- but Diana strikes back
with such FORCE that he flies backwards through the
WINDOW and onto the narrow walkway outside.
Ludendorff struggles to his feet --
101 EXT. CONTROL TOWER - CONTINUOUS ACTION 101
Diana CHARGES AGAIN. Ludendorff manages to escape being
gored by CLIMBING UP TO THE TOWER ROOF.
Ludendorff stands, holding his bayonet, as Diana LEAPS up
on the roof to join him -- and the BATTLE RAGES on, SWORD
AGAINST BAYONET, both so close to plummeting to the
ground with every volley.
But then Ludendorff lands a BLOW that sends Diana and his
bayonet sliding over the roof's edge. She manages to
grip the ledge but loses the Godkiller.
(CONTINUED)
108.
101 CONTINUED: 101
Pulling herself back up with incredible effort she sees
that LUDENDORFF HAS THE GODKILLER.
LUDENDORFF
As magnificent a creature as you
are, you are no match for me.
WITH VEINS PULSATING BLUE, LUDENDORFF SWINGS THE SWORD
DOWN TO DELIVER THE KILLING BLOW --
But Diana BLOCKS it with her bracelets!
DIANA
We'll see about that.
Ludendorff STRIKES AGAIN AND AGAIN until Diana grabs the
blade with her BARE HANDS.
It cuts deep, drawing blood, she CRIES OUT in pain.
Summoning impossible strength, she grips the blade and
SHOVES it back with such force that Ludendorff loosens
his grip. For the first time we see that he is afraid.
Diana stands over Ludendorff, raising the GODKILLER.
DIANA
I, daughter of Hippolyta, came
here to complete the mission of
the Amazons by taking your life,
and ridding mankind and my people
of you -- forever!
Diana PLUNGES THE GODKILLER INTO LUDENDORFF'S BODY. His
body crumbles to the ground, the blue in his veins fading
away like a light going out!
ARES IS DEAD!
She breathes heavy, takes in the victory, reveling in it.
Her mission accomplished. Her mother would be proud.
Antiope. All of the Amazons.
The battlefield is quiet. A storm begins to simmer in
the sky. Then she hears a GERMAN COMMANDER screaming at
his troops.
Her brow knits with confusion. Diana looks out over the
airfield -- her face falls.
HUNDREDS of "HELLMEN" SOLDIERS wearing strange customized
GAS MASKS emanate from Dr. Maru's lab, working with
HUNDREDS OF GAS BOMBS.
(CONTINUED)
109.
101 CONTINUED: (2) 101
To Diana's horror, nothing has changed. Ares may be dead
but --
WAR CARRIES ON.
STEVE (O.S.)
Diana!
Steve is on the balcony below.
STEVE
Diana?
Relieved she's okay, Steve sees Ludendorff's body on the
edge. Diana turns to him, lost...
DIANA
I killed him. I killed Ares but
nothing stopped. You kill the God
of War, you stop the war.
Steve registers her confusion, but follows her gaze to
the growing threat below. No time to explain --
STEVE
Right... Then we've got to do
something about it.
She leaps down to Steve, eyes wide with shock.
DIANA
No! Steve. All of this should
have stopped. The fighting. It
should have stopped. So why are
they doing this?!
Steve sees the crisis on her face, forcing himself to
slow down and tune into it -- sad knowing the reality
Diana's about to face. His heart breaks for her.
STEVE
Diana, I'm sorry... I know you
thought -- I hoped it, too -- but
I knew --
DIANA
You knew what?!
STEVE
That it might not be that simple.
DIANA
But Ares is dead. They don't have
to do this anymore. So why would
they?!
(CONTINUED)
110.
101 CONTINUED: (3) 101
Steve finally says what he hasn't had the heart to say
all along.
STEVE
Because maybe people aren't...
just good, Diana. Ares or no
Ares. Maybe it's... just them.
She looks out at them. The truth slowly sinking in as
she tries to understand -
DIANA
No... It can't be... Everything I
saw? They were killing each
other. Killing people they can't
even see... Killing children.
Like it was nothing... It had to
be him!! It can't be them!
STEVE
Diana, sometimes people are
complicated --
Diana's disbelief begins to turn to anger.
DIANA
My mother was right. She said
`the world of men don't deserve
you.'
(beat)
That's why she left. They don't
deserve our help.
Steve knows they're out of time.
STEVE
It's not about whether they
deserve it or not. It's about
what you believe. You think I
don't get it? All I've seen out
there? I wish I could tell you
that there was one `bad guy' to
blame. Maybe we're all to blame.
But that doesn't mean we shouldn't
try to do better.
(beat)
And if you believe this war should
stop, Diana, if you want to stop
it, then help me stop it. Now.
Diana still isn't there.
STEVE
If we don't, they're going to kill
thousands more.
(MORE)
(CONTINUED)
111.
101 CONTINUED: (4) 101
STEVE (CONT'D)
(beat)
Don't give up on them. Don't give
up on me.
Diana doesn't respond. She isn't there yet.
STEVE
Please. We gotta go...
(beat)
I have to.
It kills Steve to release her hand, but he has no choice.
He has to. He does and can only look back, hoping she'll
follow.
Diana's left alone, everything she ever believed in
destroyed.
She watches as Steve runs off --
102 EXT. AIRFIELD - CONTROL TOWER - CONTINUOUS ACTION 102
Steve joins the team as they arrive and regroup --
SAMEER
(to Steve)
Where's Diana?
STEVE
We're on our own.
Despite their hesitation and confusion about that, the
team follows Steve towards the hangar --
103 EXT. CONTROL TOWER - CONTINUOUS ACTION 103
Diana takes in a breath, SMELLS the CHEMICALS in the air,
HEARS the sounds across the AIRFIELD -- she has become
hyper aware of the harshness of the world around her.
Diana turns, seeing a FIGURE THROUGH the windows looking
at Ludendorff's plans. For a brief moment, she thinks
it's Steve.
DIANA
Steve?
The figure pauses, then looks over at Diana. Diana
wonders: Who is it?
(CONTINUED)
112.
103 CONTINUED: 103
DIANA
Who's there?
(beat)
What are you doing?
The figure finally speaks --
VOICE (O.S.)
I've been waiting for you to see
the truth.
She looks closer, a shiver up her spine -- confusion
overwhelms Diana as she sees it's --
DIANA
Sir Patrick?
Sir Patrick is there, like a dream -- or a nightmare --
calmly gazing over at Diana THROUGH the glass.
SIR PATRICK
You're right, Diana. They don't
deserve our help.
(beat)
They only deserve destruction.
Diana freezes.
DIANA
You're him.
You.
SIR PATRICK
I am. But I'm not what you
thought I was. You blame me, but
the truth is...
(motions to the
airfield)
... all of this -- I did none of
it.
Alarmed, Diana reaches for her sword -- but her hand
grasps at nothing -- she quickly realizes it's still in
Ludendorff! Diana leaps OUT OF FRAME to retrieve it!
104 EXT. AIRFIELD - HANGAR - CONTINUOUS ACTION 104
Steve and the team regroup, taking cover behind a hangar,
Charlie scanning the area with his scope.
CHARLIE
I can't see where they're taking
the gas.
(CONTINUED)
113.
104 CONTINUED: 104
They duck behind CRATES as gas-masked soldiers march by.
Sammy points out over the airfield at --
-- the enormous, modern PROTOTYPE BOMBER on the runway,
being loaded up with bombs. The workers hurry as the
storm continues to build around them.
SAMEER
Wherever Diana is, I think we're
gonna need her.
Steve watches as a soldier motioning to the crew to pick
up the pace.
Steve and the team see soldiers loading bombs in the back
of the plane. Steve motions to the team and they head
around the back of the hangar.
105 INT./EXT. AIRFIELD - CONTINUOUS ACTION 105
Diana leaps down from above, the GODKILLER back in her
hands -- she circles the tower like a tiger, looking
THROUGH the glass -- but Sir Patrick remains very calm.
SIR PATRICK/ARES
I am not your enemy, Diana. I am
the only one who truly knows you.
And who truly knows them as you
now do. They have always been,
and always will be weak, cruel,
selfish, and capable of the
greatest horror...
As he speaks, Diana holds the sword with TWO HANDS,
trying to regain her confidence but struggling.
Stepping in the doorway, he vanishes. She looks around.
Finds he's suddenly outside.
DIANA
(to herself)
I am Diana of Themyscira, daughter
of Hippolyta... and I am here to
complete her mission --
Diana cocks back her sword for battle when Sir Patrick
disappears again -- reappearing behind her. She spins
and plunges the GODKILLER into him --
Sir Patrick simply holds up his hand and the sword
DISINTEGRATES INTO A CLOUD OF DUST, right down to the
hilt! Diana can't believe it --
(CONTINUED)
114.
105 CONTINUED: 105
DIANA
The Godkiller...
SIR PATRICK/ARES
The Godkiller? Oh, child. That
is not the Godkiller.
(truly feels her
shock)
You are. Only a god can kill
another god.
DIANA
I --
SIR PATRICK/ARES
Zeus left the daughter he had with
the Queen of the Amazons as a
weapon to use against me.
Diana's mind reeling --
DIANA
You lie!
Diana throws her LASSO around Sir Patrick, who doesn't
try and avoid it. On contact with Sir Patrick, the lasso
glows BRIGHTER than previously seen --
DIANA
I compel you to tell me the truth!
Sir Patrick calmly looks into her eyes, the lasso's
GOLDEN ENERGY courses between them.
ARES
I am.
107 OMITTED 107
107A EXT. AIRFIELD - HANGAR - CONTINUOUS ACTION 107A
Steve and the team put on GAS MASKS and JACKETS pulled
from a handful of UNCONSCIOUS SOLDIERS they leave behind
as they creep around the hangar to the plane.
Steve and the team blend in with the crew working on the
plane.
115.
107AA EXT. AIRFIELD - CONTINUOUS ACTION 107AA
Sameer boards the plane while Steve moves to the front
wheel, trying to get a better look at the plane's
position.
The Chief spots soldiers examining a MAP just inside the
hangar. As they walk away, The Chief sneaks in --
107E INT. CONTROL TOWER - CONTINUOUS ACTION 107E
The lasso is still tight around Sir Patrick, crackling.
Diana holds it, still unsure what to think --
SIR PATRICK/ARES
I am not the God of War, Diana. I
am the god of truth... All I ever
wanted was to show my father how
evil his creation was. But he
refused.
As Sir Patrick runs his finger along the lasso, a SURGE
of energy runs from his hands and down towards Diana --
into her, causing her to see FLASHES OF THE PAST. Each
is like a pulse that fades and returns us to the scene at
hand.
107EA FLASHBACKS - EXT. NO MAN'S LAND - DAY 107EA
We PUSH THROUGH the bleakness of the world.
SIR PATRICK/ARES (V.O.)
Mankind stole the world from us.
They ruined it, day-by-day.
107EB EXT. MOUNT OLYMPUS - NIGHT 107EB
Ares falling to the Earth... His armor falling off...
SIR PATRICK/ARES (V.O.)
And I, the only one wise enough to
see it, was left too weak to
destroy them myself...
107EC EXT./INT. TBD - NIGHT 107EC
Somewhere dark, ARES shivering, powerless... the remnants
of his armor CRACKING and BREAKING APART around him.
(CONTINUED)
116.
107EC CONTINUED: 107EC
SIR PATRICK/ARES (V.O.)
All these years, I've struggled.
Whispering into their ears...
107ED INT. HANGAR - DR. MARU'S LAB - DAY 107ED
Maru at her workbench. The SPECTRAL FORM of SIR PATRICK
whispering silently to her, unseen by anyone. A STRANGE
WIND passes as he does. Her eyes light up. She starts
mixing chemicals frantically.
SIR PATRICK (V.O.)
Ideas. Inspiration. For weapons.
Formulas. But I don't make them
use them... they start these wars
on their own.
END FLASHBACKS.
107EF INT. CONTROL TOWER - NIGHT 107EF
The FLASHBACKS FADE and we RETURN TO Diana's stunned
face.
SIR PATRICK/ARES
(enjoying the
revelation)
All I do is orchestrate an
armistice I know they will break,
in the hope they will destroy
themselves. But it's never been
enough...
(beat)
When you first arrived I was going
to end you, Diana. Then I felt
something I haven't for thousands
of years. Stronger.
Sir Patrick clenches his fists. His neck pulses.
SIR PATRICK/ARES
It was your power. Healing me
more than you could ever hurt me.
Diana's eyes narrow, trying to understand. Sir Patrick's
hands begin to FLICKER with FIRE --
SIR PATRICK/ARES
And I knew that if only you could
see what the other gods
couldn't...
(CONTINUED)
117.
107EF CONTINUED: 107EF
Sir Patrick runs his finger along the lasso, energy
arcing down the lasso and into Diana! As it hits her --
107EG VISION - EXT. NO MAN'S LAND - DAY 107EG
-- they are transported to the barren, war-torn No Man's
Land
SIR PATRICK/ARES (V.O.)
All the suffering. All the pain
and destruction they create. You
would join me.
Diana looks around her.
SIR PATRICK/ARES (V.O.) SIR PATRICK/ARES (V.O.)
With out powers combined, (ALT)
we could finally end this. With our powers combined,
we could finally end them.
The barren no man's land transforms into a lush, "Garden
of Eden" -- like Themyscira itself!
SIR PATRICK/ARES
We could return the world to the
paradise it was before them.
(beat)
And there would be absolute peace,
Diana. Forever.
CLOSE ON DIANA
taking it in.
Sir Patrick smiles, pleased.
But Diana resists.
DIANA
(struggling)
No... No, I'd never be a part of
that.
And like that --
107EH INT. CONTROL TOWER - NIGHT (REALITY) 107EH
The VISION around Diana VANISHES, they are "back" in the
control tower.
118.
107D EXT. AIRFIELD - HANGAR - CONTINUOUS ACTION 107D
Steve tries to pry open a panel on the plane, looking for
a way to sabotage it somehow -- when a German soldier
approaches Steve, suspicious. The German is about to
yell when -- THUMP!
Charlie lowers the butt of his rifle onto the German.
Steve nods in appreciation then -- notices a CHILL as the
wind starts to rise.
Steve looks over, his face grows tense -- DR. MARU
approaches the plane for inspection with MORE SOLDIERS.
They retreat to the shadows!
107B INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 107B
Sameer moves past ROWS OF BOMBS already loaded. He spots
something -- a TIMER wired to the bombs!
107C INT. AIRFIELD - HANGAR - CONTINUOUS ACTION 107C
The Chief examines the map, horror covers his face when
he sees the plane's target: LONDON.
INT. CONTROL TOWER - CONTINUOUS ACTION
Sir Patrick looks angered -- he almost had her. His eyes
narrow.
SIR PATRICK/ARES
Oh, Diana... my dear sister... I
don't want to fight you --
(beat)
-- but if I must...
He quickly GRABS the lasso -- and a VIOLENT ERUPTION OF
ENERGY ERUPTS -- AND THE CONTROL TOWER EXPLODES!!!
107F EXT. AIRFIELD - CONTINUOUS ACTION 107F
A DEAFENING explosion erupts across the airfield,
demanding everyone's attention!
It's overwhelming and chaotic, putting the soldiers in
panic mode: They're under attack!
Steve and the team react, unable to see what caused it,
retreating to the shadows to find out --
(CONTINUED)
119.
107F CONTINUED: 107F
CHARLIE
Hurry up! They're onto us!
STEVE
Sammy, let's go!
Dr. Maru turns to A THREE-MAN CREW -- PILOT, CO-PILOT,
and the BOMBARDIER. She calls out --
DR. MARU
Forget about them! Come on, move!
(they hesitate)
Go now!
107G EXT. CONTROL TOWER - CONTINUOUS ACTION 107G
Diana lands on the ground, rolling across it.
108 EXT. AIRFIELD - RUNWAY - CONTINUOUS ACTION 108
Steve and the team race across the airfield, searching
for cover.
107G EXT. CONTROL TOWER - CONTINUOUS ACTION 107G
Diana pushes herself up off the ground, gazing over at
Sir Patrick, who simply floats down -- burning debris all
around them.
Getting to her feet, Diana runs towards Sir Patrick.
CLOSE ON SIR PATRICK
calmly looking out at the DESTRUCTION and Diana, he
flicks his hand -- through his sheer force of will, Sir
Patrick lifts the TOWER DEBRIS around Diana!
Girders rise, toppling over on either side of Diana as
she races towards Sir Patrick! Diana dodges them,
running through the gauntlet -- gazing up as a LIGHT
shines down, toppling towards her -- Diana leaps out of
the way!
108 EXT. AIRFIELD - RUNWAY - CONTINUOUS ACTION 108
Steve and the team take cover behind SEVERAL CRATES.
120.
107G EXT. CONTROL TOWER - CONTINUOUS ACTION 107G
Diana throws her lasso at Sir Patrick, but he holds his
hands up and blasts it back!
SIR PATRICK/ARES
Oh, my dear. You have so much to
learn.
Diana lassos a GIRDER, swinging it back at Sir Patrick --
but he hovers above it! The debris smashes into a gas
tank, exploding!
109 EXT. AIRFIELD - CONTINUOUS ACTION 109
Fighting through the growing storm, Diana races towards
Sir Patrick -- he raises his hands like a conductor,
ripping chunks of the tarmac up!
Diana avoids one -- smashes through another -- then leaps
in the air as a MASSIVE CHUNK OF THE EARTH rises -- Diana
leaps into the air, towards Sir Patrick --
109A EXT. AIRFIELD - HANGAR - CONTINUOUS ACTION 109A
Hidden behind the crates, Steve and the team remove their
masks and see Diana and Sir Patrick battling! Steve
reacts to Sir Patrick levitating!
CHARLIE
What are we going to do?
STEVE
There's not much we can do... if
that's what I think it is.
Steve looks to the plane.
STEVE
But we can stop that plane.
109AA EXT. AIRFIELD - CONTINUOUS ACTION 109AA
Diana leaps at Sir Patrick, but she blasts her back under
the hovering CHUNK OF EARTH!
Sir Patrick motions, SENDING the chunk CRASHING DOWN TO
THE GROUND -- but Diana zips out of the way -- in a blur,
she slams into Sir Patrick, sending him flying --
(CONTINUED)
121.
109AA CONTINUED: 109AA
CLOSE ON SIR PATRICK
catching himself, gazing up, crackling with LIGHTNING.
109B EXT. AIRFIELD - HANGAR - CONTINUOUS ACTION 109B
Charlie peers through is SCOPE at the plane...
CHARLIE
If we radio ahead? We can ask Air
Corps to shoot her down.
STEVE
No, if it crashes, it'll wipe out
everyone for fifty square miles.
We gotta ground it.
SAMEER
Bad news. It's on a timer. If we
ground it here, same thing.
Steve looks over at Diana then the plane -- and he
realizes what he has to do...
STEVE
Is it flammable, Chief?
THE CHIEF
Yeah, she said it was hydrogen?
It's flammable.
STEVE
I need you guys to clear me a path
to that plane.
CHARLIE
No, Steve!
SAMEER
Steve!
But Steve is already running towards it. The team go
into action!
109C INT. AIRFIELD - HANGAR - CONTINUOUS ACTION 109C
Diana grabs a LARGE WOODEN CRATE and throws it up at Sir
Patrick.
Sir Patrick raises his hand -- and the crate appears to
hit an INVISIBLE WALL, breaking apart, revealing HUNDREDS
OF GRENADES INSIDE!
(CONTINUED)
122.
109C CONTINUED: 109C
The grenades hover for a SPLIT SECOND -- then Ares sends
them down towards Diana!
Diana grabs a LARGE BOMB nearby and THROWS it into the
air towards the GRENADES -- causing a MASSIVE EXPLOSION!
The explosion sends Diana and Ares FLYING backwards
across the AIRFIELD!
109D EXT. AIRFIELD - HANGAR 109D
Steve sees Diana smashing across the airfield. He rushes
to her side!
The team watches as the truck moves the plane forward.
Charlie aims his gun -- shooting straight into the
engine! The truck SMOKES and HALTS, the plane stopped
for a brief moment as --
Steve helps Diana up --
He starts to talk, but Diana's ears are RINGING. She can
see him, but not hear him.
DIANA
What?
IN THE FIRE - CONTINUOUS ACTION
ACROSS THE AIRFIELD, within the BURNING FIRE...
CLOSE ON ARES' HAND
awakening, clutching the EARTH.
EXT. AIRFIELD - CONTINUOUS ACTION
Steve talks to Diana, but her ears are still ringing.
THROUGH CHARLIE'S SCOPE
Watching as the truck moves the plane forward.
ANOTHER ANGLE
Charlie aims his gun -- shooting straight into the
engine! The truck SMOKES and HALTS, the plane stopped
for a brief moment as --
(CONTINUED)
123.
109D CONTINUED: 109D
Chief puts his hand on Charlie's gun, lowers it.
THE CHIEF
Don't shoot! The whole thing
could go!
The plane's blades start SPINNING! The team fights the
airmen around it, clearing the path Steve asked them to.
ANGLE ON DIANA AND STEVE
struggling to say good-bye...
CHARLIE (O.S.)
Come on, this way! Steve!
Steve looks at Charlie, who motions to the plane.
Soldiers are firing at the team, others have unhooked the
tow truck -- so the plane is moving forward again!
He presses his WATCH into her hand. She looks at it,
confused, then looks up to see him running away.
One last look at Diana, lingering, his heart breaking --
then he races to the plane. Confused, Diana calls after
him --
DIANA
Steve!
Steve runs past the team, towards the plane.
STEVE
I have the plane.
CHARLIE
But, Steve --
STEVE
You destroy the lab! Go!
The team hesitates for a second, looking at the hangar --
SAMEER
(to Charlie and
Chief)
If we go in there, we're not
coming back.
They share a look -- and then go anyway --
Steve leaps onto a ladder on the wing of the bomber,
climbing up as the plane moves down the runway.
124.
111 EXT. AIRFIELD - RUNWAY - CONTINUOUS ACTION 111
On the WING, Steve pulls himself to the DOOR, opens it.
Steve's confronted by the BOMBARDIER as he enters. They
grapple, Steve throws him out!
111A EXT. AIRFIELD - CONTINUOUS ACTION 111A
Diana turns towards a burning fire.
CLOSE ON DIANA
gazing into the fire.
115 INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 115
Steve fights with the BOMBARDIER, throwing him out of the
plane.
111A IN THE FIRE - CONTINUOUS ACTION 111A
SIR PATRICK SUMMONS scraps of METAL all around him. One
piece slams against his body. Then another. And
another. Faster and faster.
ANGLE ON SIR PATRICK
using the FIRE to FORGE the METAL on his body --
recreating ARES' ICONIC ARMOR he wore in "The History
Lesson!"
CLOSE ON ARES' HAND
wrapped in metals, forming a FIST.
CLOSE ON ARES' FINGERS
digging into the MELTING METAL on his head, creating the
shape of his HELMET.
EXT. AIRFIELD - CONTINUOUS ACTION
Walking out of the fire, WE REVEAL Sir Patrick now in his
ARES ARMOR.
Diana sees ARES -- and runs straight at him.
(CONTINUED)
125.
111A CONTINUED: 111A
Ares calmly walks towards Diana. He creates TWIN SWORDS
out of thin air -- his power growing thanks to Diana,
Ares is able to conjure any MAN-MADE WEAPON at will --
and throws the swords at Diana!
Diana blocks the swords, falling back to the ground.
CLOSER ANGLE ON DIANA
a BLOODY GASH at her side.
ANOTHER ANGLE
Ares charges Diana -- he conjures a SPEAR, throwing it at
Diana. She blocks it, but again is thrown back as the
weapon combusts -- slamming into a TRAIN CAR.
Ares does not relent, conjuring TWIN SWORDS -- swinging
them at her -- she dodges the blades, BLOCKS them with
her bracelets --
112-114 OMITTED 112-114
115 INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 115
Steve moves deeper into the bomber to the PILOT and CO-
PILOT. The CO-PILOT gets UP, pulling his GUN. The pilot
cautions him, motions to the GAS BOMBS --
PILOT
You hit that, we all go up.
The co-pilot nods, puts his gun away -- spots another
weapon. The co-pilot rips a FIRE HATCHET off the wall,
swinging it hard. Steve dodges the hatchet -- then slams
his fist into the co-pilot, sending him back against the
GAS BOMBS --
Steve wrestles the hatchet away from the co-pilot. Steve
slams his fist into the co-pilot -- and he crumples to
the ground.
Steve fights the Pilot, tossing him back, taking the
controls. Steve pulls a lever --
116,117 OMITTED 116,117
126.
118 EXT. AIRFIELD - RUNWAY - CONTINUOUS ACTION 118
As the bomber lifts up off the runway into the air,
BOMBER DOORS open, dumping out the Pilot and co-pilot.
118A INT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 118A
Charlie, Sameer, and Chief enter the hangar.
GUNSHOTS ring out as Dr. Maru desperately gathers her
NOTES, trying to save her work!
The team looks out across the lab, seeing DIFFERENT DRUMS
OF CHEMICALS -- ready to be MIXED to create the gas.
They start kicking over the drums, dismantling the lab,
setting CHARGES --
118AB EXT. AIRFIELD - RUNWAY - CONTINUOUS ACTION 118AB
ARES conjures a HOOK and CHAIN, throwing it at Diana,
wrapping it around her arm -- he throws her across the
airfield!
Diana slams into a tank, denting it. She stands up --
just as ARES swings a MASSIVE SWORD, the power of the
blade SLICING everything in its path --
Diana dodges it as the power SLICES the TANK in two!
118AC EXT AIRFIELD - RUNWAY - CONTINUOUS ACTION 118AC
Diana leaps up at Ares as he conjures a HATCHET, tackling
him -- they crash onto the top of a HANGAR! Diana digs
her hand into the roof, stopping herself.
118A INT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 118A
The team moves out across the lab, The Chief setting
CHARGES --
-- while Dr. Maru escapes out of the hangar with her
notebooks, turning back for one last look before
disappearing.
118AD EXT. AIRFIELD - HANGAR - ROOF 118AD
ON THE HANGAR ROOFTOP --
Diana THROWS HER LASSO around Ares' arm, yanking him
forward --
(CONTINUED)
127.
118AD CONTINUED: 118AD
Diana throws her KNEE into Ares, knocking him UP -- and
then throws her elbow, knocking him DOWN.
Ares barely moves out of the way as Diana SMASHES her
foot onto the roof, narrowly missing his head.
Ares conjures a LARGE HAMMER, Diana dodging it as he
swings. She wraps her lasso around him, tossing him over
her head.
CLOSE ON DIANA
her rage growing.
ANOTHER ANGLE
Ares conjures a LARGE SWORD, stabbing the roof, stopping
himself.
Ares launches at Diana, grabbing her by the neck, lifting
her into the air off the hangar.
SIR PATRICK/ARES
Is that all you have to offer me?
122 EXT. AIRFIELD - CONTINUOUS ACTION 122
Ares THROWS Diana across the airfield. She slams into
TANKS and VEHICLES, springs back onto her feet.
Ares uses his GROWING POWER to throw TANK TREADS at
Diana.
The tread wraps around Diana, slamming her to the ground!
LIGHTNING CRACKLING across them as they TIGHTEN around
her.
Pinned, Diana is overwhelmed by a feeling of desperation.
119 INT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 119
Charlie lights a trail of alcohol poured from his flask,
leading to a STICK OF DYNAMITE. They run out --
EXT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION
Outside the lab, Charlie covers Sameer and Chief while
they throw GRENADES in and --
THE LAB EXPLODES!
128.
120 INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 120
In the cockpit, Steve uses all his strength to fight the
G-FORCE pulling against his body --
121 EXT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 121
For a brief moment it's victorious, but DOZENS OF
SOLDIERS come at the team from all directions! BULLETS
whizzing by, the men take cover! The team returns fire!
123 EXT. HANGAR - DR. MARU'S LABORATORY - CONTINUOUS ACTION 123
Charlie fires and -- CLICK -- his face falls - he's out of
ammo. They're all out. Trapped. They know it's over --
124 EXT. AIRFIELD - CONTINUOUS ACTION 124
Trapped by the treads, Diana turns, seeing the team on
the ground, out in the open...
Ares hovers over Diana, tightening the treads around her
with the movement of his hand.
SIR PATRICK/ARES
It is futile, sister. But keep
trying.
Diana hears the sound of a plane and she looks up into
the sky -- the plane soaring up into it...
DIANA
Steve...
124A INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 124A
Steve breathes, flying the plane high. He looks back at
the burning factory, LAUGHS... soars higher into the
air... then he looks back at the GAS BOMBS filling the
plane.
Steve pries his GUN from his holster, pointing it
backwards towards the GAS BOMBS.
124B EXT. AIRFIELD - CONTINUOUS ACTION 124B
Diana is suddenly overwhelmed by a feeling -- almost
otherworldly -- a connection -- to Steve -- absolute
dread on her face --
129.
124C INT. BOMBER PROTOTYPE - CONTINUOUS ACTION 124C
STEVE'S jaw is set, determined. He shuts his eyes...
thinks of Diana... and then --
HE FIRES HIS GUN!
124D EXT. AIRFIELD - CONTINUOUS ACTION 124D
DIANA
Steve...
-- and the BOMBER EXPLODES! Enveloped in a cloud of
GLOWING GAS that burns itself up in the explosion.
A HORRIBLE SCREAM, emanating from deep within Diana!
DIANA
NO!!!!
CLOSE ON A LOW PROFILE OF DIANA
struggling with the tank treads.
She explodes with grief and anger -- freeing herself from
Sir Patrick's hold. He stumbles back!
IN A RAGE, Diana turns to Ares -- jumps into the air at
Ares, slamming her foot down across him. Diana tackles
him, leaps up -- they crash through a hangar, GERMAN
SOLDIERS watching, scattering as Diana slides Ares across
the ground.
Ares punches Diana off him, motions towards a TANK -- it
turns, FIRING at Diana! She rolls out of the way and
catches the shell, throwing it back at the tank! As it
explodes, German soldiers RUN -- until Ares sees them --
and using his growing power, takes them over. They all
freeze in place.
CLOSE ON A GERMAN SOLDIER
THROUGH his GAS MASK we see his eyes turn black.
ANOTHER ANGLE
The soldiers AIM their guns at Diana, firing dozens and
dozens of BULLETS -- she blocks them, charging towards
Ares. As the soldiers move in all around her, blocking
her way --
(CONTINUED)
130.
124D CONTINUED: 124D
CLOSE ON DIANA
her eyes begin to DARKEN.
She's lost in Steve's death, transformed into a VIOLENT
MACHINE! In a brutal, stunning move, Diana attacks the
soldiers in a fit of rage. She decimates the soldiers!
One after the other! Tearing through them!
She spins through the crowd, slamming into the soldiers --
building to a SUPER SPIN that blows them all back!
Diana charges Ares, flipping over and around him, dodging
his sword, kicking him, leaping away, landing, and
throwing her LASSO around his leg.
She wraps her lasso around her own leg, flipping him over
her head, slamming him down onto the ground!
Diana leaps into the air, smashing her elbow into his
back. Breathing heavily, full of anger, Diana pulls Ares
up, getting close enough to realize --
ARES IS SMILING. She's almost his.
SIR PATRICK/ARES
(enjoying every
second)
Yes, Diana. Don't stop...
Diana pauses, breathing heavy like a wild animal. But
resists. Ares blasts Diana back into a TANK. Trying to
anger her into fighting.
SIR PATRICK/ARES
Do it... fight.
Diana lifts up the tank!
SIR PATRICK
You came here with such hope and
determination and look at you now.
Mankind did this to you. Join me
in the fight... and we can destroy
them forever!
But still Diana resists, the darkness in her eyes
flickering, Ares sneers with disgust, he turns towards --
THE RUNWAY.
-- using the winds to take hold of a MILITARY VEHICLE
Maru is desperately trying to escape in.
(CONTINUED)
131.
124D CONTINUED: (2) 124D
The vehicle SPIRALS towards Diana, spinning end-over-end
and breaking apart. MARU tumbles out -- lying in front
of Diana BENEATH THE UPHELD TANK.
SIR PATRICK/ARES SIR PATRICK/ARES
Look at her and tell me I'm (ALT)
WRONG. Take her. And then take
them all...
Diana looks at Maru, the anger boiling in her. Maru
cowers. Her METAL MASK FLAPPING OFF in the wind,
grotesque and pathetic.
SIR PATRICK/ARES
She is the perfect example of
these humans. And unworthy of
your sympathy in every way.
CLOSE ON DIANA
her eyes BLACK as she struggles... she wants so badly to
end Maru.
SIR PATRICK/ARES
Destroy her, Diana.
Diana stands over the trembling, terrified woman -- about
to crush her. But Diana hesitates...
SIR PATRICK/ARES
You know she deserves it, they all
do!
Diana snarls, her arms shaking with the weight of the
tank over her head. Her anger threatening to overtake
her.
Ares uses his power on Diana's lasso, wraps it around
her, holding it tight.
SIR PATRICK/ARES
See the truth for yourself!
Maru looks up at Diana. Diana looks down at her...
STEVE (V.O.)
(from far away)
Diana...
She closes her eyes and in her mind... but it isn't the
ugliness of mankind.
(CONTINUED)
132.
124D CONTINUED: (3) 124D
FLASHBACK - EXT. AIRFIELD - NIGHT
She sees STEVE. Their last moment together replaying,
but this time she hears him --
STEVE
Diana! I have to go.
DIANA
What are you saying? Steve,
whatever it is, I can do it. Let
me do it --
STEVE
No. It has to be me. I can save
today, you can save the world.
(beat)
I wish we had more time.
DIANA
What?
He presses something into her hand. She looks at it,
confused, then looks up to see him running away.
STEVE
I love you.
Diana looks down in her hands at Steve's watch.
END FLASHBACK.
EXT. AIRFIELD - NIGHT
A GOLDEN GLOW begins to emits from Diana, a warmth within
her building.
The lasso CRACKLES with power, building up a SURGE OF
ENERGY that explodes, runs from Diana, running down the
lasso and into Ares, blasting him backwards!
Diana opens her eyes.
DIANA
You're wrong about them...
Ares EXPLODES in a NASTY, SNARLING, VICIOUS rage! He
raises his hand -- A MASSIVE STORM OF DEBRIS smashes down
towards Diana and Maru! It strikes into the tank, but
Diana doesn't move!
SIR PATRICK/ARES
NO!
(CONTINUED)
133.
124D CONTINUED: (4) 124D
The debris combusts around Diana, unable to harm her!
Diana HURLS what's left of the tank aside. As Diana
turns to Ares, Maru runs away.
She walks CALMLY towards Ares.
DIANA
They're everything you say, but so
much more.
SIR PATRICK/ARES
LIES!
Ares commands everything around him, bringing a MASSIVE
SWIRLING STORM of DEBRIS AND WEAPONS TOGETHER -- he
charges at her in a FURY! But she holds her ground,
deflects the barrage and then -- absorbing the power --
sends Ares back!
Ares falls back, his helmet blown off. Diana walks
towards him.
He stands, creating a MASSIVE LIGHTNING BOLT SPEAR.
SIR PATRICK/ARES
They do not deserve your
protection.
DIANA
It's not about deserve...
Diana stops, "catches" the massive lightning bolt in her
gauntlets. The energy courses between them.
DIANA
It's about what you believe... and
I believe in love --
Ares CRACKLES WITH LIGHTNING, summoning EVERYTHING HE CAN
from the STORM ABOVE!
SIR PATRICK/ARES
I WILL DESTROY YOU! THEN I WILL
DESTROY THEM!
Ares sends all of the lightning at Diana -- she raises
her gauntlets "catching" it!
DIANA
Good-bye, brother.
Diana runs towards Ares as he unleashes the very last of
his power, erupting towards her.
(CONTINUED)
134.
124D CONTINUED: (5) 124D
Diana LEAPS into the AIR over Ares' last blast. She
crosses her bracelets midair. She sends the lightning
BACK INTO Ares!
Ares cries out as the lightning strikes him, overwhelming
him! Ares EXPLODES! A HUGE ERUPTION of POWER creates a
CRATER in the Earth!
And the God of War is gone FOREVER.
As the rain falls all around her, Diana's feet land
softly onto the scorched earth below...
124E EXT. AIRFIELD - DAWN 124E
The rain washes away the blackened smoke from the sky,
DAWN breaking through the clouds.
Diana looks around, the soldiers rousing, as if they were
waking up from a nightmare, the better side of man
returning. They pull their gas masks off. Dr. Maru has
vanished.
Diana gazes out over the battlefield, looking at the
team, the Germans -- the last of the ASH swirling around
her as the SUN RISES. The sunlight hits Diana's face...
Diana looks at Steve's watch -- it's finally stopped
ticking.
SERIES OF SHOTS
People all over Europe, explode in cheers. For them, the
war is over.
125 EXT. TRAFALGAR SQUARE - DAY 125
Wonderful chaos in Trafalgar Square! CONFETTI,
STREAMERS, FLAGS, people embracing with JOY. HORNS and
BRASS BANDS. CHEERING SOLDIERS with CROWNS OF FLOWERS in
their hair GRAB pretty NURSES for a kiss. DRUMS THUNDER
BY.
Diana and Etta walk towards the massive, wondrous
celebration. Diana is dressed as Diana Prince, hair up,
glasses on. Etta is dressed up, like everybody else
partying in the streets. They take in the joy.
ETTA
You saved everyone.
(CONTINUED)
135.
125 CONTINUED: 125
DIANA
(correcting her)
Steve did that.
Charlie, Sameer, and The Chief, cleaned and scrubbed and
wearing suits, join Diana and Etta.
CHARLIE
(to Diana; excited)
Did Etta tell you? That General
whats-his-name, you know --
ETTA
Haig.
CHARLIE
He only went and made us all
spies! Oops. We're off to
Petrograd! Oops.
ETTA
There's a revolution going on.
Even Chief's coming. You should,
too.
DIANA
(touched)
I don't think so.
Etta stops in front of a recently erected wall of WAR
MEMORIAL PHOTOGRAPHS. Steve looks dashing, happy, and
very much alive. Diana's already fighting tears.
SAMEER
Behind all beauty, all wisdom,
there is pain. You must take your
pain and make it beautiful.
DIANA
Where did you read that?
SAMEER
I didn't.
(beat)
You taught us that.
She forces a smile.
DIANA (V.O.)
I used to want to save the world.
136.
126 INT. LOUVRE MUSEUM - DIANA'S OFFICE - AS BEFORE (PRESENT 126
DAY)
THE PHOTOGRAPH: Diana, in WONDER WOMAN ARMOR, and her
TEAM.
DIANA (V.O.)
To end war and bring peace to
mankind.
She contemplates the faces of friends long dead, her eyes
linger on STEVE TREVOR.
DIANA (V.O.)
But now I've touched the darkness
that lives in between the light.
Seen the terrible things men do to
each other in the name of
hatred... and the lengths they'll
go to for love.
(beat)
And now I know that only love can
truly save the world.
(beat)
So I stay and I fight and I give
for the love I know can be. This
is my mission now. Forever.
Diana takes Steve's watch from her pocket, turns it over
in her hand twice, feels its smoothness.
The watch has stopped -- and has been stopped since the
moment Steve died.
She places the watch beside the photograph.
AT HER COMPUTER: Diana is typing an e-mail, BRUCE
WAYNE's name the recipient:
"Thanks for bringing him back to me."
Just as Diana presses SEND, a news alert pops up on her
screen. A fire has broken out in a downtown building,
people trapped.
SMASH CUT TO:
127 EXT. ROOFTOP - DAY 127
Diana in her WONDER WOMAN ARMOR stands atop a building,
smiles --
(CONTINUED)
137.
127 CONTINUED: 127
Then she leaps right AT us, into action!
SMASH CUT TO BLACK.
FADE IN:
128 EXT. THEMYSCIRA - NIGHT 128
POST-CREDITS SCENE.
[NOTE: This is a POST-CREDITS SCENE, leading to JUSTICE
LEAGUE.]
On the SAME CLIFF where Diana saw Steve's plane,
HIPPOLYTA stands on the shore, looking out over the
ocean, thinking about her daughter.
A beat. Then Hippolyta turns -- as if she hears
something -- just as VENELIA rides up to her. Venelia
dismounts.
VENELIA
My Queen --
HIPPOLYTA
I know. The Mother Box... it has
awoken. Alert everyone.
129 INT. PENETRALIUM - NIGHT 129
In the center of the PENETRALIUM -- PUSH IN ON: THE
MOTHER BOX... IT GLOWS.
HIPPOLYTA (V.O.)
Something terrible is coming.
SMASH CUT TO BLACK.
THE END
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