They wanted adventure. They found immortal jungle Nazis... a group of young travelers in Present-Day Bolivia must evolve from naive tourists into Guerrilla fighters in a brutal battle to erase an evil that should have died long ago.
Yes, Immortal Jungle Nazis
“The Whole World or Nothing” is a gripping throwback to classical adventure films with a modern edge, and an audacious reveal that would be wildly over-the-top if it wasn’t also unsettlingly relevant. The scattered remnants of ancient South American civilizations inevitably still hold secrets— but what if something far darker was hidden among the ruins? The small group of young backpackers at the core of the story start off just wanting to experience a stereotypically surface-level taste of history, culture, and mild thrills. But a spur-of-the-moment trip down a river to chase some rumored ruins takes them beyond the well-trodden tourist path and into disaster. Stranded deep in the jungle, they find the past isn’t just a relic to be studied—it’s alive and waiting in the shadows. In a sharp and shocking turn, the group uncovers a hidden Nazi stronghold, where the remnants of the Third Reich have survived, untouched by time. The film pivots from awe to survival as our travelers realize they aren’t just lost in the jungle—they’ve walked into a war that never really ended. TWWON evokes the spectacle and tone of classic adventure films like “Raiders of the Lost Ark” and “The Mummy”, with inventive action and set-pieces, but written to allow for a much more modest budget. And it has a modern rhythm and heartbeat—diverse protagonists, a sharp awareness of history and culture, and an energy that taps into (and fights against) the zeitgeist. It taps into the unsettling truth that fascism never truly dies—it burrows underground, waiting for the right moment to return. And worse, there are people who would welcome it back. The heroes are an eclectic mix of travelers who at first seem like accidental adventurers, but soon reveal themselves as the perfect combination to face this hidden horror. After a daring, climactic escape, they realize that in this case, escape is not enough. This leads to a surprise, almost gleeful fourth act that sees them immediately return to wage a full-throttle guerrilla war (aided by some mysterious allies) to ensure this evil doesn’t simply slip away once again. Stepping into the shoes of old-school adventure heroes reminds them (and the audience) that destroying Nazis never should have gone out of style.
Soundbook
Instead of a lookbook, I composed a few rough demo cues. Obviously, these wouldn't be used in a produced film, but I wanted to try to capture the feel of some specific scenes that will hopefully enhance your reading experience. "Annie Gets Her Gun" would accompany the action scene starting on p.79 when they escape. "Black Sun" is when the Nazis are first revealed. "Should We Call It Here?" is a general theme that could come in during the end credits.
The Prologue
"TWWON" is a tight 106 pages, designed to accommodate a more modest budget than might be expected. It escalates from a vibes-y backpacker hangout into a thrilling, over-the-top adventure. But I also wrote an 11-page prologue that bursts immediately out of the gate with intrigue, style, action set pieces, and a sense of mystery and horror-- inspired by the cold opens of James Bond and Indiana Jones films. If budget is less of a concern, then starting with this prologue would throw the audience right into the action and reveal the stakes from the get-go. It follows a heroic but doomed Nazi hunter who, during Bolivia's Cocaine Coup of 1980, trails his quarry into their secret base and starts to uncover the mystery of what they're hiding. There are, however, both advantages and drawbacks to starting with the prologue. It just depends how you want the audience to react-- and how you intend to market the movie. For example, the very existence of "immortal jungle Nazis" is a big reveal near the script's halfway point. Two of the main villains would be introduced in this prologue, and they already haven't aged since WWII. But the reasons for their immortality are not revealed, and other mysteries are just teased. The cave is never shown, nor the "entity" living inside it. I constructed the prologue to give thrills from very first page, and to tease audience with the promise of bigger revelations and mysteries. So yeah, which version to use comes down to both budget and how you want the audience to engage with the film-- an explosive introduction, or a gradual build-up to bonkers reveals and high-wire action. Both versions are available to download below.
Synopsis
SYNOPSIS WITH PROLOGUE: