Wonder Woman screenplay

Maxwell Lord: I'll introduce you to my staff, Diana. This is my assistant marketing manager, Dana Andrews.

Dana Andrews: Good afternoon, my duke of dark corners.

Maxwell Lord: Ahh, you're a riot, Dana.

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Wonder Woman: Is there nothing I can do to stop the death? Is there something which doesn't need me to exist? Am I a headstrong woman? Am I an adventurer? Am I a harbinger of death? Death seems to be to me a reality

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Wonder Woman: I feel like I've entered your reality like a Diva, like I swirl the city with its brilliant lights about myself like a massive, bejewelled gown, like I spin in this gown, do my precious Diva Wonder-spin.

Steve Trevor: I feel like you represent a quantum spin in our meandering reality.

Wonder Woman: Quantum physics! I've done some basic reading in it. Three quarks for muster Mark! “Muster” means pattern in German, I think.

Steve Trevor: Do you study German physics back in Themiscira?

Wonder Woman: We try to. We're sort of whimsical about it. Each of us comes up with our own special language for it. Quantum physics, wow. Maybe we each of us Amazons have our own unique quantum personality spin, our own unique Diva spin, like an opera Wonder-singing-spin out of one of Wagner's German operas. I feel like someone out of Wagner. Like a rebel against her own cause.

Steve Trevor: So you're a dialectical rebel. What did Nietzsche say about Brunnhilde in the Ring Cycle, that at some point she realized she had to read Schopenhauer.

Wonder Woman: I definitely need to read Schopenhauer! “The world as will and idea”. Is my will a will which can motivate the world? Can I be a world's motive and thus have a free will?

Steve Trevor: What did you tell me once- a free will is an informed will.

Wonder Woman: That's it! A will learns itself into freedom. Enhancing the inward activity of the motives, as Nietzsche would say it. The human will is a like a tree in bloom. Reaching outwards into always greater rhapsodies of colour, and also digging deep within the earth, the human will a labyrinth of roots beneath the sight of society.

Steve Trevor: Was Themiscira a society which dug beneath the earth to find mineral archives of meaning?

Wonder Woman: Yes! Like a race of dwarfs we are. Mining beneath the earth to discover how far our own roots reach. It's our form of introspection, digging for ourselves beneath the earth.

Steve Trevor: So, a society defined by a collective introspective fervour. The introspection of the earth.

Wonder Woman: Yes! I feel the earth rumbling inside me. I feel like my belly crawls, teems across the earth like a teeming mass of bacteria, seeking to collect and build a bacteria-anthill, a fortress of sand, a crystal palace of crystal sand.

Steve Trevor: Bacteria evolving into ants. You have the most exotic metaphors.

Wonder Woman: You find me exotic, my speech exotic? It's all I've ever aspired to be.

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Maxwell Lord: We're going to make you a star, Diana.

Wonder Woman: Yes! In the mountaintop heights of celebrity-dom I'll be able to reach everyone. That's it! I'll be everywhere! I'll be everyone! No one will be able to think of themselves without thinking of Wonder Woman!

Maxwell Lord: You speak my language. You will be a public phenomenon of public introspection.

Wonder Woman: I'll be the Dostoevsky of the new milleneum! Me! Me! Me! All me!

Maxwell Lord: You're definitely speaking my language. Marketing.

Wonder Woman: Me! Me! Me!

Maxwell Lord: You're a wonder, Wonder Woman.

The famous TV show Wonder Woman theme song begins playing.

Maxwell Lord: Is it just going to be the end of the day, or are we going to make something else of it?

Wonder Woman:

Steve Trevor: Well, it's a joy to see you, Diana.

Diana: A joy in my breasths feel all riot's q'kuess in splits my breast all squining joy all creetlecree all's my naked belly all swarmin' in love all love'lovelove's gess all sportin' ma favours in jelly my belly to gress all love all' love all pressed my soul in my bellybreasts all seekin' to be pressed against you all respectful agins't time's all tempo' in our' breathin' betw' 'us.

Steve: .. man, I wish i had – ah, had'- 'a speech to sing my breaths soul in.. and.. reasin'.. in seeking kiesom proporionate lovejoy in speakin's.. gress? Hows it for my first try?

Diana: (throws her arms around Steve) I love you!

Diana: Barbara, you have such a riotious quarrellin' in archeological favours of quests roarin' in all since Templar's tune' you 'archeological to ancient' archivin' ad'ventureressen' 'roarin' to all 'swept dock..... of ships 'in rock, to seekin' bankin' coasts' for jellery ghost of Fortunus Wright phantom ship guidin' by masts untold for futures indexes of gold...

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Max Lord: Bruce, I'm swamped. Complications, complications, nothing but fucking complications! FUCK! I'll- I'll calm down. I'm all over the map, Bruce. It's a disaster. Why am I talking like a Hollywood producer? I don't know if it's the- never mind. But- I've gt too many juggling balls in the air and I've got to go back to California soon to catch them in time so that- it- what?- can go on?- a disaster? I'm not making sense.

Bruce Wayne: Sit down, Max, no why am I ordering around my guests, I just thought the armchair might provide some Arthur Conan Doyle meditation.

Max Lord: Yeah, you're right. Got a pipe? So I don't destroy the aesthetic of the armchair with my panic-stricken demeanour.

Bruce Wayne: Your version of panic is most people's calmness- Wait, oh, yeah, I have a pipe somewhere in the next foye- oh, no, it's in my hand. I'm not using it.

Max Lord: My version of panic- not for this project. Much appreciated. Got some- old time what-it-called- tobacco?

Bruce Wayne: Close enough to it. I keep it here on the hat table to throw at my guests, present company excluded.

Max Lord: Much appreciated- (Max smokes the pipe and waits for smokesteam to rise) What am I, Bruce- an overqualified overachiever? There is a schedule I'm not keeping. I mean, this is no “Casablanca”, I mean, I want it to be “Casablanca” but let's be realistic.

Bruce Wayne: I don't know- the Spider-man movies were pretty high-concept. That's what you're talking about, isn't it.

Max Lord: Guilty as charged. And apparently I'm guilty of every disastrous- said that already- chaotic facet of this- chaotic- production. I'll try to talk more intelligently around you, Bruce. I respect you. It's why I'm here. You have a talent I don't have, Bruce, hard as it is to believe.

Bruce Wayne: Idling away time.

Max Lord: Close. Understanding time. Principles of tempo. Like this pipe. Pipes tell time by smoke. Classy. You're a distinguished member of the idle rich I can never hope to be in my wildest dreams. All these clocks you have around here in this room from different eras, different centuries. Classy. Like- I'm fascinated- how do you do it, each clock-face, clock arms, keys, what are they called-

...

Bruce Wayne: Danged if I know.

Max Lord: They're all set to an inscrutable elegant synchrony to the rest of the room decor. \or just to the rests of the clocks, Doesn't matter. You time time. Like, it's all relative. The way you've organized these clocks. No clock here makes sense without all the others, not excluding one. All of each of the time of each clock is set to the time of the next. How many hours, days, years, did you spend setting it all up.

Bruce Wayne: I had Alfred do it.

Max Lord: Doesn't matter. You've lived in this room long enough to understand time, the delicate relativity of time to- well, time. I'm from California. It's different there.

Bruce Wayne: Different?

Max Lord: Way different. I wish I could use more sophisticated adjectives for how different it is, but it's really, really different. There are shysters in Hollywood. Lot's of shysters. Maybe I'm one of them and don't know it. That's already a problematic factor and question of this production. No one knows what they are, where they are on the set, what they're saying, who they know, when they're meeting with them, at what time- in sum- what they're doing.

Bruce Wayne: I hope you're not including yourself in the equation.

Max Lord: Well, that's why I came to see you. And I'll finally explain why. Bruce. You've been around. You know the city. You know which section, which sidewalk, which district, which zoning violation, comes after which, one after the other after the other. You understand-

Bruce Wayne: Sequence?

Max Lord: Ah, see, that's why your a genius and I'm still getting there. You know that if you walk far enough in Gotham, there's a beginning, middle and end to it. And not necessarily in that sequence, because maybe Alfred drove you in the limousine to the other end of Gotham, which is it- west end or east end.

Bruce Wayne: That's a good question. No, Harvey Dent warned me about the West End. I would never go there. He's protecting it.

Max Lord: You still call him Harvey?

Bruce Wayne: For now.

Max Lord: Okay, as a hypothetical example, let's say you're at the west end of Gotham and Alfred drove you there in a limousine.

Bruce Wayne: And I got out of the car?

Max Lord: Well- no. Bad example.

Bruce Wayne: No, I get what you're saying. It doesn't have to be the west end. It could be the museum. I go there often.

Max Lord: Great example. So, if you walked back.

Bruce Wayne: I sometimes walk there.

Max Lord: So- you start here- at Wayne Mansion, the beginning, go to the museum, the middle, come back to the mansion, the end. You understand sequence. I never will at this rate, I always knew this had to be a quick, quality production, Wonder Woman can't wait, she's a true Diva, but maybe I didn't tell myself it enough times, or I never listened.

Bruce Wayne: So where do I come in?

Max Lord: Aaahhhh. Wait, I need to refuel my pipe. Never mind, I can do it myself. Listen, Bruce, I'll level with you. I don't think I can do the Wonder Woman movie alone. If I bring you some of my footage, if I have any in the can, will you look at it? And see if it- makes sense, conceivably, whether there's a whatdoyoucallit, a common thread that may have strayed in somewhere, probably by accident.

Bruce Wayne: No problem, Max.

Max Lord: Awesome, that's all I had to hear. It won't take long. If you can pick out the key points. We're ready to rumble. Good stuff.

Bruce Wayne: It was nice to see you, Max.

Max Lord: Likewise.

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Wonder Woman stands on the podium before the press. She pauses and then begins her first speech to the public.

Wonder Woman: “I am a religious woman. I believe in Christ. I believe in the new Jerusalem. I believe in Ishtar. I feel the stirrings of the earth within my belly. I feel the trembling of the earth within my belly. I feel my religion in my belly. (pause) There is a schism, a division, at the centre of my heart, which is the schism of Jerusalem. My heart perpetually betrays itself. It feels blood and coin pulsing through itself as if it is a strangers ground, a Potter's field. My heart is a stranger, a perpetual stranger. And the Jews and the Christians always believed in being compassionate to strangers, for, as is written in the Bible, the Jews were once strangers in Egypt. I am a stranger to your land, an alien. I have felt my own humanity all the more strongly because of it; I have felt the bristling energy of my humanity because of the new environment I find myself in. It is like a religious ecstasy, feeling your cities pulsing in their neon lights around me, feeling the teeming industry of the crowds. I wish to be industrious, but I am an inveterately lazy woman. I come from a realm where leisure is culture. But, here, in this reality, I find myself having to work, in the Thomas Carlyle sense. And it was this haunting spectre of work which always kept me feeling out of sorts in my home of Themiscira, like, to quote Henry James, within 'the darkening shadow of a false position'. I felt myself something of a stranger, as well, in Themiscira. I felt this false position I was in like a millstone around my neck, like a destabilizing delirium, a drunken delirium. It was a millstone which was also a corner-stone, a corner-stone of a building which was a colossal building of work, of the demonic spectre of work, like the spectre of communism described by Marx, who also an ardent worker at building his colossal architectures of economic theories. So, I know I am here to do work, to labour. And it is no sin, as Falstaff has noted, to labour in one's vocation.”

Wonder Woman: I have never felt darkness without feeling the darkness of my soul in influx in the nexus of my belly my stomach all visceral in trembling courage in swarming belly all a'lost to learning to learn my way by a morrow of journes morrow tomorrow and tomorrow not a real dream but a metaphysical byway a distraction of Macbeth's conscience from his real kingship duties.. for f I am a Macbeth I am a naked queen of sundry, of my morrows in my belly, many tomorrows in my bellly, like a dusk sheepish in/on my bell

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flashes of torture, of “Milleneum” torture are how one digests torture.. like shards of glass of fragments of screen.. of fragments of torture.. of seven fragments of torture.. of fragmented life.. of fragmented evil.. of soulhell of disappointment.. the seven deadly sins of hell..

... sloth avarice...

.... greed lust...

... forget the rest..

the bewildered confusion of someone who is meeting with words of nothing but torture and lead-ins to torture and inclinings toward toward torture.. of someone who can't understand what the hell they're talking about.. apart, well, a justification for torture, which they spend a lot of time talking about to make it airtight... and why are they about – well – what? - airtight vinyl

- airtight plastic- over the human hooman body at the end of a movie of horror genre on Space-tv City-tv

Nameless female torturer: A/I/i need to explain we are superior to any woman who does not bow to our mastery of the human form which is a form of physically mutilating a person into a different shape. Into an elegant shape. It's like sculpture. You can refine the humanity into a human. You can make an angel of a human by cutting pieces into him, That's the crucifix. That's the stigmata. We like to hear the screams in the morning. Screams quiet our spirits by reminding us of regrets past. Every scream is a regret remember. An open sore. A wound reopened for our slavering pleasure. For our shaking ecstacy. Every scream reminds us that we used to be little guys. Unimpressive bookish guys. Accountants. Every regret of that existance comes back in our moment of ecstacy. Every soul-wound of regret. For every strongwoman who thought her muscles bought her soul. Who thought being tough meant being strong. Who though exercizing was work like those bums at gyms you see through dark glass partitions while walking down the street. Get a life. We like Life. All the dead bodies glow. They stay dead by law. By the law of governments which wage war. Like Vietnam. 3000 dead is worth a footnote. One American is worth a 100 Vietnamese in fighting versatility every martial art known to man. They probably use every martial art known to man for torture. The political issue of eugenics is a hot topic. A hot zone. Maybe there are political issues you're not aware of, that would keep you/your an open mind if you were aware of that political level of thinking. Which is also social.

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Jean Brayton II felt there was always men to protect her. Distinguished men, cockney blokey men, clowny men, the list went on. Shadow-men were the most insinuating in her progress. They were ready to take a hit. They were willing to comfort her with excrutiating justifications, They were willing to push her to a moment of self-knowledge, That she would become an assassin, That she needed a push, a moment to get over her fright of biting the bullet, To be perpetually haunted by a double-play of indecision, A moment of hellish uncertainty of her motives, of her grasp of the facts, of her conscionability of the facts of- the inevitable. Death, death, and more death. He helps her get her soul over the bell curve. Over the statistical law of average, of probability of true, of truth of knowledge of his agenda for motive between the two of them, a single motive between the two of them, but a double-play between her soul's statisticizing of truth. Of truth of her gullibility to her own ignorance.

To want to be her was to want to be more than her. To be her passionate look-a-like, her copycat, to want to improve on her model by always fawningly seeking to attain new to her standard. A role-model double-play. A keeping up with the Jones's of double-play motives, each competing with the other to improve the lot of the other to expand, to expound, horizons of power. “Jill Jones” to Jill Jones, Or/or/on the reverse. To confuse them.

Maxwell Lord: (to Megan Gale aka Wonder Woman)“I am going to explain to you how you weren't the woman in the video, in the video which protrayed you as a sexual predator, as someone engaging in sexual entrapment or date rape.... I will explain it is a visual replica.. similar to how they've made, how they've computer-generated photorealistic horses and elephants in the “Lord of the Rings” movies... and the voice, the horrific voice which feels to you from the depths of Tartarus... electronic voice-synthesizing technology has been available since World War II, and it's only had time to advance since then.... every woman's expression , no every expression a woman will have not can have will have a woman will have expression mirf? .. a woman will have expressiveness eliot ness a woman will bundle herself with barrel staves of energy explode with energy nucleur energy? .. radiation decay energy? .. or radiation surplus energy? .. gamma energy? .. green with envy? .. green with energy?

“See, the self-requesting self-decoying self-infringing self-reneging self-indoctrination into self-will of real self-explosion into Pascal explosion of troublshooting bugs radiation bugs bursting with energy with energy synergy withering bursting bubble of bubble browser of bubble mainframes how do you frame a pixel bubble pixels radical! .. bubble pixels were NEW AGE (who was the mistress of new age Alan Moore didn't like, some other version of her would be naked and good) technology radical technology tech bubbles of corpuscles of heart of blood of skin and bone (if its bled to your bone it creeps up in your flesh) of skinlove of Skintow bown bone bubbles bow-wow peanut butter pawn I am so rich and discotietful disco colours of motion of motion are my bubbling person bubbling pixar are my bubbling heart of joy jymes jymesjoyce tic toc – so lock so lock/uu/lucky-lotta litt litle lor l0l0lulu lor lissen less on mor torn mirroor hear me ripper roar rik show rick rick rawrr roor – like a risk-rick thorlion orf rickenricketty – rick – of – thorlog - irru floar ilmorcars S I I I an of oar coroar Oar on psyke psyche! Oar cor – eer/eev is storaer-en (“Children in Danger”, the U.K. snuff book) for-or - forear – arm – me - little Christine Megalopolis on eglise of no elise fame Oarf oraf of Olick or/of laugh at h-oar or Chris is or are a bubble princess who got devel/level on OCD from a scary, agressive dog from a BARKING dog?! It must be worse than we thought “Winona let us down. She was real and understood and was a real person who would help by being a girl who is my friend” Wonder Woman: Gee... Winona Ryder is such a downer....... I SAID THAT! I SAID THAT!... .... back to “from a BARKING dog”... “a public enemy” by Arther Miller by Arthur ibsen by inseb by ensb beh by gotten reb gotteir in thorlog if therein for- Chris morlock moorcks moor is is arntrbs(?) orf orlog grof orbforfarforto ooo corndorgs orf thoris aniantorngale machine warriors in to orors orion/orson orors is in far orrs orf doris is Gun or orn arf“a disease you wouldn't wish on your worst enemy” - finally it's public no personal no REAL normor fell orf orfieors or a favel/foul arf arrr ar – arrr oersies invinse Packard pixel packard orfarns deilera eveannoo in harm ein bates back to “arfieors” .. rerum arf T gorf arf erom's rerrom”

First Wonder Woman movie

Wonder Woman – the legend of Megan Gale

Dream cast

Megan Gale - Wonder Woman

Tom Cruise - Steve Trevor

Leonardo de Caprio - Maxwell Lord

Monica Bellucci - Hippolyta

The Cheetah / Barbara Minerva - Angelina Jolie

Ares - Daniel Day Lewis

Dream director - Martin Scorscese