<script>
  <scene>
    <character>THE LOST CITY OF Z</character>
    <dialogue>Written by</dialogue>
    <dialogue>James Gray</dialogue>
    <scene_description>Based on the book by David Grann WHITE DRAFT July 31, 2015 BLUE REVISIONS August 19, 2015 PINK REVISIONS August 24, 2015 YELLOW REVISIONS September 6,2015 GREEN REVISIONS September 30, 2015 GOLDENROD REV. October 18, 2015 BUFF REVISIONS OCTOBER 25th, 2015 LCOZ Productions, Ltd. THE LOST CITY OF Z White 7/31/15</scene_description>
    <character>GRAY AND WHITE.</character>
    <dialogue>Our opening image is uneven lines of gray and white, beautiful and abstract.</dialogue>
    <dialogue>We HEAR WIND.</dialogue>
    <dialogue>The CAMERA ZOOMS OUT to REVEAL:</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. IRISH LANDSCAPE - LATE DAY 1</stage_direction>
    <scene_description>A desolate-seeming, visually magnificent landscape. We were looking at clouds, and they form glorious patterns in the lowered sky. Like a painting by Lorraine, or Corot, or Turner. The horizon is dark, almost charcoal black. A thin layer of fog drifts slowly across that abstract surface. As the FOG MOVES, it reveals: a MAN. He has been running towards us. A silhouette. Like the rest of the opening image, his appearance to us should conjure the PRIMAL, the MYTHIC, the ELEMENTAL. It is as though he were born out of this fog, this cosmic force. He emerges from the fog. It is PERCY HARRISON FAWCETT. Thirties and handsome. Not exactly a youngster, but not creaky and old, either. Strikes us as cheerful. A gentle voice, an even manner. Despite his cheer and charm, however, there is something steely about him, resolved, committed. His eyes reveal a far more complex person than the exterior might first allow; behind their twinkle there lurks a capacity for furious wrath and implacable resolution, the more dangerous because they are held in leash... Over the wind now, we begin to HEAR CHURCH BELLS RINGING. Fawcett himself gets closer and closer to us... We HEAR a WOMAN'S VOICE, distant:</scene_description>
    <character>WOMAN'S VOICE</character>
    <dialogue>Percy! Percy!</dialogue>
    <scene_description>The CAMERA PULLS BACK to reveal a SILHOUETTE in the foreground, through a doorway. A WOMAN'S FORM.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CHURCH - MOMENTS LATER</stage_direction>
    <scene_description>Outside a rural church. A woman steps toward the outer fence, holding a small baby. She is waiting for Percy, it seems. The WOMAN is NINA FAWCETT. The baby is JACK FAWCETT, their newborn son. Nina Fawcett, thirties, is bubbly and flighty, but also highly cultured. Brash at times, a woman of independent curiosity. There are a few other people, of varying ages and shapes and sizes, right behind her. All look happy, very happy. Among them: JAMES BERNARD, 4th EARL OF BANDON ("LORD BERNARD"), seventies, piercing eyes, intense. Percy ARRIVES AT LAST. He meets her and the child. He embraces her, and the couple look ecstatic, glowing.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>We'd no doubt you'd be here--</dialogue>
    <parenthetical>(to the baby)</parenthetical>
    <dialogue>DID we, Jack.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>The men made a complete hash of drill and I had to set them to rights.</dialogue>
    <parenthetical>(looks at the other people)</parenthetical>
    <dialogue>Good afternoon all... We're very grateful for your attendance today.</dialogue>
    <parenthetical>(back to Nina)</parenthetical>
    <dialogue>Shall we, darling?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. CHURCH - LATER</stage_direction>
    <scene_description>It is a rural Irish church, lovely, with history. We are toward the end of a CHRISTENING CEREMONY.</scene_description>
    <character>SUPERIMPOSE: "CORK, IRELAND, 1903"</character>
    <dialogue>A MINISTER is here, putting the christening robe on the boy. He anoints him with oil, and as he does he speaks. While he speaks, we have a CLOSE SHOT on the INFANT'S HAND. Percy's hand caresses it. Then a CLOSE SHOT on PERCY--a smile, then a kind of regression into thought. HE GETS EMOTIONAL...</dialogue>
    <character>MINISTER</character>
    <dialogue>May God, who has received you by baptism into his Church, pour upon you the riches of his grace...</dialogue>
    <scene_description>WHILE HE IS FINISHING HIS SPEECH: NINA WITHDRAWS AN ELABORATE MANDALA NECKLACE, which she HANGS AROUND the CHILD'S HEAD. The others nearby who see this are flummoxed for a moment. Except for Percy, who touches the mandala with a surprising reverence... Those IN ATTENDANCE finish things with an "AMEN". The Minister then turns to Percy and Nina and the others:</scene_description>
    <character>MINISTER</character>
    <dialogue>As this is a private ceremony, I shall take the liberty to welcome Jack's parents back from Ceylon, where they have been stationed for three years. I know Major Percy Fawcett and his lovely wife, Nina to be fine people, who, though they have often pursued their own path, remain committed to making their family a true support of our Christian community.</dialogue>
    <scene_description>A "HERE HERE" from those in attendance. All converge on Percy and Nina and baby Jack. James Bernard, 4th Earl of Bandon ("LORD BERNARD") approaches Nina and Percy:</scene_description>
    <character>LORD BERNARD</character>
    <dialogue>What a beautiful ceremony. Such a precious child--congratulations to you both. And no doubt, great comfort after such a difficult birth.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Thank you, Lord Bernard. It WAS a very near thing, and there was much concern. But all is well now.</dialogue>
    <character>LORD BERNARD</character>
    <dialogue>Of course, of course!</dialogue>
    <parenthetical>(turns to Percy)</parenthetical>
    <dialogue>A word to the wise--been very difficult for many of the men at the Fort to find a nanny of good character.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We intend to raise the boy ourselves, Lord Bernard--we don't wish for our children to be strangers.</dialogue>
    <parenthetical>(to Nina)</parenthetical>
    <dialogue>Our children will become our dearest companions.</dialogue>
    <character>LORD BERNARD</character>
    <dialogue>(as though they were insane)</dialogue>
    <scene_description>Ah... I see...very well, then... I...wish you the very best... Fawcett nods to Bernard, then, beaming, turns back to his wife. With great expectation and tenderness, to his wife:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Our lives begin anew today...</dialogue>
    <scene_description>We begin to HEAR: a GALLOPING HORSE: THUMPITY THUMPITY THUMPITY... LOUDER AND LOUDER... CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CORK HARBOR, IRELAND - LATE DAY 4</stage_direction>
    <scene_description>A Fort: large and foreboding. SILHOUETTED, the sun behind: MOUNTED SOLDIERS ON HORSES, galloping in circles. PERCY FAWCETT is dressed impeccably atop his horse; he wears a crisp uniform with gold buttons and a spiked helmet strapped under his chin. NEAR A WALL AT THE CHURCH: a GROUP OF OLDER MEN, standing, and WOMEN, seated, with their children. With umbrellas above their heads, fans in hand. NINA is here, holding JACK, NOW AGE 3. IRISH BAGPIPES and DRUMS are playing; children are dancing. LORD BERNARD is here, standing near NINA. ANGLE ON: a HUNT LEADER, late forties. He is surrounded by the mounted soldiers, ready for a big moment. LOUDLY:</scene_description>
    <character>HUNT LEADER</character>
    <dialogue>Gentlemen! I expect you to behave with distinction on this hunt! The deer will be delivered to the Archduke Ferdinand at the gala! Remember: honor, duty, and good sportsmanship are the cornerstones of our proud civilization! Good luck and godspeed!</dialogue>
    <scene_description>Fawcett sees them in the distance. They wave to him. In return, he explodes in warmth, waves. OTHER SOLDIERS circle FAWCETT, ribbing him in their soldierly way:</scene_description>
    <character>OTHER SOLDIER #1</character>
    <dialogue>Could they not fit your rocking chair on the horse, granddad?!?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You'll all be my gunbearers by evening--have no doubt of that!</dialogue>
    <character>ANGLE ON NINA</character>
    <dialogue>Who sits many feet away.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>(in the boy's ear)</dialogue>
    <scene_description>Wave, to your father... The child waves, and PERCY, THRILLED, WAVES BACK. ANOTHER SOLIDER BLOWS a HORN. Fawcett and the REST OF THE MEN ON HORSEBACK break out with great determination. Fawcett YELLS at, KICKS, his horse...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CORK HARBOR - FIELDS</stage_direction>
    <scene_description>A WILD DEER, a buck with big antlers, speeds through the grass. Hounds BARK, running through the terrain... The PACK OF HORSES, FAWCETT AMONG THEM, chases behind. We HEAR the distant WHOOPS, the CHEERS, the HORNS, the EXULTATION of the MOUNTED TROOPS charging in pursuit of the deer... PERCY FAWCETT is on his horse, HOOTING, as are the others. The Other Soldiers RIDE NEXT TO HIM--COMPETITIVE and SOUR- FACED that he rides off in a different direction:</scene_description>
    <character>OTHER SOLDIER #1</character>
    <dialogue>Fawcett! There's no path there! FAWCETT! You're mad!</dialogue>
    <scene_description>FAWCETT RIDES OFF into another direction--where there is no path. THE HOUNDS run as though their lives depend on it, BARKING rabidly in pursuit... THE DEER is running because its life DOES depend on it... The horses are kicked until bloody... HORSE after HORSE tumbles from rough terrain, and many of the MEN--UNLIKE FAWCETT--are not able to continue... FAWCETT kicks/whips his horse with astonishing drive, and does an end-run around many of his competitors, cutting them off. The deer, meanwhile, enters a nearby area of dense, tall grass. It runs in a circle, entangled by the weeds. FAWCETT approaches the animal. Fawcett takes out his RIFLE... HE FIRES. The deer stumbles to the ground. JUST THEN, YOUNG SOLDIERS ARRIVE AT THE SCENE, hounds too. Fawcett watches the animal die. One of the soldiers examins the deer and calls out, "DEAD!". A CHEER. The men pass a FLASK to Fawcett, who takes a swig:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>To death--the best sauce to life!</dialogue>
    <scene_description>Some of the men let out another LOUD CHEER as others are considerably more disappointed...</scene_description>
    <character>NEAR THE CHURCH</character>
    <dialogue>Fawcett goes to his BABY SON and beaming Nina. He kisses Nina, then HOLDS THE CHILD HIGH, kisses him. A HUGE GRIN from the happy father amidst cheers.</dialogue>
    <dialogue>Music up: "Avrem Lieta," from Giuseppe Verdi's LA TRAVIATA, a forceful and upbeat waltz:</dialogue>
  </scene>
  <scene>
    <stage_direction>A6 EXT. FAWCETT RESIDENCE - ARMY BARRACKS - NIGHT A6</stage_direction>
    <scene_description>Fawcett approaches his barracks door. We PASS a GROUP of SINGING TROOPS.</scene_description>
    <character>ARMY SOLDIERS</character>
    <dialogue>And I never get a knock when the boys call Cock, cockity ock ock, cock Robin! In my old red vest, I mean to cut a shine, walking down the street they call me 'Danger on the Line!'</dialogue>
    <scene_description>Then:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ARMY BARRACKS- NIGHT 6</stage_direction>
    <character>SERIES OF SHOTS:</character>
    <dialogue>1. MEDIUM SHOT - The Fawcett RESIDENCE. FILLED WITH CLUTTER. With THREE FOX TERRIERS MOVING ABOUT.</dialogue>
    <dialogue>2. CLOSE SHOT - a STATUE OF THE BUDDHA.</dialogue>
    <scene_description>3. CLOSE SHOT - a STACK of LEAFLETS on a DESK: "VOTES FOR WOMEN!" 4. MEDIUM SHOT - a JOYOUS little JACK, with his stuffed animal, plays with the dogs. 5. CLOSE SHOT - All the formal wear for Percy Fawcett LAID ON A BED. A HAND REACHES down, PICKS UP a PIECE OF CLOTHING. TILT UP to REVEAL: PERCY PUTTING IT ON. He looks STIFF, but bemused. 6. CLOSE SHOT - A WOMAN, a MAID, is STRUGGLING with SOMETHING. WIDEN to REVEAL: SHE is HELPING NINA get into a CORSET. Nina spots Percy, all finished dressing. He STANDS in the DOORWAY, silhouetted, watching. (Young ARMY SOLDIERS are outside, chanting:)</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Oh, this damned thing!</dialogue>
    <parenthetical>(to Percy)</parenthetical>
    <dialogue>You must be so pleased with yourselves, you men! Making us wear these awful things!</dialogue>
    <scene_description>She then adjusts her HAIR:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>If you keep refusing to wear your hair as the others do, at least you'll not appear tonight in trousers.</dialogue>
    <scene_description>The MAID LEAVES. His smiles deserts him; he looks at his POCKET WATCH:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We're going to be late.</dialogue>
    <scene_description>Nina fixes herself for another beat, then:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Done.</dialogue>
    <parenthetical>(beat; showing herself)</parenthetical>
    <dialogue>Well?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Rather lovely.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>"Rather lovely". Thank you! You look "rather" well yourself!</dialogue>
    <scene_description>Percy nods. Then says nothing. She eyes him for a moment, then, turning back to the mirror:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>All right, out with it. What's amiss?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I'll be the only man there tonight of my rank whose uniform is unadorned.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>My God, that again?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>The great Secretary Bryce will be in attendance.</dialogue>
    <scene_description>(mocking voice; as a joke) "Oh Major Fawcett, have you no medals? Oh no, Mr. Bryce--I've been quite busy training ancient militia men to point their rifles at tree stumps. So--no medals for me." He sits down near her. She sits on his lap, KISSES him. Then she leans back.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Who's this Mr. Bryce when he's at home?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>The last man here upon whom we might possibly rely for advancement.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>I see.</dialogue>
    <scene_description>A beat. Then:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(more serious now)</parenthetical>
    <dialogue>I'm getting older, Cheeky. And very impatient of lost years. I know the tokens are ridiculous. I do. But I think of our boy--we cannot close any doors to him.</dialogue>
    <character>NINA FAWCETT</character>
    <parenthetical>(smiles gently)</parenthetical>
    <dialogue>Then let us be off.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LORD BERNARD'S MANSION - BALLROOM - NIGHT 7</stage_direction>
    <scene_description>The MUSIC CONTINUES. The camera BEGINS on a CLOSE SHOT of a WALTZING COUPLE, then PULLS BACK TO REVEAL: A GALA for FRANZ FERDINAND, Archduke of Austria-Este and heir presumptive to the Austro-Hungarian throne. An enormous ballroom in a mansion, with tens of couples dancing in seeming unison, twirling around and around, almost like dolls. CLOSE SHOT: THE DEER. Laid out... THE ARCHDUKE STANDS in a receiving line with OFFICERS. SHAKES HANDS, SMILING. LORD BERNARD and BRIGADIER GENERAL SIDNEY VARNON THORNTON, forties, are here with him. ACROSS THE ROOM: PERCY AND NINA FAWCETT ENTER, their image reflected multiple times on a wall of mirrors. Fawcett nods greetings to his fellow officers; Nina SPEAKS GREETINGS in GERMAN to an officer from Austria as all women check out the handsome Percy... Fawcett and Nina move through the crowd. Many recognize them; random PARTYGOERS pass by, say hello.</scene_description>
    <character>LORD BERNARD</character>
    <dialogue>Good evening, Madame Nina... You're looking wonderful... Major... Welcome. So happy to have you here.</dialogue>
    <scene_description>The two acknowledge the hellos. MOMENTS LATER Percy and Nina are in the middle of the dance floor. They pose for a moment, about to start a waltz. And then they start dancing to the rhythm of the Verdi. Fawcett and Nina are fine dancers, blessed with grace but also training. ANGLE BACK ON THE CHIEF SECRETARY OF IRELAND, JAMES BRICE, here at the head of a receiving line. TROOPS ready the deer to present to the Archduke.</scene_description>
    <character>SECRETARY BRYCE</character>
    <dialogue>Your majesty--I present to you this fine animal, a gift from our government to yours, and a recognition of our shared history and mutal interests.</dialogue>
    <scene_description>The ARCHDUKE BOWS IN GRATITUDE, ACCEPTS THE DEER. Bryce ushers the Archduke toward an antechamber. As he does, Bryce turns to Lord Bernard.</scene_description>
    <character>SECRETARY BRYCE (CONT'D)</character>
    <dialogue>Lord Bernard, we do appreciate the use of your magnificent home.</dialogue>
    <character>LORD BERNARD</character>
    <dialogue>Oh, it is my pleasure. We've seen far too little of this type of cheer these past few seasons.</dialogue>
    <character>SECRETARY BRYCE</character>
    <dialogue>Yes, a fine showing by the men... By the way, who got the kill?</dialogue>
    <character>LORD BERNARD</character>
    <parenthetical>(pointing him out)</parenthetical>
    <dialogue>That would be Major Fawcett, Mr. Secretary.</dialogue>
    <character>SECRETARY BRYCE</character>
    <dialogue>Well then, invite him in for a drink!</dialogue>
    <scene_description>Bernard gives a SLIGHT WAVE OF HIS HAND; then:</scene_description>
    <character>LORD BERNARD</character>
    <dialogue>(moves closer)</dialogue>
    <scene_description>A bit odd. And, may I say, not entirely... fortunate in his choice of ancestors.</scene_description>
    <character>SECRETARY BRYCE</character>
    <dialogue>(comprehending somehow)</dialogue>
    <scene_description>I see. Right, then... FAWCETT AND NINA DANCE Around and around. Fawcett SEES the OFFICERS STARING AT HIM, and he can TELL they are talking about him--and not in a flattering way, either. A LAUGH, a SNICKER... HE IS DISRESPECTED, AND HE KNOWS IT. They are toasting each other. Nina sees the line too as they dance and turn:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>They're toasting the kill without you.</dialogue>
    <scene_description>Fawcett looks, then turns back:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Well, I am dancing with you. So I've got the better of the bargain.</dialogue>
    <scene_description>An OLDER OFFICER, THOMAS FRANCIS BUSBY, cuts in:</scene_description>
    <character>THOMAS FRANCIS BUSBY</character>
    <dialogue>May I, Major?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I'm afraid I've spoken too soon.</dialogue>
    <scene_description>As is the custom, Fawcett bows gracefully, nods his assent, gives his wife to Busby, who is short and pudgy. Nina and Percy lock eyes; they are not given chance to speak. Off Busby and Nina go, dancing. Percy takes out a CIGAR. He LOOKS at Secretary Bryce and Lord Bernard and Sidney Thornton and the rest of the officers as they then enter a smaller antechamber. And the DOOR is CLOSED ON HIM. And US. We TILT DOWN. PERCY BREAKS THE CIGAR in TWO.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FORT - OUTSIDE HORSE STABLES - DAY 8</stage_direction>
    <character>SUPERIMPOSE THE LEGEND: "APRIL, 1906".</character>
    <dialogue>Troops load ARTILLERY SHELLS onto CARTS which are dragged by horses. The shells are heavy; and the troops stand knee-deep in the muddy water. Fawcett is supervising an OFFICER:</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Each can contain no more than twelve shells, Corporal...</dialogue>
    <character>OFFICER</character>
    <parenthetical>(to the grunts)</parenthetical>
    <dialogue>Come on! Put your backs into it!</dialogue>
    <scene_description>The OFFICER CANES A GRUNT. Fawcett cannot hide his distaste. Turning his back to the troops, in the Officer's face, he grabs the cane:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We lead the men--we don't beat them into submission!</dialogue>
    <scene_description>The Officer registers this, his head sinking in shame. A SOLDIER drops a shell; they holler in caution at one another. Then an OFFICER BARKS from behind:</scene_description>
    <character>BARKING VOICE</character>
    <dialogue>Fawcett!</dialogue>
    <scene_description>Fawcett looks up: COMMANDING OFFICER SIDNEY VARNON THORNTON and THOMAS FRANCIS BUSBY. They approach him. Fawcett salutes.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir!</dialogue>
    <character>SIDNEY VARNON THORNTON</character>
    <dialogue>You're off to London tomorrow. To the Royal Geographical Society.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir? The Royal Geographical--?</dialogue>
    <character>THOMAS FRANCIS BUSBY</character>
    <dialogue>YES, FAWCETT--SOMETHING WRONG WITH YOUR EARS?!?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No, sir!</dialogue>
    <character>SIDNEY VARNON THORNTON</character>
    <dialogue>Best bring your long johns. You might well be off to the North Pole.</dialogue>
    <scene_description>THORNTON turns and leaves Fawcett standing there. ANGLE ON FAWCETT as we GO TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LONDON STREET - DAY 9</stage_direction>
    <scene_description>London. Busy, cluttered, noisy, dirty. We PAN TO REVEAL a TOWNHOUSE in CENTRAL LONDON, with a sign in front: "ROYAL GEOGRAPHICAL SOCIETY". Fawcett approaches, enters.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RGS OFFICE - DAY</stage_direction>
    <scene_description>A big wooden space. Regal. Standing behind his desk: SIR GEORGE GOLDIE. Goldie, sixties, with intense blue eyes and a keen intelligence. Seated nearby: SIR JOHN SCOTT KELTIE, also sixties. Fawcett enters. Goldie does not look up from his notes. Keltie does, but says nothing. He merely clears his throat, with no reaction for Goldie. After an awkward beat, Percy KNOCKS:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir? Major Fawcett--the War Office sent me?</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Oh yes yes--come in! I am Sir George Goldie. President of the RGS. This is Sir John Scott Keltie, our Secretary.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(as they shake)</parenthetical>
    <dialogue>How do you do.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Good morning, Major.</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Our paths did not cross during your work here some years back.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No they did not, sir. I was likely consumed with my studies at the time.</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Of course. Please, sit down...</dialogue>
    <parenthetical>(F. does; a beat, then)</parenthetical>
    <dialogue>You've gone on several missions in the past, I see?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes. I've served in Ceylon, and in Hong Kong as well. I've...not stayed in one place for very long.</dialogue>
    <scene_description>Goldie looks down at a stack of papers. Keltie speaks up:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>You also served in intelligence, in Morocco? Is that correct?</dialogue>
    <scene_description>NO ANSWER from FAWCETT. Goldie looks to Keltie, vaguely in disgust:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Are you referring to the yellow document? The YELLOW document?</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>I beg your pardon, sir. Let's pass on.</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <parenthetical>(beat; back to Percy)</parenthetical>
    <dialogue>Your time in Ceylon--there are rumors you went Buddhist. Such an act would of course be seditious.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir, my record speaks for itself. No one can question my commitment to King and country.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>ARE you a Buddhist, Major?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>My experience in the Orient taught me that no religion is higher than truth. I make no apologies.</dialogue>
    <scene_description>A pregnant pause. Then Goldie leans forward:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Major, what do you know about Bolivia?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>In South America, sir?</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>That's right.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Only what I've read.</dialogue>
    <scene_description>Goldie chuckles. An atlas is put in front of Fawcett.</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Then you can't know very much. This's about as good a map of Bolivia as we have.</dialogue>
    <scene_description>The map literally says "UNEXPLORED". Referring to the map:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Most of it's blank, as you can see. Nothing's really known of it at all. The rivers are all a guess. These are rubber centers here--very profitable. Some are even apparently quite lavish.</dialogue>
    <scene_description>As Goldie forwards another book:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>There is now considerable argument between Bolivia and Brazil, over what constitutes their borders. So fantastically high is the price of rubber that war could arise. Do you follow?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I do, sir. But with respect--I'm not sure what it has to do with me. Sir.</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>I'm getting to that.</dialogue>
    <scene_description>Goldie moves closer to Fawcett, to the edge of the desk:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Neither country will accept mapping done by the other, so they've requested us to act--as referee.</dialogue>
    <scene_description>Keltie gets up, stands next to Goldie:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>As you completed your courses in mapping here with distinction, you came under our consideration.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Sirs--to be honest, my survey work was long ago. And I was...I was really hoping for a posting where I might be able to see a fair bit of action.</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Oh, I do understand your concern-- we're aware you've never faced a shot fired in anger. But Major, this is far more than just survey work. It's exploration, in the jungle. The environment is brutally difficult. There's terrible disease and murderous savages. The journey may well mean your life. But should you succeed, such an undertaking could earn you soldierly decoration--AND even reclaim your family name.</dialogue>
    <scene_description>Goldie leans back. Then:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>You know, we knew your father.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Did you. I did not.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Terrible thing, a man's love of drink... And gaming...</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>But: as I say, success in this venture could change your lot. Considerably.</dialogue>
    <scene_description>Fawcett looks back down at the map. "UNEXPLORED".</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Well, Major? What's it going to be?</dialogue>
    <scene_description>ANGLE ON FAWCETT as he looks up. He SMILES.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. NEAR THE FAWCETT HOME - BLUFFS - LATE DAY</stage_direction>
    <scene_description>ANGLE ON JACK, playing in the sand. WIDEN: Fawcett and Nina near him. As Fawcett stares at the kid:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>He'll not know you when you return.</dialogue>
    <scene_description>Fawcett nods. A beat. Then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You must protect him from the sort of schooling to which I was subjected.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>(of COURSE!)</dialogue>
    <scene_description>Our minds are as one on this, have no fear of that.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(to himself; aloud)</dialogue>
    <scene_description>I'll not have him caned for wearing the wrong frock coat...</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Puggy--</dialogue>
    <scene_description>(beat) I must tell you--I believe I'm going to have another child. He turns to look at her directly. A half-smile:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Another child...?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>But this cannot distract you, or lead you to doubt my capacities. I'm an independent woman. And our children could have no better protector than their own mother.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I do not doubt you.</dialogue>
    <scene_description>(moves closer to her; touches her abdomen)</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>The thought of you all will be my greatest inspiration. I swear to you, I shall succeed.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT RESIDENCE - ARMY BARRACKS - EARLY MORNING 12</stage_direction>
    <scene_description>Still dark. Fawcett is packed and ready to go. A SHOT OF HIS SUITCASES. Fawcett stands just outside Jack's bedroom. Turns around to see his wife. Nina's back is to us; she is about to put Fawcett's coat over his suitcase, but instead chooses to caress the coat with enormous tenderness. As though the coat were a living thing, a beautiful child... She SLIPS a BOOKLET into his COAT. He comes up behind her, touches her shoulders. She whispers, afraid to wake up Jack:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I've given you a book of poems, for your journey.</dialogue>
    <scene_description>He nods in appreciation. Matter-of-factly, without self- pity:</scene_description>
    <character>NINA FAWCETT (CONT'D)</character>
    <dialogue>One more kiss, please. We may never meet again.</dialogue>
    <scene_description>But A VOICE interrupts:</scene_description>
    <character>JACK FAWCETT (O.C.)</character>
    <dialogue>Papa?</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JACK'S BEDROOM</stage_direction>
    <scene_description>Fawcett enters the bedroom, stands over his son. Also whispered:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>It's still very early, my boy. You should go back to sleep.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Where are you going?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Far away. You're to look after your mother.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>I want to come.</dialogue>
    <scene_description>Fawcett sits at the edge of the bed:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Darling, I'm afraid it's no place for children.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Why?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Because there's great danger.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Then why are you going?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We must all do our duty for King and country, first and foremost.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Why?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Well...this is how we keep the world civilized.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>What is civilized?</dialogue>
    <scene_description>Fawcett laughs at all the questions. Then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Goodbye, darling.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>I want to come with you--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Perhaps someday you will. I love you most deeply.</dialogue>
    <scene_description>Nina enters from behind them.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Jack, give your father his present.</dialogue>
    <scene_description>Jack grins, reaches under his pillow, gives his father a small box. Inside: a gold ring. It's all Fawcett can do to not burst into tears. He begins to get choked up:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>It's--it's lovely.</dialogue>
    <scene_description>An inscription is on it: NEC ASPERA TERRENT.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>What do the words say, Papa?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It means, "difficulties be damned".</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Thank you so much for my beautiful gift. When I see you next, you'll be ready to sit a horse.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Now give your father a proper kiss so that he may be on his way...</dialogue>
    <scene_description>They boy sits up; Fawcett hugs, kisses him tightly as Nina looks on. TEARS BEGIN TO STREAM DOWN FAWCETT'S CHEEKS, but he SMILES TO THE CHILD THROUGH THE TEARS. A SHIP HORN:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OCEAN - OCEAN LINER - DUSK</stage_direction>
    <scene_description>A ship steams on the ocean. The S.S. PANAMA.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OCEAN LINER - HOLD</stage_direction>
    <scene_description>Fawcett sits in the cramped, dirty hold, which is filled with toughs and scoundrels. Meanwhile, he looks clean-cut in a starched white collar, focused intently on a SPANISH LANGUAGE BOOK. Passengers drink whiskey, spit tobacco, play dice. And sing in a drunken stupor. A PICKPOCKET is reaching around, attempting to filch something out of Fawcett's hanging coat. Fawcett SEES this in the REFLECTION of a MIRROR that a man is using for shaving, across from his bunk. He wraps his hands around a handkerchief, and with great speed, he pulls it around the neck of the Pickpocket and yanks him forward. Pulls out his REVOLVER:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I should think twice if I were you.</dialogue>
    <scene_description>The PICKPOCKET simply withdraws his hand. A BIG FIGHT breaks out between two DRUNKS in the game. Fawcett turns to look. ANOTHER MAN, clutching a rifle, standing with his arm around a woman who might well be a prostitute, catches Fawcett's eye. The Man takes a SWIG from a FLASK. Fawcett goes back to his reading...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OCEAN LINER - SECOND DECK - BRIGHT DAY</stage_direction>
    <scene_description>Fawcett, smoking inside the ship, walking from the dining room. IN THE DISTANCE, DOWN THE DECK HALL: he SPOTS the MAN with the rifle again, now slung on his back. And the man is staring back at him. Odd. Suspicious. Fawcett walks around, to the other side of the ship. And the MAN APPEARS AGAIN. AGAIN, staring at him.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OCEAN LINER - PANTRY</stage_direction>
    <scene_description>Fawcett walks around the deck and opens a door. He ducks into a pantry. Dark. Pulls out his weapon. Through the grated metal window in the door, we see a SILHOUETTE approach. A beat, as the silhouette looks inside. The DOORKNOB moves. Fawcett MOVES behind the door. The door opens and the man comes in. Instantly, Fawcett WRAPS his FOREARM AROUND THE MAN'S NECK. The MAN PUSHES ON FAWCETT'S FACE. They TUSSLE, awkwardly, even humorously, each trying to out-tough the other, each proving himself sillier than the other. When they separate, the Man PULLS a KNIFE. Fawcett turns on the light, a solitary bulb that is turned on or off by a string. The light SWINGS, back and forth.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Who are you?</dialogue>
    <scene_description>He is CORPORAL HENRY COSTIN, twenties, with a bold Kiplingesque mustache and heavily-hooded eyes. Exceptionally fit, having been a gymnastics instructor in the Army.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>I'm Corporal Henry Costin, sir! I saw your advert in the Times--I'll be your aide-de-camp on the mission!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(incredulous; upset)</dialogue>
    <scene_description>We've been at sea a week--why in God's name haven't you revealed yourself until now?!</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Had to make certain you were up to the task, sir! I'm not looking to get killed because you're too long in the tooth!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You're speaking rather loudly, Mr. Costin.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>(softer)</dialogue>
    <scene_description>Sorry, sir. Beat.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>And what if I were?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Were what, sir?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Too long in the tooth.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Ah--well, then I would assume command. Sir.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I wasn't planning to hurt you.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I assumed as much--you're carrying that ridiculous rifle.</dialogue>
    <scene_description>Fawcett backs up, puts away his knife. Said as a command:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Where's your paperwork.</dialogue>
    <scene_description>Costin reaches into his coat, pulls out a stack of paper, along with a small whiskey flask. And a small, tarnished medal with a ribbon. Fawcett looks at all of it.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>It's a medal. For bravery, against the Boer.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I'm skilled, with both pistol and rifle, as you can see.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(as he looks at the papers)</parenthetical>
    <dialogue>I myself have never been in war.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>It was a fine time, sir. Gave us a real taste of glory.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You've a family, Mr. Costin?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>None at all.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Good. Nothing to shed.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>But you do, I take it then?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes. A wife and a boy, with another child on the way.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>(vaguely challenging)</dialogue>
    <scene_description>And you'll have no difficulty shedding them?</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Costin, my reputation as a man rests entirely on our success. You shall find me capable of every sacrifice.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Well I must say, I for one am fair itching for action.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I'm certain you won't be disappointed. You'll need every last bit of fortitude you've got. Therefore, I must insist--</dialogue>
    <scene_description>Fawcett takes Costin's whiskey flask.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You'll need no more Dutch courage.</dialogue>
    <scene_description>As Fawcett pours it into a nearby sink in the pantry, sotto:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>\[It's\] destroyed many a fine man.</dialogue>
    <scene_description>The alcohol runs along the sink bottom. We MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BOLIVIAN PLAIN - DAY</stage_direction>
    <scene_description>A TRAIN rockets through the area.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN</stage_direction>
    <scene_description>A crummy and cramped and loud interior. Filled with Bolivian and indigenous peoples. Fawcett talks inaudibly with a Bolivian, then walks toward a seat, holding a map in his hand. He avoids a FRUITSELLER (who is ad-libbing: "chirimoyas, grenadillas!"). Costin is seated, READING A NEWSPAPER. THE HEADLINE: "SHACKLETON, MURRAY TO SOUTH POLE". A PICTURE OF SHACKLETON and JAMES MURRAY. REMEMBER MR. MURRAY'S FACE. A Woman with a DOG in a basket stands right near Costin when he moves to accommodate Fawcett; the dog bothers him by continually sniffing his ear. Fawcett joins him in the empty seat, holding a map and a smaller piece of paper. He seems concerned, remote.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>There a problem?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We received a cable, in Asuncion. The political situation appears to have worsened and there's been a change in plan.</dialogue>
    <parenthetical>(to the map)</parenthetical>
    <dialogue>We'll need to redirect our line of approach--our first priority must now be to map the Verde River and find its source. It forms a critical part of the border between Bolivia and Brazil.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>It's rather far from here, is it not?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It is.</dialogue>
    <parenthetical>(unfolds the map)</parenthetical>
    <dialogue>Our survey route for the river would begin here, at, at--Fazienda Jacobina.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Yes, I've come across it in my reading--it's meant to be quite enchanting.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(looking at his telegram)</parenthetical>
    <dialogue>We're to meet a Corporal Manley there. He's contacted an Indian guide and hired the rest of our crew.</dialogue>
    <parenthetical>(back to the map)</parenthetical>
    <dialogue>We must chart our progress with as much survey detail as possible. Hopefully any mail from our loved ones will beat us to the spot.</dialogue>
    <parenthetical>(as he folds the map)</parenthetical>
    <dialogue>Time is of the essence. War is at stake and the environment will not be friendly.</dialogue>
    <scene_description>Costin battles the dog in the basket; it keeps sniffing his ear:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>We're to stop a war, you and I? The two of us, and a couple of mules?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(speechless for a moment; the odds ARE long; then:)</parenthetical>
    <dialogue>Mr. Costin--we're going to have to depend on each other. Because neither of us will survive this alone.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>I understand pefectly, sir. However, this DOG will not survive this train ride.</dialogue>
    <parenthetical>(seeing Fawcett reading the journal)</parenthetical>
    <dialogue>What's that you're reading?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It's a poem. For our journey.</dialogue>
    <scene_description>Costin looks over at the book. CLOSE SHOT ON HANDWRITING ABOVE THE TEXT: "TO PERCY, WITH LOVE, NINA." We TILT DOWN to THE TEXT, and we HEAR:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>"THERE'S no sense in going further-- it's the edge of cultivation,</dialogue>
    <dialogue>So they said, and I believed it--"</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ANDES MOUNTAINS - DAY</stage_direction>
    <scene_description>A wide shot. Our two men look like ants. Over this, we HEAR the PREVIOUS SCENE continue, and we CUT TO A SERIES OF SHOTS of our men walking in MOUNTAINOUS TERRAIN, then HILLS, then GRASS... Now, NINA FAWCETT's VOICE. SHE IS READING IT:</scene_description>
    <character>NINA FAWCETT (V.O.)</character>
    <dialogue>"Till a voice, as bad as Conscience, rang interminable changes On one everlasting Whisper day and night repeated--so: 'Something hidden. Go and find it. Go and look behind the Ranges-- Something lost behind the Ranges. Lost and waiting for you. Go!'"</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. MOUNTAINS - LATER 21</stage_direction>
    <scene_description>A different kind of vegetation--GREEN. The SOUNDS begin to change, too--much less wind, much more active with insects... Fawcett is sweating. It is starting to get hot. There are rivulets that all seem to be flowing downhill and gaining steam. Costin stops to take notes in a survey book.</scene_description>
    <character>BACK TO FAWCETT: THERE IS OVERGROWN VEGETATION BLOCKING THE</character>
    <dialogue>VIEW on the path. Fawcett HACKS AWAY with his machete.</dialogue>
    <dialogue>He STOPS. SOMETHING SEEMS TO DAWN ON HIM.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Costin--</dialogue>
    <scene_description>Then he starts to HACK AWAY AGAIN! With an astonishing furor. WE PAN WITH HIM with each BLOW. His FEET are in mud; seeing this:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>Mr. Costin!</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>What is it...?</dialogue>
    <scene_description>Costin approaches quickly. Finally, a clearing. REVEALING: AMAZONIA. A VAST GREEN. The JUNGLE, which engulfs the riverbanks of the magnificent AMAZON RIVER. It is beautiful and beguiling, and so enormous it fills one with awe. Costin comes up behind him, looking over Fawcett's shoulder. He is blown away by the vista.</scene_description>
    <character>HENRY COSTIN (CONT'D)</character>
    <dialogue>My God...</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(almost to himself)</dialogue>
    <scene_description>It's even grander than one could have imagined... Stifling the briefest of smiles, Fawcett goes right back to putting up a steely front. He starts going through his things. But he cannot hide his excitement. As he rummages:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>The manual insists we keep only the essentials now and live off the land, as best we can.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Only the essentials, yes.</dialogue>
    <scene_description>(to himself) Cricket whites, begone...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JUNGLE 22</stage_direction>
    <scene_description>The camera MOVES THROUGH THE GROWTH, the POINT-OF-VIEW of our characters... The SOUNDS of the jungle are loud and yet oddly soothing. It should be clear to us from the noises that nature has taken over. BUZZING of unidentifiable creatures...</scene_description>
    <character>SERIES OF SHOTS</character>
    <dialogue>Of monkeys and birds and snakes and spiders and frogs...</dialogue>
    <dialogue>Fawcett, Costin ENTER THE JUNGLE in SILENCE... ONLY THE RUMBLE OF THUNDER... THUNDER, but no RAIN. YET.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. JUNGLE - LATER</stage_direction>
    <scene_description>Fawcett and Costin's feet sink in mud; a bright YELLOW SNAKE slithers around Fawcett's feet. Costin's eyes widen at the sight of it; Fawcett steps over it with studied calm... Sweat pours off their faces; terrible HEAT... SWARMING INSECTS... SAUBA ANTS... TICKS... CHIGGERS... Percy Fawcett BREATHES heavily but HACKS away with his machete. Costin is nearby, slightly ahead, HACKING AWAY at the JUNGLE. Occasionally, Fawcett stops to check a map, takes out his surveying equipment. He calls out:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Twenty-nine degrees, 16 minutes, south of the equator.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Twenty-nine, and sixteen!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(as he starts hacking again)</dialogue>
    <scene_description>Tell me, Mr. Costin! What induced you to brave this place?</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Well...I'd studied the natural sciences in Africa, and let's just say I'd had about enough of the army...</dialogue>
    <scene_description>(beat; he stops) You know, I'm beginning to miss that dog on the train. (back to hacking) At least I prefer it to all the creatures currently crawling down my neck. SMACK. Fawcett hits his own neck. BUGS, which force the men constantly to be swatting their arms and necks. Then Costin stops. Freezes.</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(as a joke)</parenthetical>
    <dialogue>Every one we kill is one less obstacle in our path!</dialogue>
    <parenthetical>(preoccupied; to self)</parenthetical>
    <dialogue>Some of them are edible, though.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Major--</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(brought back to reality)</parenthetical>
    <dialogue>Yes, Mr. Costin--what is it?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Why are you not proceeding?</dialogue>
    <scene_description>Costin points down. Fawcett SEES a track of FOOTPRINTS. Looking around, they SPOT:</scene_description>
    <character>THROUGH THE TREES AND THE BRANCHES AND THE SHRUBS: INDIANS.</character>
    <dialogue>STILL. SILENTLY WATCHING THEM.</dialogue>
    <dialogue>Fawcett stares STRAIGHT INTO THE EYES of ONE OF THE INDIANS. He then gestures to Costin to KEEP MOVING. He and Costin both put their hands on their guns as they begin to plod ever slower through the greenery.</dialogue>
    <dialogue>THE INDIANS OBSERVE FAWCETT AND COSTIN with an astonishing stillness; almost like statues.</dialogue>
    <dialogue>Fawcett SEES A SEA OF SHRUNKEN HEADS, hanging from trees.</dialogue>
    <character>HENRY COSTIN</character>
    <parenthetical>(whispered)</parenthetical>
    <dialogue>\[Are they\] cannibals?</dialogue>
    <scene_description>Fawcett shakes his head just a touch, as if to say, "I do not know", and signals to Costin to keep walking...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE - NIGHT</stage_direction>
    <character>BATS OVERHEAD...</character>
    <dialogue>THEN SILENT AGAIN.</dialogue>
    <character>AND THEN FAWCETT AND COSTIN HEAR IT: OPERA MUSIC.</character>
    <dialogue>At first, it is distant. Then, less faint, and as they progress, one can even tell the piece: from Gaetano Donizetti's DON PASQUALE. Both men wonder if they're crazy.</dialogue>
    <dialogue>They reach a clearing, slowly but surely making their way through the gauntlet of Indians. And what do they see but...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CLEARING</stage_direction>
    <scene_description>A THATCHED-ROOF MAKESHIFT STAGE that is serving as an "OPERA HOUSE". Here, in the middle of the jungle. Positively surreal. Fawcett turns to the Indians, who are surrounding the two men. In imperfect Portuguese:</scene_description>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>This is Fazienda Jacobina?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Do you understand?</dialogue>
    <scene_description>They don't answer. Instead, they back up, melting away back into the jungle. Fawcett enters the:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. "OPERA HOUSE"</stage_direction>
    <scene_description>Fawcett surveys the scene. Even though it's merely a large clearing, the stage is, oddly, MAGNIFICENTLY APPOINTED with antiques from Old Europe. They're scattered about. Pathetic space, but you'd never know it listening to the singers and the orchestra. A smattering of people dressed to the nines in the audience--wood benches in the middle of the rainforest. In the back, Indians sit, quietly, listening to the music. A bizarre sight indeed. A DIMINUTIVE LATINO MAN dressed in a tuxedo approaches Fawcett. In Portuguese:</scene_description>
    <character>DIMINUTIVE LATINO MAN (SUBTITLE)</character>
    <parenthetical>(cheerful, almost like an advertisement)</parenthetical>
    <dialogue>Welcome to the Grand Opera House of beautiful Fazienda Jacobina--thanks to our Baron De Gondoriz and the Inca Mining Company. Do you have your ticket?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FAZIENDA JACOBINA - RAINY AND THUNDERING NIGHT</stage_direction>
    <character>SUPERIMPOSE: "FAZIENDA JACOBINA PLANTATION, BRAZIL.</character>
    <dialogue>1906".</dialogue>
    <character>JUNE,</character>
    <dialogue>The RAIN begins to FALL. HARD. FAR FROM THE ELEGANT PLACE THEY'D EXPECTED. Fawcett enters this nightmare of a rubber town, with Costin right behind.</dialogue>
    <dialogue>We PASS TREES with PANS attached to their TRUNKS. LEAKING WHITE FLUID. RUBBER. A DARK-SKINNED MAN is collecting the substance...</dialogue>
    <dialogue>Fawcett sees that this is not much more than a strip of mud with bamboo huts with one notable exception: a RUBBER BARON'S LARGE HOME, which sits higher on a hill overlooking the city. Shockingly miserable. FIRES all over--in cans, campfires, fires incinerating garbage and remains...</dialogue>
    <dialogue>The presence of the Inca Mining Company is clear, with their corporate logo painted on several of the huts.</dialogue>
    <dialogue>Fawcett turns, eyes: RAILROAD TRACKS that lead to nowhere. BOLIVIAN ARMY OFFICERS line the fronts of the huts, "on the nod," drunk, all of it. A TEXAN GUNMAN stands out, watching.</dialogue>
    <dialogue>Running down the "road," comes: BRITISH OFFICER ARTHUR MANLEY, early twenties, young and cheery but slightly frail. Fawcett is still stunned by the misery as Manley begins:</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Major Fawcett? Is that you?? It MUST be you!</dialogue>
    <character>ARTHUR MANLEY</character>
    <parenthetical>(introducing himself)</parenthetical>
    <dialogue>Lance Corporal Manley, sir--liason from the Governor General!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>How do you do... This is Corporal Costin.</dialogue>
    <scene_description>Costin nods.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>You weren't expected for another fortnight! I...hate to be the bearer of bad news, but--we received a telegraph. The Border Commission has cancelled your mission!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Cancelled!? What on earth do you mean?!?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>What I've said, sir! It's become far too dangerous--there've already been more than a few skirmishes between the Bolivians and Brazilians, and they won't be able to reprovision you as planned!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Where is the government office?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Government?</dialogue>
    <scene_description>(morbid smile) Sir, I'm afraid you've left "government" behind a long time ago. We're grateful for the road!</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Then Mr. Manley, you send back a telegram--that we will not stand down and we shall proceed as planned! We will CONTINUE and see this through!</dialogue>
    <scene_description>Manley looks at him for a moment.</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>Are you WITH me, Corporal?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Yessir.</dialogue>
    <scene_description>As Fawcett looks at Costin, as if to say, "My God, this is a terrible place":</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Now what about an Indian guide--did you get us a guide?</dialogue>
    <scene_description>ANGLE ON MANLEY as he stops. He turns stone-faced.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>I...I did, sir.</dialogue>
    <scene_description>Beat.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Well where is he?</dialogue>
    <scene_description>A VOICE, in Portuguese, then English:</scene_description>
    <character>A VOICE (O.S.)</character>
    <dialogue>Cattle! Coming through!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. HUT - OPEN VERANDA - NEAR THE BANKS OF THE RIVER</stage_direction>
    <scene_description>A LONG LINE of YOUNG MEN, INDIANS, lumbering, HEADS DOWN, in CHAINS, through the TOWN. Getting off a SMALL RIVERBOAT that's beached. Our men are here: Fawcett, Costin, Manley. Whispered to Fawcett:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>He's one of them now, sir. Name's Tadjui. The company took him.</dialogue>
    <scene_description>Fawcett steps out to observe. Guards with whips motivate the line of men by beating.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Who are they?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Slaves, sir.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Slaves?!?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Kidnapped from the jungle and brought here for the rubber company.</dialogue>
    <character>HENRY COSTIN</character>
    <parenthetical>(a sad laugh; sotto)</parenthetical>
    <dialogue>I don't believe it...</dialogue>
    <scene_description>Fawcett is appalled too, his face souring instantly. Costin seems in shock.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Who's in charge here?</dialogue>
    <scene_description>Manley points to the HOUSE, on the HILL:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>That would be the Baron de Gondoriz, sir--up there.</dialogue>
    <scene_description>Fawcett begins to walk toward the house. Costin runs up to Fawcett. In his ear:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Where're you going?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>He's got the men we need.</dialogue>
    <scene_description>Fawcett takes several steps out, into the rain. To Manley:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Bring the Indian up to the house. Tell them we'll pay.</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Yes sir.</dialogue>
    <scene_description>MANLEY SPEAKS TO THE GUARDS. A BRAZILIAN GUARD CLAPS his HANDS TWICE, yells out some Portuguese. An Indian, TADJUI, twenties, in chains, is BUTTED, HARD, by a rifle. He does not react. He then steps out from the huge line as though it were voluntary.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. RUBBER BARON HOUSE</stage_direction>
    <scene_description>BARON DE GONDORIZ, forty, a stocky and imperious sort, sits on a CHAIR, surrounded by furs and with a Latino woman serving him drink and food. The Brazilian Infantry is here, surrounding (guarding?) him. An INDIAN CRANKS A VICTROLA. DE GONDORIZ'S CHILDREN are here, too, as is his wife. They are dressed in WHITE SUITS and are serious-faced and silent. Champagne is poured like water, and food abounds. It's a real contrast with the street below. Gondoriz is an imposing figure, to be sure. He has a pet JAGUAR, who resides alongside him. The jaguar seems particularly peeved at Costin, for no reason. It growls at him, and Costin's eyes bulge at the ferocious "pet"...</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(smiles)</dialogue>
    <scene_description>Baron, we're from the British Army. We're very sorry to interrupt your meal. We're to be venturing down the Rio Verde as peacekeepers and will be in need of some of your men. No response from the Baron.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>In exchange, I'm prepared to tell my government of your cooperation.</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>You are from England?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes, we are.</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>I've been to London, many times. I have seen the opera there--have you seen my opera house?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We did, on our way into town. Congratulations--it was quite impressive.</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>I have the best singers from all over Europe. And my conductor, he is sick now, but he trained with the great Hubay.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <character>BARON DE GONDORIZ</character>
    <dialogue>Before I come here, I tell myself I will not be a savage.</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>And so I bring civilization to the jungle. I brought my family here, and I raised my children to be cultivated people. I am from Portugal, from Sintra. Someday I will return there.</dialogue>
    <parenthetical>(beat; wistful)</parenthetical>
    <dialogue>Someday.</dialogue>
    <scene_description>The Texan ENTERS with Tadjui, who is CHAINED AROUND THE NECK.</scene_description>
    <character>TEXAN GUNMAN</character>
    <dialogue>You're goin' upriver, are ya?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We are indeed. For surveying.</dialogue>
    <character>TEXAN GUNMAN</character>
    <parenthetical>(smiles)</parenthetical>
    <dialogue>Well, ain't nobody comes back from up there. Ever.</dialogue>
    <parenthetical>(looks at the Indian)</parenthetical>
    <dialogue>This the one you're looking for?</dialogue>
    <scene_description>Fawcett eyes him for a beat, then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes, we'd like very much to employ him.</dialogue>
    <character>TEXAN GUNMAN</character>
    <dialogue>He's a rebellious son of a bitch, I'll tell you that. He's been beaten. And he'll be beaten again.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>All the better I should take him off your hands, then.</dialogue>
    <scene_description>Tadjui, Fawcett exchange glares. Fawcett approaches Tadjui:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Do you speak English?</dialogue>
    <character>TEXAN GUNMAN</character>
    <dialogue>We taught 'em. \[To\] Civilize 'em.</dialogue>
    <character>TADJUI</character>
    <dialogue>I am speaking little.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>And you know the river?</dialogue>
    <scene_description>Tadjui nods.</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <parenthetical>(to Baron De Gondoriz)</parenthetical>
    <dialogue>What will you take for him and any four men he chooses?</dialogue>
    <character>TEXAN GUNMAN</character>
    <dialogue>You got money?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I--promise highly favorable treatment from my country.</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>Your country is not what it used to be.</dialogue>
    <scene_description>Fawcett is momentarily at a loss for words.</scene_description>
    <character>BARON DE GONDORIZ (CONT'D)</character>
    <dialogue>It offends you to negotiate with me. I see this is true.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No--</dialogue>
    <character>BARON DE GONDORIZ</character>
    <dialogue>Please--do not embarrass yourself. I prefer to speak openly when it is possible; do you not?</dialogue>
    <scene_description>(before Fawcett can answer:) You come here to make maps. And why is that? So that there may be peace. What is peace? Peace means my business will flourish--I will flourish. You may hold your nose when you accept my help, yet without my help you know you cannot succeed. The closer you will look at the truth, the more disgusted you will grow--not at me but at yourself. In the end, peace means only that nothing will change. So I will help you because you will make sure nothing will change. Then De Gondoriz notices something. Points to Costin's rifle.</scene_description>
    <character>BARON DE GONDORIZ</character>
    <dialogue>That is very beautiful.</dialogue>
    <character>TEXAN GUNMAN</character>
    <dialogue>There ain't a whole lot of those in these parts, Baron. A fine piece.</dialogue>
    <scene_description>Costin seems reluctant. Fawcett looks to Costin, takes him aside. Costin is impatient, whispers to Fawcett:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>It's a family heirloom, sir. It's a Henry--my father used it against the Zulu.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Consider it your gift to the King.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>You do realize this goes to pay for a slave.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(to the others)</dialogue>
    <scene_description>Would you excuse me, please. Fawcett leads Costin outside:</scene_description>
  </scene>
  <scene>
    <stage_direction>A30 EXT. RUBBER BARON HOUSE A30</stage_direction>
    <scene_description>Under an overhang, on the porch. Starts quiet, but heated:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We'll hire as many of them as we can and set them free when we're done.</dialogue>
    <scene_description>Fawcett starts to turn back; Costin stops him:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>When we're DONE? Are we slaveowners now?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No. As I say, we'll pay them and treat them as any other in our party.</dialogue>
    <scene_description>(beat) It's the most we can do under the circumstances.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>I'll not dirty my hands just because it suits our needs.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Would your hands be any cleaner if we left them here to die? We're the only hope they've got. We need them and we'll take them with us.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>But we've got to report it--</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(loses a bit of patience)</parenthetical>
    <dialogue>To whom, Corporal? To WHOM? Have you taken a look around--do you see where we are?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>I promise you, their story shall not go untold if we survive. I promise you that.</dialogue>
    <scene_description>Costin realizes Fawcett is right. He steps forward, and swallowing his pride, he unslings his rifle. Muttering:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Just as it's always been. One group gets the sugar, the other one gets the shit.</dialogue>
    <scene_description>Costin walks past Fawcett, reentering:</scene_description>
  </scene>
  <scene>
    <stage_direction>B30 INT. RUBBER BARON HOUSE B30</stage_direction>
    <scene_description>Costin approaches the Texas Gunman as Percy reenters:</scene_description>
    <character>HENRY COSTIN</character>
    <parenthetical>(holding up the rifle; a hint of sarcasm)</parenthetical>
    <dialogue>Here. Is your very own handmade rifle. A Martini-Henry. Well done.</dialogue>
    <scene_description>The Texas Gunman takes the rifle, looks at it, aims it. Then passes it to the Baron. The Baron looks to Costin, Fawcett, aims, pulls the trigger. CLICK. Then:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BANKS OF THE RIVER - CAMPFIRE - DAWN - CLEAR SKY 30</stage_direction>
    <scene_description>Fawcett stands by the river. Ties a rope for a boat. WIDEN TO REVEAL: THE INDIAN TADJUI, and he has brought FOUR OTHER LEJO INDIANS with him. They work on the rafts, passing the drink kachasa between them. TADJUI, shirtless, has SCARS on his BACK, which Fawcett notices. A SACK OF MAIL is dropped at Fawcett's feet by a local. He sifts through it, finding a letter from his WIFE. FLASH CUT TO:</scene_description>
    <character>A CLOSE SHOT OF NINA</character>
    <dialogue>As SHE SITS AT HER DESK, writing. Their SON JACK, in the background. We STILL HEAR the SOUNDS OF THE JUNGLE.</dialogue>
    <character>CUT BACK TO:</character>
    <dialogue>He is about to open it. Merely pockets it. He then walks over to Tadjui.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Can you show me where we're to pitch camp tonight?</dialogue>
    <scene_description>Tadjui traces his finger along the river on the map, then stops several inches into a blank area. HE TRACES THE SHAPE WITH HIS FINGER. SEEMS TO KNOW EVERY CURVE.</scene_description>
    <character>TADJUI</character>
    <dialogue>Long time on the river before stop.</dialogue>
    <scene_description>Fawcett looks out, at the RIVER...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERBANK - DAY - LATER 33</stage_direction>
    <scene_description>We then SEE: A GROUP OF SCRUFFY MEN, building rafts with sticks and twine, shoving estopa (beaten palm fiber) into cracks in the rafts. Costin is working with the group, but MANLEY SEEMS TO KNOW THEM ALL:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>This's our party then?</dialogue>
    <scene_description>(Manley nods, so:) It's a bloody desperate lot you've got us.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>They're as dependable as can be found here. I'm the only one who'll pay them.</dialogue>
    <scene_description>The MEN: DAN, a flamboyant drunk, does a dance as he loads the raft. WILLIS, a capable Jamaican cook, loads the FOOD, in large baskets. THREE OTHER WHITE MEN, DESPERADOS, who look like Jurgen Prochnow's more frightening brothers. Mustachioed. One is an Austrian named URQUHART. Arthur Manley has loaded an ACCORDION onto the boat. Fawcett steps near the men, securing a parcel loaded improperly. He interrupts one of them trying to tighten:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(as he tightens the rope; then looks at all of them)</dialogue>
    <scene_description>The river shall be our home for the next two years and we'll not turn back. Twelve hours a day and no less. MUSIC UP: A SWEET AND MELANCHOLY SONG, PLAYED BY INDIANS.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. EDGE OF THE RIVER - MIDDAY 34</stage_direction>
    <scene_description>Fawcett, Costin, Manley, Willis, Dan, Urquhart, the silent and tall DESPERADOS, Tadjui and the 4 LEJO INDIANS push off on TWO LARGE RAFTS. Three SMALL HOUNDS ACCOMPANY THE MEN. A CROWD has assembled around the group as they depart. The Indians sing a local folk song as they shove off. MANY OF THE BRAZILIAN INFANTRY set off their Winchesters into the air to celebrate. The INDIAN WOMEN wave their goodbyes... The BARON and his TEXAN GUNMAN eye the men from higher up. The TEXAN DRAWS HIS FINGER ACROSS HIS NECK, smiling... Fawcett averts his gaze, looks down at his MAP. We TILT DOWN to SEE THE WORD: "UNEXPLORED". The river is READY.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RICARDO FRANCO HILLS</stage_direction>
    <scene_description>The group drifts on their rafts through a cavernous space, with eerie plateaus of the Ricardo Franco Hills on both sides of the rafts. FAWCETT'S MEN push with the bamboo poles through the water as FAWCETT SURVEYS. The camera PANS PAST his notes on flora and fauna and temperature and barometric readings, all painstakingly done. His attention, however, begins to be divided between his surveying and the astonishing scenery around him. BEAUTIFUL RAINBOW-COLORED FISH swim in the river next to enormous EELS. DAN turns to COSTIN, re the eels:</scene_description>
    <character>DAN</character>
    <dialogue>They'll shock you to death, those things. Other fish, the candiru-- they'll swim right up your johnson-- so don't never be letting loose in the river.</dialogue>
    <character>HENRY COSTIN</character>
    <parenthetical>(wide smile; sarcastic)</parenthetical>
    <dialogue>Thank you so very much for that information.</dialogue>
    <scene_description>Costin then reflexively touches his crotch. It is SILENT, so Fawcett turns to Manley, and, half-jokingly:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Can you play?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We don't want to be driven mad by the silence.</dialogue>
    <scene_description>Fawcett points to Manley's accordion case.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>Right, sir.</dialogue>
    <scene_description>Manley takes out his ACCORDION. The sounds ECHO, all over the space. MANLEY PLAYS a BRITISH WAR SONG. The accordion sounds like a full orchestra here...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON JUNGLE - THE RIVER - DAY</stage_direction>
    <character>EERIE QUIET. SURVEYING BOOKS: THE MAP IS BEING FILLED IN,</character>
    <dialogue>slowly but surely. TILT UP: Fawcett is taking photographs. The Indians are assembled in one corner of one of the rafts. Tadjui plays a ZAMPONA (the Incan PAN FLUTE).</dialogue>
    <dialogue>Fawcett finishes his work, and folding the tripod legs, observes the mailbag. He reaches into his pocket and opens up the LETTER from his wife. Unwrapping it, a PICTURE FALLS OUT. A BABY, along with JACK and NINA. A NEWBORN with his family. Costin picks it up:</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>A new one, Major? A boy?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It must be so.</dialogue>
    <scene_description>Fawcett takes the picture, looks at it.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Congratulations.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Thank you, Mr. Costin.</dialogue>
    <scene_description>He then POCKETS THE PHOTO. Costin eyes him. FAWCETT TAKES THE PHOTO OUT AGAIN.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>The boy's name is "Brian".</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Major, if I may venture a suggestion--</dialogue>
    <scene_description>Fawcett sees Costin point to the photo, then to his pocket. Fawcett stares at Costin, then, deciding Costin is right, NODS ONCE AND PUTS THE PHOTO BACK in his POCKET:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Right, Mr. Costin...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER - MOMENTS LATER</stage_direction>
    <scene_description>The two RAFTS travel one right behind the other, as the overgrowth gets lower and lower over the banks of this narrowing AMAZON TRIBUTARY. They approach an abandoned steamer on the river: a German ship, the ANTONIA. From Hamburg, painted on its back. As this is happening, Urquhart is on the flat raft, attempting to catch fish with the net. With his thick accent:</scene_description>
    <character>URQUHART</character>
    <dialogue>Nothing again! Not ONE fish! It's a desert--a green desert!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Pull it in, we'll try further down.</dialogue>
    <scene_description>Fawcett steps onto the raft, to help Urquhart pull the net in. SIMULTANEOUS, on the batelon:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>What on earth's she doing all the way out here?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(turning back)</parenthetical>
    <dialogue>She's come to load rubber, no doubt.</dialogue>
    <parenthetical>(to Costin)</parenthetical>
    <dialogue>Get us closer, Mr. Costin! Maybe they'll have news, or food for us!</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Looks abandoned to my eye!</dialogue>
    <scene_description>As he steers, Costin NOTICES a BLACK SPOT IN HIS SKIN. UH- OH.</scene_description>
    <character>DAN</character>
    <parenthetical>(as they get closer, seeing "HAMBURG")</parenthetical>
    <dialogue>It's German! I say we go aboard and have a beer--I bet they have real German beer, fresh from the cask!</dialogue>
    <scene_description>But, as they get closer, they see something macabre: A LONE MAN, maybe dead, maybe not, sits on the top of the boat, still. Nude. Staring at them, not moving. The hull's riddled with arrows.</scene_description>
    <character>URQUHART</character>
    <dialogue>Is he ALIVE? Try to talk to him! See where they are from in--</dialogue>
    <scene_description>And he FREEZES. FAWCETT, next to him, is momentarily bewildered. THEN: HE SEES AN ARROW in his BACK.</scene_description>
    <character>URQUHART SPINS OFF THE RAFT, TANGLED IN THE FISHING NET.</character>
    <dialogue>ALL OF A SUDDEN: FLYING ARROWS. FEROCIOUS. AND SPEARS.</dialogue>
    <dialogue>Coming from the trees. We can't SEE any other INDIANS, but they're there, in the forest.</dialogue>
    <dialogue>The flurry does not stop. All the men duck for cover. PANIC. The arrows come with tremendous and frightening force, some of them penetrating inches deep into the rafts' wood.</dialogue>
    <dialogue>Costin pushes with his long BAMBOO pole. The rafts begin to drift in an altogether different direction, away from the arrows.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CENTER OF THE RIVER</stage_direction>
    <scene_description>Fawcett IS YANKED INTO THE RIVER by Urquhart, who is dying and has tangled the two of them in the fishing net. The arrows continue to fly. The RAFT TILTS DANGEROUSLY with the weight shift. Costin tumbles as well, but stays aboard, making sure THE MAPBOOKS survive. He loses his JOURNAL book and other personal items in the mayhem, however, as the bag of photographs falls overboard:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>God damn it! GET THEM OUT!</dialogue>
    <scene_description>Manley attempts to retrieve the net--</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. UNDERWATER</stage_direction>
    <scene_description>Fawcett is underwater, with Urquhart atop him as the two struggle with the rope. FAWCETT untangles his feet from the rope and pulls himself up, attempting to grab Urquhart as he rises to the surface. One thing gets in the way:</scene_description>
    <character>PIRANHAS.</character>
    <dialogue>Piranhas start nipping at the men. The piranhas focus on Urquhart, who was cut by the arrow--the blood is attracting them. The feeding has begun to turn into a FRENZY.</dialogue>
    <dialogue>Getting pinched by the fish as well--though with nowhere near the ferocity, for he has no open wound--Fawcett is forced to abandon Urquhart and PULLS HIMSELF ALONG THE ROPE.</dialogue>
    <scene_description>COSTIN GRABS FAWCETT and helps pull him onto the RAFT.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RAFT</stage_direction>
    <scene_description>Fawcett gets aboard the raft with more than a couple of piranhas still attached to his arms and legs. Fawcett and Costin swat away the piranhas and, courageously braving the still-constant stream of arrows, tries to get Urquhart aboard:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Come on, pull!</dialogue>
    <scene_description>Manley and the others help, with Tadjui looking on. Fawcett finally succeeds in pulling Urquhart up, onto the raft. And he is DEAD. His lower half has been completely devoured by the piranhas... The RAFTS FINALLY PASS THE FLURRY OF ARROWS AND SPEARS. The last FLURRY OF SPEARS hit near the raft without incident... ANGLE ON FAWCETT. Out of breath and spent beyond words. He SEES his PERSONAL EFFECTS--the LETTER, the FAMILY PHOTOGRAPHS, on the raft and soaked. They'd been spilled during the chaos.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Thank you for your aid, Mr. Costin.</dialogue>
    <scene_description>Costin nods. Fawcett's face wrinkles in anguished recognition of his articles' damage. HE COLLECTS HIS THINGS. DISSOLVE TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON JUNGLE - SHALLOW RIVER BED - DUSK 41</stage_direction>
    <scene_description>Rain. Silence. Gloom. Fear. All stumble, quietly, as they help pull the boats across shallow water. FAWCETT is still alert. The MAPBOOKS are getting more and more completed... Virtually no more food in the containers. The hounds rummage alongside the rafts, sniffing at anything they can lick or chew. MORE BUGS: flies, mosquitos, spiders, maggots in the skin. Costin, who has now grown very sick with fever, shivers in the rain as he can barely walk. Manley VOMITS black fluid. Hunched by the edge of the raft:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>I...I'm sick...I think I've malaria... Perhaps the sun shall bake the fever out of me!</dialogue>
    <scene_description>Dan is hallucinating; he mutters about his hallucinations aloud:</scene_description>
    <character>DAN</character>
    <dialogue>Months on the river! And--so many beautiful flowers...</dialogue>
    <scene_description>Dan has MAGGOTS in his ARM.</scene_description>
    <character>DAN (CONT'D)</character>
    <dialogue>My maggots... Are they...they're my friends!</dialogue>
    <scene_description>He SMILES. Fawcett sees Costin, who hides his own skin blemish, on his arm. Costin makes eye contact, pulling down his sleeve:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>It's nothing at all...</dialogue>
    <scene_description>Percy moves to Tadjui:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Are we close?</dialogue>
    <character>TADJUI</character>
    <dialogue>Many week to go. The river still strong.</dialogue>
    <scene_description>Fawcett looks at his men, then back to Tadjui:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We won't survive another attack. If there are more dangerous tribes ahead--</dialogue>
    <character>TADJUI</character>
    <dialogue>The river is death.</dialogue>
    <scene_description>(beat) But you will see--many people live here once. Beautiful city of gold and maize. Even older than English. With roads and bridges. Percy SNAPS to attention. He looks at Tadjui as though he is completely mad.</scene_description>
    <character>TADJUI (CONT'D)</character>
    <dialogue>Deep, in the forest. All gold. It blaze, like fire.</dialogue>
    <scene_description>Fawcett turns away, devastated by the prospect that Tadjui is also going mad. Under his breath:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Christ...</dialogue>
    <character>TADJUI</character>
    <dialogue>Conquistador try to find it, many try. But the white man never find it...</dialogue>
    <scene_description>Reaching for his RIFLE, Fawcett LOADS IT. POCKETS SPARE SHELLS. TADJUI STARTS TO SCREAM:</scene_description>
    <character>TADJUI (CONT'D)</character>
    <dialogue>I feel sorry for you, English! Soon I am free! For the Espanol and you, there is no escape from jungle--only death!</dialogue>
    <character>WILLIS</character>
    <dialogue>The river's coming back! Pitching camp!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BY THE CAMPFIRE - NIGHT 42</stage_direction>
    <scene_description>The members of the group sit with their rifles aimed into the darkness. They see the TWINKLES from the eyes of animals out into that dark. The noises of the jungle frighten them beyond belief. Then the jungle goes SILENT. Then the noises pick up again. Terrifying. Even the hounds are petrified. Fawcett sits near the fire, rifle aimed outward into the dark. Costin, without his Martini-Henry rifle, is covered in blankets. HUSHED, SHIVERING.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(to Costin, whispered)</dialogue>
    <scene_description>Mr. Costin? Mr. Costin, are you alert?</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>(a morbid joke as he shivers)</dialogue>
    <scene_description>I am, feeling just fit as a fiddle. How you have managed to avoid any maladies is utterly beyond me.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(approaches Costin, still whispered)</dialogue>
    <scene_description>Even the Indian's gone mad now.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>He's been going on about gold cities. We should be prepared for anything.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Then I would suggest you keep your firearm close and ready, sir.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(nods; then)</dialogue>
    <scene_description>I'd like you to read this to me. If you can. Fawcett reaches into his pocket. Takes out many envelopes. Sifts through the letters. Hands one to Costin:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>We may be at the end now and I believe it's time.</dialogue>
    <scene_description>(beat) I'm afraid it's quite unbearable for me to read it myself. Would you please? Costin wordlessly takes it from Fawcett, staring at Fawcett.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>(beat)</dialogue>
    <scene_description>"My dearest Puggy--"</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Feel free to summarize.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>I was hoping you'd say that... She's moved the family to Devon, and in your absence is promoting your name. Your new son Brian is doing well. And your older son Jack is excelling, she says in all ways...</dialogue>
    <scene_description>Fawcett is devastated hearing about all this. Starts to tear up. Costin holds up the letter:</scene_description>
    <character>HENRY COSTIN (CONT'D)</character>
    <dialogue>Shall I continue?</dialogue>
    <scene_description>Fawcett gently takes the LETTER from Costin's hand. HE PUTS THE LETTER IN THE FIRE. Fawcett WATCHES IT BURN FOR A MOMENT. We SEE the SCRIBBLED WORDS ON THE PAPER as they get CONSUMED BY THE FIRE. Fawcett watches the letter burn. He shakes his head at the preposterousness:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I see my son's face in my dreams now.</dialogue>
    <scene_description>(sotto) What a mistake to come here... He GRABS HIS HEAD, each palm of his hand on each side of his head. Closes his eyes in ANGUISH. As Fawcett wipes tears from his face:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Major--I'm not one for speeches. And if I should die here, I know my name dies with me. But I have fought as a soldier, and I have tasted victory. What have you tasted--besides your unrealized dreams? If you allow yourself to perish here, you will have achieved nothing. Now that my fever has come on, I may well not survive. Indeed, I am of little use in my current state. But you must persevere.</dialogue>
    <scene_description>(a sardonic smile) And may I add, if you should manage to take me with you, I'll not protest.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(he smiles as the words sink in; checks his chronometer)</dialogue>
    <scene_description>I shall endeavor to do both, Mr. Costin. (louder, to the group) Six hours rest. Dawn's approaching. Dan, collapsed at the base of a tree nearby, begs Fawcett:</scene_description>
    <character>DAN</character>
    <dialogue>Please, Mr. Fawcett--I'm not fit. I, I think I might be near my end in this bloody hell.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You can walk, can you not?</dialogue>
    <scene_description>Dan can, but does not answer. Fawcett takes out his BIG KNIFE. Moves up to Dan, puts his blade to Dan's throat:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>If we die, we'll die on our feet-- unless you prefer the knife.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER - ON THE RAFT - NARROW CAVERNS 43</stage_direction>
    <character>DRIZZLING RAIN. CLOSE SHOT ON FAWCETT.</character>
    <dialogue>STARE, with DARK and DEEP-SET EYES.</dialogue>
    <character>HE'S GOT A WIDE-EYED</character>
    <dialogue>Fawcett may be frail, but he is at least mentally in control of himself--unlike the others. Costin is either unconscious or DEAD.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Costin...? Mr. Costin?</dialogue>
    <scene_description>Fawcett is visibly upset that Costin does not answer. Tadjui prays aloud... Manley is shivering terribly and covered with maggots; HE IS STICKING HIS TONGUE OUT, TO CATCH THE RAIN AS IT FALLS FOR HYDRATION. Dan is muttering to himself, aloud; he also sticks out his tongue for the rain's water. Even the dogs have gone totally lethargic, and the carcass of one of them slides into the river. Willis rummages through the food baskets. Nothing but a couple of rotten fruit. He begins to cry:</scene_description>
    <character>WILLIS</character>
    <dialogue>No more food! Ain't nothing left-- NOTHING--</dialogue>
    <scene_description>ONLY A ROTTEN BANANA REMAINS. Willis charges for it; Dan and he FIGHT OVER IT BRIEFLY. SEEING this: Fawcett gets up, approaches the men:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Stop it--get--we're not savages!</dialogue>
    <scene_description>Tadjui stops playing the zampona. He stands.</scene_description>
    <character>DAN</character>
    <dialogue>We're leaving our bones here! And for what?!? A map??? We're not even lookin' for gold!</dialogue>
    <scene_description>Dan STEPS BACK, ARMED. He approaches Fawcett, dangerously close, with his RIFLE POINTED AT FAWCETT:</scene_description>
    <character>DAN</character>
    <dialogue>There could be war already and we wouldn't even know it! Have you ever considered that?!</dialogue>
    <scene_description>Dan turns to the others. He is ready to CHARGE. MUTINY?!?</scene_description>
    <character>DAN</character>
    <dialogue>Even if we get there, we ain't makin' it back with nothing in our bellies!</dialogue>
    <parenthetical>(turning back to Fawcett, still directed to others)</parenthetical>
    <dialogue>Let's have at him!</dialogue>
    <scene_description>Fawcett looks at the others. With the exception of Costin and Manley, both of whom now LOOK UNCONSCIOUS if NOT DEAD, they all SEEM READY TO CHARGE AT HIM. Fawcett seems to steel himself. Dan TAKES A STEP FORWARD, and Fawcett's eyes widen. Then FAWCETT CATCHES SIGHT OF COSTIN--WHO HAS TURNED TOWARD US, HOLDING HIS PISTOL! (Dan has his back to Costin and cannot see.) Dan takes a step TOWARD Fawcett, ready to do away with him, when--COSTIN FIRES! Dan CURLS OVER with a STUNNING VIOLENCE, BLOOD POURING FROM HIS EAR. Dan CUPS his ear with his hands, howling in pain.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>The next one I'll put between your eyes!</dialogue>
    <scene_description>AND THEN: wordlessly, TADJUI POINTS. The others turn to look, one by one. EMERGING: THE SOURCE OF THE VERDE RIVER. The men are frozen in awe.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LAND NEAR THE SOURCE OF THE VERDE RIVER</stage_direction>
    <scene_description>The water dribbles from a small cliff, down into the base of the river. It is a beautiful sight. Fawcett slowly takes out his surveying equipment and the camera.</scene_description>
    <character>HENRY COSTIN</character>
    <parenthetical>(proud, almost giddy)</parenthetical>
    <dialogue>We made it! No one's ever been here before! No one! NO ONE!!!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Prepare for the group photograph, Mr. Costin...</dialogue>
    <scene_description>Costin takes the camera and plants it on a TRIPOD for THE GROUP PHOTO, but he is so depleted he can barely move his limbs. The others weakly get into position for the photo. Dan weeps as he slides into his position. Manley looks around, then calls out:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>Major... We've, we've lost the Indian--</dialogue>
    <scene_description>FAWCETT SPINS AROUND. TADJUI IS INDEED GONE. As are the other INDIANS. Fawcett sees footprints, leading off into the jungle. Manley seems primed to track the footprints when Fawcett stops him.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Manley! He got us here, didn't he...?</dialogue>
    <scene_description>Fawcett hears a subtle CRUNCHING NOISE in the brush. ALL ARE STARTLED. Takes a quiet step forward. FAWCETT holds his finger to his lips--"QUIET!" And then ducks into the brush. Costin approaches, sees something, or at least thinks he does. Turns to Manley, who is standing next to him. Whispering:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Am I dreaming it?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>No--I see it too.</dialogue>
    <scene_description>LONG-LENS CLOSE SHOT on a DEER. SEVERAL YARDS AWAY, about 30, deeper into the forest. The deer is oblivious. Fawcett has his gun trained on it. The men now surround Fawcett with the gun. Fawcett is silently getting ready to fire. The deer is chewing grass. Manley is praying to himself. Dan, also praying but aloud, is still panicking:</scene_description>
    <character>DAN</character>
    <dialogue>Please... Lord... It's our only chance!</dialogue>
    <character>WILLIS</character>
    <parenthetical>(whispered)</parenthetical>
    <dialogue>Shut up!</dialogue>
    <scene_description>CLOSE SHOT ON FAWCETT'S EYE as he readies the shot. CLOSE SHOT ON THE DEER--which seems to spot FAWCETT. THE DEER GALLOPS AWAY JUST AS FAWCETT FIRES THE GUN. A TUFT OF SMOKE. The deer is gone.</scene_description>
    <character>DAN</character>
    <parenthetical>(breaking down)</parenthetical>
    <dialogue>God damn you, you missed! We'll starve for sure!</dialogue>
    <scene_description>Without answering, Fawcett charges up to where the deer was.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FOREST</stage_direction>
    <scene_description>The deer is here. On the ground. DEAD. Fawcett hit it square in the head. The others have now joined him around the animal.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>I couldn't have done that better myself.</dialogue>
    <scene_description>The men start to drag the deer to the riverbank. And onto the raft.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Start a fire. We'll--</dialogue>
    <scene_description>Then FAWCETT FREEZES. He has SEEN SOMETHING. WHITE AS A GHOST. Costin approaches, sees it too. WE CUT TO REVEAL: COVERED WITH MOSS, unmistakably: a SMALL STATUE, perched atop a ROCK.</scene_description>
    <character>FAWCETT WALKS TO IT.</character>
    <dialogue>REACHES OUT.</dialogue>
    <scene_description>THEN TAKES SEVERAL STEPS FORWARD, as if to continue the MISSION DEEPER INTO THE JUNGLE. HE SEES: PAINTINGS, on ROCKS. He looks to the ground, SPOTTING SHARDS OF POTTERY, STATUES. He SEEMS ALMOST LIKE A RABID DOG. Under his breath:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Good Christ--</dialogue>
    <character>HE SPINS AROUND TO THE OTHERS:</character>
    <dialogue>PERCY FAWCETT</dialogue>
    <scene_description>There's...pottery--right beneath our feet! Fawcett pockets it, starts to dig.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>It's all over--deep, in the ground...</dialogue>
    <scene_description>Then he takes a few more steps. Fawcett runs his fingers along a ROCK PAINTING.</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(sotto)</parenthetical>
    <dialogue>My God, he was right--</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>The Indian was right--</dialogue>
    <scene_description>He starts putting all the pottery in his pockets... RUMMAGING IN THE MUD, he is covered like a PRIMATE:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(to the others)</parenthetical>
    <dialogue>The Indian spoke of this!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>He was bloody right! HE WAS BLOODY RIGHT!!!</dialogue>
    <parenthetical>(charges up to Costin)</parenthetical>
    <dialogue>Mr. Costin, you said no one'd ever been here before--</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>(stunned)</dialogue>
    <scene_description>Yes, Chief. I--I did--</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>No white man had, Mr. Costin. NO WHITE MEN!</dialogue>
    <scene_description>A BEAT as Costin lets it sink in. FAWCETT TURNS BACK TO THE BRUSH. A HOUND FOLLOWS HIM. Through some vines, he SEES a carving in stone--or so he thinks. About to reach out to it. The hound leads the way a bit--</scene_description>
    <character>WHEN--A VICIOUS, ENORMOUS BLACK PANTHER CHARGES OUT OF THE</character>
    <dialogue>JUNGLE, RIGHT TOWARD THEM! It TAKES the DOG in its TEETH...</dialogue>
    <dialogue>Fawcett and the men BOLT, some yelling in fear, away from the panther.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER - ON THE RAFT</stage_direction>
    <scene_description>CLOSE SHOT ON FAWCETT as the mouth of the RIVER RECEDES...</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We'll follow the watershed and pray it brings us out.</dialogue>
    <scene_description>(beat) If we ever make it back, the world must know what we've found here...</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>That deer better have more meat on its bones than we do...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BOLIVIAN GOVERNMENT BUILDING - BRITISH EMBASSY - DAY</stage_direction>
    <scene_description>A magnificent building in busy downtown La Paz. BUSTLING.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BOLIVIAN GOVERNMENT BUILDING - DAY</stage_direction>
    <scene_description>A group of very comfortable British soldiers are at work at their desks as one BRITISH SECRETARY types at the front desk. Smiles, joking. Then they STOP. Percy Fawcett walks into the building. He looks and smells like hell, filthy and unshaven and shaking like a leaf from malnutrition. Hair completely out of control, his beard at epic length. He approaches an official (CECIL GOSLING) at the front desk. The official, whose nose crinkles up--presumably at the stench of Fawcett--seems bewildered. Fawcett SHAKES LIKE A LEAF; is he mad?</scene_description>
    <character>CECIL GOSLING</character>
    <dialogue>May I...help you, sir?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Tell me please--is there war, between Bolivia and Brazil? I'll fight if I'm needed.</dialogue>
    <character>CECIL GOSLING</character>
    <parenthetical>(baffled)</parenthetical>
    <dialogue>War? No, sir--there's no war. Is there something we might do for you?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>My name is Major Percy Fawcett. If you could, please contact my family through the Royal Geographical Society, in London.</dialogue>
    <scene_description>SLAM! Fawcett DUMPS a series of frayed map notebooks on the desk. He also EMPTIES HIS POCKETS OF POTTERY SHARDS. A BRITISH OFFICIAL ("SIMON BEAUCLERK") with his back to us overhears this. He seems interested, turns. Approaches. Meanwhile, Fawcett is hurriedly throwing everything on the desk:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I've the maps here, they're, they're all completed...</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>And, and I found these, these bits of pottery, and statues, in the jungle--a great discovery...to be pursued...</dialogue>
    <character>SIMON BEAUCLERK</character>
    <dialogue>Major Fawcett?</dialogue>
    <scene_description>Fawcett struggles even to nod:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes...?</dialogue>
    <scene_description>ENTERING, almost crawling in now, behind Fawcett: COSTIN, MANLEY, WILLIS.</scene_description>
    <character>SIMON BEAUCLERK</character>
    <dialogue>I believe I got your orders on my desk just last week. You were supposed to arrive here in July 1908?</dialogue>
    <scene_description>Fawcett looks up, sees a calendar on the wall: "AUGUST."</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(devastated)</parenthetical>
    <dialogue>I'm, I'm so very sorry, it's August... We did the best we could- -most members of our party did not survive.</dialogue>
    <character>SIMON BEAUCLERK</character>
    <dialogue>Major, it's August 1907. You're eleven months early. You've mapped the entire Verde tributary a year ahead of schedule.</dialogue>
    <scene_description>HE AND THE OTHER OFFICERS ARE ASTONISHED. Another British Officer, seeing how frail Fawcett looks, runs to get a chair and positions it right behind Fawcett:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I can stand, thank you.</dialogue>
    <scene_description>A whole host of officers now seem to realize what's going on and begin to gather around Fawcett.</scene_description>
    <character>CECIL GOSLING</character>
    <dialogue>Sir, should you like a bed? Some food, or a bath perhaps?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes. For ALL of us.</dialogue>
    <character>CECIL GOSLING</character>
    <dialogue>Yessir. Of course.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>And I'd like you to send a telegram to my wife, Mrs. Nina Agnes Fawcett --HELL VERDE CONQUERED.</dialogue>
    <scene_description>And then FAWCETT'S EYES ROLL BACK INTO HIS HEAD. He COLLAPSES... PRE-LAP a MARCHING BAND playing an UPBEAT SONG: CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PORT - DOCK - LATE DAY</stage_direction>
    <scene_description>It is late afternoon and the port is PACKED with people. A band plays a MARCH and the mood is an absolute celebration. A BOAT is at the DOCK. OFF THE BOAT COMES PERCY FAWCETT. A CHEER. A HERO'S WELCOME. He LOOKS THROUGH THE CROWD. He looks for someone... The CROWD TRIES TO TOUCH HIM, DOES TOUCH HIM. PUSHING HER WAY toward him: NINA FAWCETT, HOLDING A BABY. It's BRIAN. Her other HAND holds the hand of her son JACK, now significantly older. To the children, with a huge smile:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>There's your father--everyone's here for him! He's the hero of the day!</dialogue>
    <scene_description>PERCY makes his way through the crowd and the two finally spot each other. He PUSHES. She PUSHES. As the shoving continues, a RANDOM MAN AT THE PORT:</scene_description>
    <character>RANDOM MAN AT THE PORT</character>
    <dialogue>Major Fawcett! You've raised the Union Jack for all the world to see!!!</dialogue>
    <scene_description>Fawcett finally gets to her. A beat of silence as they look at each other, then:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(through happy tears)</parenthetical>
    <dialogue>You're the most beautiful woman I've ever seen.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>You're different. And yet exactly the same.</dialogue>
    <scene_description>THEY EMBRACE, KISS. Intimate, through tears:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I've missed you so much--though God knows, I tried not to...</dialogue>
    <scene_description>They separate. Fawcett looks down. Jack looks at him with total dispassion:</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Are you my father?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I am indeed, my son!</dialogue>
    <scene_description>Percy hugs him so very tightly and bursts into tears BUT: JACK HAS VIRTUALLY NO REACTION. PERCY REGISTERS THIS; the boy COULD CARE LESS. It is AWKWARD; PERCY'S SMILE DISAPPEARS. So: standing next to Percy is Brian:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>And this is my little Brian...? My little Brian!! Come here--come!</dialogue>
    <scene_description>CUT TO: CLOSE SHOT of an INVITATION. The Royal Geographical Society invitation, to a dinner celebrating Maj. Percy Fawcett. At the home of the Honorable Mr. James Murray...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. JAMES MURRAY MANSION - LONDON - NIGHT</stage_direction>
    <scene_description>A beautiful structure. A PARTY, with MUSIC.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MURRAY MANSION - FOYER</stage_direction>
    <scene_description>Two receiving lines: one for women, one for men. PERCY AND NINA FAWCETT enter and immediately are greeted by members of their own gender, but extremely WARMLY. (This should be in marked contrast to the film's opening gala.) Fawcett is THE TOAST OF THE TOWN. Sir George Goldie SWALLOWS him up, moves him away from Nina. Nina and Percy exchange bemused looks as he is pulled away:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Percy! Come... Meet our host. He is most anxious to meet you. I must say, he is the most marvelous of men. A person of considerable... resources. And of the finest stock.</dialogue>
    <scene_description>The DOOR OPENS, REVEALING:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MURRAY LIVING ROOM</stage_direction>
    <scene_description>A magnificent room, with long tables and sofas and beautiful paintings on the walls. ALL MEN, dressed in black tie. The top brass of the RGS: Sir John Scott Keltie, Sir George Goldie, others. AND: MR. JAMES MURRAY, fifty-five and dashing, with graying hair and a well-trimmed mustache. We remember him somehow-- the cover of that newspaper! Cigars are smoked. The air is thick with wealth and decorum. It could not be further from the jungle here, as SERVANTS PLACE CUPS with SAUCERS DOWN IN PERFECT SYNCHRONIZED RHYTHM.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Major Fawcett--what an honor! What an HONOR! Everyone's talking about your mission. Just remarkable, a real triumph!</dialogue>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Major, this is Mr. James Murray.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>How do you do.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Very well, very well... Welcome to the inner circle!</dialogue>
    <scene_description>Murray puts his arm around Fawcett, cheerfully.</scene_description>
  </scene>
  <scene>
    <stage_direction>A53 INT. DINING ROOM - MOMENTS LATER A53</stage_direction>
    <scene_description>The men and women, seated around a large and elegant table.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>I read your editorial in the Times this morning--about the slave trade in the Americas. Truly enlightened. Poor savages.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>The native does deserve our sympathy. We've only just scratched the surface in Amazonia.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Yes, certainly, there's much more territory to be charted!</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>You know, I am a biologist and explorer myself--I was second-in- command to Mr. Shackelton on his Antartica expedition.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I don't think there's anyone here who's not well aware of your achievements, Mr. Murray. You've distinguished yourself with great bravery.</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(a bit of false modesty)</parenthetical>
    <dialogue>Oh, it's nothing compared to Amazonia. Surveying the Amazon's always been a great goal of mine.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I would hope the RGS continues its pursuits. But I believe mapmaking should be of secondary interest now. I witnessed many archeological sightings of great significance.</dialogue>
    <scene_description>Some guy interrupts MURRAY. He is WILLIAM BARCLAY, thirty- one (more from him later):</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Mr. Murray!</dialogue>
    <scene_description>Murray turns to talk to him; Sir John Scott Keltie moves in. To Fawcett; sotto:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>My friend--your recent exploits have opened every door to you--so I would suggest keeping such sightings to yourself. Of course, no one here would dispute you believed you saw it. But a trip like that--very hard on the mind. Very hard.</dialogue>
    <scene_description>The evening changes now for Fawcett. He DARKENS.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir John, my mind is perfectly fit-- and thank heavens, still open.</dialogue>
    <scene_description>Fawcett steps away from Keltie and eyes JAMES MURRAY, holding court. Others around him LAUGH at a joke we cannot HEAR. Then, re a painting behind him:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>I have painted these works. All of the home is my work--these sculptures as well...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT LONDON HOME - FAWCETT'S OFFICE - DAY 53</stage_direction>
    <scene_description>It is FILLED with artifacts--from Amazonia, from Ceylon, from other exotic locations: spears, Indian blankets, pottery, Incan attire. And the Buddha. The TICK-TOCK and GONG of a grandfather clock... Young JACK excitedly leafs through his father's SCRAPBOOK, wearing a piece of Amazonian Indian headgear. He is fascinated. Toddler Brian pulls out some Indian necklaces. Percy enters:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Boys--these are not your toys. If you wish to play you may go outside. If you wish to remain, you must sit quietly.</dialogue>
    <scene_description>We PAN OVER TO REVEAL Nina entering the room. She moves to give Brian his milk. A beat, then:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>You might think to donate much of this to the RGS. They can preserve it better than we can.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(looks at her; beat)</dialogue>
    <scene_description>I'm not going to do that.</scene_description>
    <character>NINA FAWCETT</character>
    <parenthetical>(surprised, confused)</parenthetical>
    <dialogue>Why not?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>They believe I'm crazed, prone to hallucination. They value only the survey work. They do not respect my archeological discovery at all.</dialogue>
    <character>NINA FAWCETT</character>
    <parenthetical>(re: pottery on the desk)</parenthetical>
    <dialogue>Then I suggest you either ignore them or you prove your case, in public. You have those pieces as evidence. You can show them.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>And if we must, we shall find more evidence.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Then we shall find more evidence. As they will noy yet allow a womamn through the doors of their august establishment, we will look elsewheere and prove your case in public.</dialogue>
    <scene_description>ANGLE ON FAWCETT. His FACE LIGHTENS.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>If they only knew... you would be the true cause of their envy.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TRINITY COLLEGE LIBRARY - DUBLIN - ARCHIVES</stage_direction>
    <scene_description>It is the dark and vast archives of the famed library. Fawcett is in the stacks, looking through materials.</scene_description>
    <character>SUPERIMPOSE: "FEBRUARY 1909."</character>
    <dialogue>He takes out some FOLDERS, walks over to the big table where Nina sits, her hands full of ancient paper. Fawcett sits down across from her, begins to look through the items in his own folders.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Arrow drawings, meant to represent fractional distances, evidence of advanced mathematics. It's incredible...</dialogue>
    <parenthetical>(to Nina)</parenthetical>
    <dialogue>I should have engaged the Indians more directly--they no doubt had a great deal to teach me.</dialogue>
    <scene_description>No response from Nina, who had been sifting through another set of old and frayed documents, letters, writings. She SEEMS TO HAVE STOPPED. Staring at one YELLOWED PIECE OF PAPER, for seconds on end.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Cheeky?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Cheeky, did you hear me?</dialogue>
    <scene_description>Nina does not look over at Fawcett. She does not move, just stares at that paper. At last, Nina looks at Fawcett.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>What is it?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>I believe you have got your proof.</dialogue>
    <scene_description>At that moment, the CAMERA TILTS DOWN to REVEAL THE YELLOWED DOCUMENT. Then we HEAR:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - AUDITORIUM</stage_direction>
    <scene_description>The room is PACKED with dozens of scientists and explorers from across Europe. CIVILIANS line the BALCONIES. In the first level, we NOTICE that MEN sit with each other, and what few WOMEN there are sit in a separate section, fanning themselves. PERCY FAWCETT is in front of the room, near JAMES MURRAY; NINA SHOWS UP, sits in the WOMEN'S SECTION. HENRY COSTIN and ARTHUR MANLEY enter, all smiles, and go to their seats. SIR JOHN SCOTT KELTIE, the secretary of the RGS, and SIR GEORGE GOLDIE are next to Fawcett, in great humor.</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Revel in this, my dear boy. You will relive it with your children until the end of your days.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes, Sir George. I shall try.</dialogue>
    <scene_description>Keltie has stepped up to the podium and is banging on the hammer:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Gentlemen, good afternoon.</dialogue>
    <character>HOOTS, HOLLERS, CHEERS. WILD APPLAUSE.</character>
    <parenthetical>(The MEETING IS LIKE A ROWDY BRITISH PARLIAMENT MEETING, with interruptions and yelling par for the course.)</parenthetical>
    <character>SIR JOHN SCOTT KELTIE (CONT'D)</character>
    <dialogue>I should like to introduce one of our brothers, whose achievements are well-known here and not inconsiderable--the Honorable Mr. James Murray!</dialogue>
    <scene_description>ROUSING APPLAUSE. A BEAMING James Murray stands:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>I met a remarkable man but a few months ago upon his return from a place no one here has ever ventured.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Major Percy Fawcett has demonstrated--to me, at least--that there is a place where the explorer can go forth and exhibit perseverance, energy, courage, forethought, and all those qualities of an explorer of the times now passing away. Gentlemen, I give you...MAJOR PERCY FAWCETT!</dialogue>
    <scene_description>As Fawcett stands, amidst cheers, we overhear a whisper from William Barclay:</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Now for fairy tales from the resident Buddhist!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>My esteemed colleagues...it is now my firm belief that Amazonia is far more than the green desert many of us had supposed. I am proposing a that Amazonia contains a hidden civilization--one that may well predate our own.</dialogue>
    <scene_description>MURMURS. SKEPTICISM. The room is RESTLESS. Interrupting, STANDING in the CROWD:</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Major Fawcett, I am Mr. William Barclay, of Bedford. I have been in South America.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Barclay.</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>To be clear: are you insisting on mythical kingdoms of gold? Those fantasies lured the Conquistadors to destruction--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>SIR--it was the Conquistadors and WE who have been destroying Amazonia. This is a crime that must be stopped. I have seen with my own eyes evidence of their civilization and I assure you it is real--</dialogue>
    <character>RANDOM SCIENTIST</character>
    <dialogue>What is your point?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Perhaps it is too difficult for some of you to admit. We, who have been steeped in the bigotry of the Church for so long, cannot give much credence to an "older civilization"--particularly one created by a race the white man has so brutally condemned to slavery and death. YET WE MUST ENGAGE WITH THIS RACE, TO COME TO KNOW THEM AND LEARN FROM THEM, UNDERSTAND THEIR CUSTOMS AND LANGUAGES--</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Savages, in Westminster Abbey!</dialogue>
    <scene_description>LAUGHTER. Percy, shouting the first word:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>HENCE your disrespect--but I ask you, what is at stake? If we may learn of a city where one was considered impossible to exist, it might well write a whole new chapter in human history. Man would be shown as a conqueror of his environment and not a slave to it!</dialogue>
    <scene_description>Outright BOOING now. Fawcett shouts over the boos:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>CONSIDER MY EVIDENCE! My sightings of statues and archeological finds!</dialogue>
    <scene_description>Fawcett HOLDS UP A PIECE OF POTTERY:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Antiquities as sophisticated as any in Asia or Europe, in the middle of the jungle!</dialogue>
    <character>RANDOM SCIENTIST #2</character>
    <dialogue>Pots and pans, pots and pans!</dialogue>
    <scene_description>Many in the ROOM begin to chant, "POTS AND PANS!" Costin, who is finding all of this most amusing, leans forward, cups his hands around his mouth and screams:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Shut your hole!</dialogue>
    <scene_description>Then LAUGHS RIOTOUSLY at his own outburst. Fawcett continues, himself most amused at the riot he's causing:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(yelling above the crowd)</parenthetical>
    <dialogue>AND after my return from the jungle, I have examined a signal document dating from the Conquistadors.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It states explicitly the discovery of a lost city in Amazonia! Uncovered earlier this week, a copy in the archives of Trinity College in Dublin. Its original from Rio De Janeiro, written by a Portugese soldier. "Historical account, large, hidden ancient city, 1753. We came upon ruins of an ancient city, bedecked with gold. Stone archways, roads, temple, ancient symbols."</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>El Dorado!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No, gentlemen--I call it "Z"--the ultimate piece of the human puzzle! It is there and we must find it!</dialogue>
    <scene_description>James Murray stands. Shouts, pointing:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>MR. FAWCETT! I SAY WE RETURN! WE</dialogue>
    <character>WILL GO AND FIND THE GLORY!!! WHAT</character>
    <scene_description>FAWCETT BEAMS. HE POINTS BACK TO MURRAY:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>MR. MURRAY, I WILL MEET THAT</dialogue>
    <character>CHALLENGE! I WILL GO BACK!</character>
    <dialogue>Fawcett looks around the room. Which begins to explode.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>MR. COSTIN! I SEE YOU, SEATED UP</dialogue>
    <character>THERE!</character>
    <dialogue>Costin stands, POINTING DIRECTLY AT FAWCETT:</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>MR. FAWCETT! THAT JUNGLE IS HELL--</dialogue>
    <character>BUT--</character>
    <parenthetical>(smiles)</parenthetical>
    <character>BUT ONE KIND OF LIKES IT! I WILL</character>
    <dialogue>RETURN!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Manley! What say YOU?!?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>I WILL INDEED, SIR! I AM WITH YOU!</dialogue>
    <scene_description>NINA stands, CLAPPING. ANGLE ON HENRY COSTIN and ARTHUR MANLEY, here too, as they stand on their feet, applauding. JAMES MURRAY is basking, a KING here. Others JEER, however. Slightly humbled, William Barclay SITS DOWN. Percy Fawcett remains standing at the podium, determined, now even somewhat amused by the insanity he's caused...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT LONDON HOME - BEDROOM - NIGHT 56</stage_direction>
    <scene_description>Percy and Nina, in bed. Dark. A beat. They are touching each other's hands. It should have the mood of being post- coital. It is raining outside. After a beat:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I have such high hopes, Cheeky...</dialogue>
    <scene_description>(beat) Mr. James Murray has added immeasurably to the luster of our mission. And...with his participation, I genuinely believe we may have acquired the keys to immortality. ANGLE ON NINA as she ponders mentioning something. And then:</scene_description>
    <character>NINA FAWCETT</character>
    <parenthetical>(readies herself)</parenthetical>
    <dialogue>I...do believe I am quite ready to accompany you on your next journey as well.</dialogue>
    <scene_description>Fawcett is surprised and flummoxed:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>What...?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>The children will be off to school by the time it would begin. And I've learned to read the stars and navigate, and become very well- versed in the history of the region.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>After all, it was I who found the document.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(dumbfounded; stuttering-- with a laugh)</parenthetical>
    <dialogue>That would be--impossible. It's not a place at all for a woman.</dialogue>
    <scene_description>She sits up:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Not a place? We believe firmly in the equality between us.</dialogue>
    <scene_description>So does he, now:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Equality, yes--of course. But in mind, not in body. The rigors of such a trip would be beyond your imagination.</dialogue>
    <scene_description>She turns away from him, turning onto the edge of the bed. A beat. Then, with her back to him:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I believe it is generally acknowledged that the pain a woman experiences in childbirth far exceeds anything a man must endure.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>This is not about childbirth--</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>What do you know of childbirth? Have you witnessed a minute of it, much less endured it?</dialogue>
    <scene_description>He gets up, out of the bed, walks to face her. Kneeling:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Cheeky--the jungle is years of hard work and experience in the art of soldiering. It's about maggots in your skin, and deadly snakes, and disease. I love you and I could not bear that.</dialogue>
    <scene_description>(beat) The children need their mother. She gets up, off the bed, walks to her dresser. He STANDS, does not approach her (instead, staying close to the bed).</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Somehow I was able to bear the dangers you faced, the years you were gone. This way, we might be together--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You're my wife. I need you here, not as a tentmate in need of constant care. Be reasonable.</dialogue>
    <scene_description>She turns to him, flush with anger:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>You will throw "reasonable" in my face?</dialogue>
    <character>PERCY FAWCETT (SIMULTANEOUS)</character>
    <dialogue>I'm simply speaking the truth--</dialogue>
    <scene_description>She approaches him, strong and evincing a centeredness:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Was it reasonable to stay here and struggle to provide for the children while you wandered the jungle? Now you've no relationship with them whatsoever. And you have given no thought to my aspirations.</dialogue>
    <scene_description>He turns away from her, his hand slicing the air as he makes his points:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Men and women have each performed their roles since the beginnings of time. This is a cornerstone of our civilization. A man does not take his wife into the most dangerous place in the world on a whim!</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>I did expect more understanding from you and I am disgraced by your ignorant posture!</dialogue>
    <scene_description>Young JACK enters. He stares at the quarreling couple. He GRABS ONTO HIS MOTHER'S LEG with a FEROCIOUSNESS:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I'm all right, darling. Your father and I were just having a discussion.</dialogue>
    <scene_description>Jack will not let go of his mother as he STARES at HIS FATHER:</scene_description>
    <character>NINA FAWCETT</character>
    <parenthetical>(to Jack)</parenthetical>
    <dialogue>It's late, Jack. Return to your bed. I will come tuck you in in a moment.</dialogue>
    <scene_description>Jack won't budge.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Mother, I love you.</dialogue>
    <character>JACK!</character>
    <dialogue>PLEASE!</dialogue>
    <scene_description>The child finally lets go and leaves the room. She turns back to Percy. A LONG BEAT. Then she moves to him, takes his hand.</scene_description>
    <character>NINA FAWCETT (CONT'D)</character>
    <dialogue>I've not prepared myself for the jungle, it is true...</dialogue>
    <scene_description>They come together. Softly, emotional:</scene_description>
    <character>NINA FAWCETT (CONT'D)</character>
    <dialogue>(emotional; sotto)</dialogue>
    <scene_description>I couldn't bear that you might think my dreams ridiculous...</scene_description>
    <character>THE SOUNDS OF THE JUNGLE BEGIN TO BUILD.</character>
    <dialogue>LOUDER AND LOUDER.</dialogue>
    <scene_description>SMASH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON JUNGLE - RAINING</stage_direction>
    <character>SUPERIMPOSE: "MATO GROSSO REGION, BRAZIL. 1912".</character>
    <dialogue>The party hacks away. Fawcett, Costin, Manley, two Indian men, and James Murray, bringing up the rear. Two MULES, two HORSES, three DOGS. Fawcett leads and is ferocious, hacking as if he were swatting bees, with a giant machete in one hand and a map in the other. (Fawcett is looking slightly native.)</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(calling out)</parenthetical>
    <dialogue>One hundred twenty-one miles until Oviedo's last marking!</dialogue>
    <parenthetical>(to Costin)</parenthetical>
    <dialogue>Costin has stopped, is examining himself.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Damn these things...</dialogue>
    <scene_description>Fawcett then looks down at Costin's arm. He's got MAGGOTS eating his flesh. And an INECTION which has begun in his nostrils--ESPUNDIA. FAWCETT PAUSES.</scene_description>
    <character>HENRY COSTIN (CONT'D)</character>
    <dialogue>My nose now, too. Don't YOU ever get so much as a bee sting?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(still to Costin; jokes)</parenthetical>
    <dialogue>Mr. Costin, do you not know I have not my equal for virtue in the service? The insects honor this!</dialogue>
    <scene_description>Fawcett is immediately on the move again, slides down a muddy path toward the RIVER. Way behind him: Murray is struggling. The weight of the backpack.</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>Where's Mr. Murray?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Bringing up the rear, Chief.</dialogue>
    <scene_description>Calls out:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Murray!</dialogue>
    <scene_description>A VOICE FROM WAY BEHIND: MURRAY:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Yes, Major Fawcett!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>How are you managing?</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(huffing and puffing)</parenthetical>
    <dialogue>Very well, Major! Acquiring many samples! But--but my pack's getting quite heavy! Perhaps...I ought to leave some of my accoutrements behind!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You don't want to be ill-equipped for the journey ahead! You'll need all you can carry!</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Of course! I'm speaking merely of my extra clothes! They're slowing me down a touch, that's all!</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>I'm sure to be moving better if I might lose them!</dialogue>
    <scene_description>Fawcett looks back at Murray, who is lagging way behind:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Very well--when we get to the river. But you MUST keep one change of clothes and your mattress!</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Bugger probably wishes he were back on the South Pole...</dialogue>
    <scene_description>Fawcett stops. Turns around:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(almost peeved at Costin)</parenthetical>
    <dialogue>Mr. Costin, he's proven his valor beyond doubt when you and I were wet behind the ears.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>He'll pull his weight soon enough.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>And what weight.</dialogue>
    <parenthetical>(sotto)</parenthetical>
    <dialogue>He'll wind up bringing us down with him, I tell you...</dialogue>
    <scene_description>Fawcett continues to chop away. The group reaches the riverbank.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON RIVER - CLOUDY DAY</stage_direction>
    <scene_description>The Group is in canoes. Quiet, except for Manley:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>We've gotten ahead of the others...</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>A magnificent view, Mr. Fawcett.</dialogue>
    <scene_description>:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You'll see greater sights than this, I promise you...</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>The thought thrills me, Major! I assure you, it thrills me!</dialogue>
    <scene_description>Murray then puts his handkerchief in the water.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>I don't advise that. We don't know what's in that water yet.</dialogue>
    <scene_description>Murray nods, stops what he is doing. Beat. ALL OF A SUDDEN: ARROWS! Arrows and spears rain down on the men.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Savages! Arm yourselves!</dialogue>
    <scene_description>MURRAY takes out his RIFLE. In fact, ALL the men--save Fawcett--take out their RIFLES and FIRE INTO THE AIR. Fawcett sees the Indians through the trees. Costin looks up and down:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>We're surrounded!</dialogue>
    <scene_description>FAWCETT SPINS HIS HEAD AROUND. They seem DOOMED. The GUNS ARE FIRING, IN THE AIR. The ARROWS COME, FAST AND FURIOUS. ANGLE ON FAWCETT as he seems to think of something... Fawcett yells to his comrades:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Hold your fire! HOLD YOUR FIRE!</dialogue>
    <scene_description>The canoes halt on the bank and the men get out, moving through the water to the:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OPPOSITE RIVERBANK</stage_direction>
    <scene_description>MURRAY moves near the riverbank, hiding from the arrows under tree branches.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Look for cover, men!</dialogue>
    <scene_description>Fawcett instructs Arthur Manley to:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Manley! Play your accordion!</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>My accordion--?!?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>"Soldiers of the Queen," come on!</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>All due respect sir, they seem likely to skin us alive!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Manley! Do as I say!</dialogue>
    <parenthetical>(to everyone)</parenthetical>
    <dialogue>Everyone--"Soldiers of the Queen"!</dialogue>
    <scene_description>A "YES, SIR," could be heard. Manley begins to play, and the whole party begins to sing:</scene_description>
    <character>THE ENTIRE PARTY</character>
    <dialogue>In the fight for England's glory, lads, of its worldwide glory let us sing!</dialogue>
    <scene_description>Fawcett then unties the handkerchief around his neck and waves it above his head at the Indians. No effect.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER</stage_direction>
    <scene_description>Fawcett enters the water again. Waving his handkerchief. The river gets deeper. He stops somewhere near the middle, with the river around his armpits. THE ARROWS AND SPEARS DO NOT STOP COMING. He wades directly INTO the fusillade of arrows. He repeats, over and over, in Portuguese and other dialects:</scene_description>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>Friend! Friend! Friend!</dialogue>
    <scene_description>The arrows keep coming, FASTER THAN EVER. Several come INCREDIBLY CLOSE, zooming right by his head. We can even hear a ZIPPING SOUND. But Fawcett braves it nonetheless, holding a SURVEYING BOOK in front of his face to protect it from the arrows. THWACK! An ARROW HITS the SURVEYING BOOK, in front of his face! Fawcett stands there, a man between two sides of the river, between two worlds maybe, and closes his eyes. The water surrounds Fawcett's armpits; no one moves. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>A61 EXT. CEYLON BEACH A61</stage_direction>
    <scene_description>A FLASH of shots, over which we STILL HEAR the sounds from the jungle: 1. A SHOT OF THE BUDDHA - a statue, surrounded by dark vines; a COLORED RIBBON is TIED to it, BLOWING IN THE WIND 2. A SHOT OF NINA and PERCY - on the BEACH. Holding hands. 3. A SHOT OF A BUDDHIST PRIEST - standing in front of them.</scene_description>
    <character>A WHISPERED VOICE (V.O.)</character>
    <dialogue>I will take the Pansil... I vow not to kill or injure any living thing...nor to take that which is not given...</dialogue>
    <scene_description>CUT BACK TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>B61 EXT. RIVER B61</stage_direction>
    <scene_description>Then: THE ARROWS AND SPEARS STOP. Fawcett opens his eyes. The sound returns--except that it's gone quiet. A GUARAYO INDIAN peers out from the forest.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER</stage_direction>
    <scene_description>Paddling out toward Fawcett in a raft, the GUARAYO takes the handkerchief from Fawcett; Fawcett motions to be taken across, and the two go to the Indian side with Fawcett kneeling humbly on the flimsy float. The whole group waits in silence for Fawcett, who disappears into the forest.</scene_description>
    <character>JAMES MURRAY</character>
    <parenthetical>(to the others, loud)</parenthetical>
    <dialogue>All of you! Should the red man attack, keep your eye on me! Rally to me at all costs!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERBANK - MOMENTS LATER</stage_direction>
    <scene_description>MOMENTS LATER: the Indian emerges, CHEERFULLY wearing Fawcett's Stetson hat. PANIC! IS FAWCETT DEAD?!? THEN: Fawcett emerges too, smiling. He waves to his men.</scene_description>
    <character>JAMES MURRAY</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Good God.</dialogue>
    <scene_description>The group, including Murray, all venture across the river.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GUARAYOS CAMPFIRE AREA</stage_direction>
    <scene_description>The men slowly approach the area. Human skulls abound. A HUMAN BEING'S BODY is BEING COOKED on a SPIT. The troops are spooked. Murray, in particular, seems appalled.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I recognize a bit of the chief's language. It's safe for us.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Are you mad?!? They're cannibals!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I recognize your reluctance and I sympathize.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>But I'm asking you to trust my experience--we must attempt to engage.</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(incredulous)</parenthetical>
    <dialogue>They've cooked a body, for chrissakes! Have you gone insane?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It's a dead member of the tribe-- his spirit will enter them if they eat it. It's their custom.</dialogue>
    <parenthetical>(to the whole group)</parenthetical>
    <dialogue>They may have critical information about our destination.</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(to the others)</parenthetical>
    <dialogue>They'll kill us, these savages!</dialogue>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>I refuse this madness. I refuse it!</dialogue>
    <scene_description>Manley, Costin, and the others look at Fawcett as though he is insane as well. MURRAY STARTS TO BACK AWAY, toward the FOREST.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Madness!</dialogue>
    <scene_description>Fawcett sees the others agree with Murray to a degree. He doesn't respond, and a brief look of madness, of possession, flashes across his face. So instead he walks to:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. GUARAYOS TENT</stage_direction>
    <scene_description>The other men eventually, reluctantly follow Fawcett into the tent--though conspicuously missing is MURRAY. Packed with both our guys and the Guarayos now. A beat of silence, then, to Costin:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Can you give them something?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Yes--yes, of course.</dialogue>
    <scene_description>Costin stupidly strikes a match, and though panicked, the Indians calm quickly when Fawcett takes out a glittering necklace:</scene_description>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>No--it's a gift! A gift! For you. And your--your son?</dialogue>
    <dialogue>The Chief Guarayo, sitting next to a boy, gestures to him.</dialogue>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>Yes, wonderful... I have sons, too.</dialogue>
    <scene_description>The Chief smiles, points to Costin, Manley. Fawcett laughs:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>No no, my sons are far away.</dialogue>
    <character>CHIEF GUARAYO (SUBTITLE)</character>
    <dialogue>How can you be so far from them?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(his smile disappears)</parenthetical>
    <dialogue>Our world is not like yours...</dialogue>
    <scene_description>ANOTHER GUARAYO, A WOMAN, responds:</scene_description>
    <character>GUARAYO WOMAN (SUBTITLE)</character>
    <dialogue>All people are made of the same clay.</dialogue>
    <scene_description>The Chief takes a crushed BERRY COMPOUND and gestures to FAWCETT around his EYES. FAWCETT COMPLIES, spreading the DARK RED MIXTURE ON HIS FACE. Then one of the GUARAYOS reaches for Costin's ARM. At first, Costin has trepidation, then allows the man to grab his forearm. THE GUARAYO WHISTLES LOUDLY, in a STRANGE PITCH. And the MAGGOTS in Costin's arm STAND UP. The Guarayo simply squeezes gently and the maggots fall on the ground. Costin's arm is cured of the maggots--! Costin TRIES TO WHISTLE like the GUARAYO but cannot:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Not sure we have the touch.</dialogue>
    <parenthetical>(back to the Guarayo; SUBTITLE)</parenthetical>
    <dialogue>We're looking for old houses, many houses, many many people, deep into the forest. Do you know of this?</dialogue>
    <scene_description>The Guarayo speaks in his native tongue. Then, to Costin:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>He's heard rumors, but is uncertain. Further down the river, he believes there'll be others who can help us.</dialogue>
    <scene_description>Then another Guarayo motions to his mouth. Food.</scene_description>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>Food--yes--thank you!</dialogue>
    <scene_description>ANGLE ON THE CHIEF as we GO TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERBANK</stage_direction>
    <scene_description>A Guarayo crushes a plant with a stone and lets the juice spill into the water. A milky cloud forms. After a moment, DOZENS OF FISH RISE TO THE SURFACE, gasping. A Guarayo boy wades into the water and pulls out the biggest. Fawcett, who had been making his own face up with beads, bows his head in thanks as he takes the fish. Fawcett turns and looks at the water.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>MY GOD! It's only stunned them! They don't kill any more than they have to! 'S remarkable!</dialogue>
    <scene_description>The other fish that the boy didn't withdraw from the water swim away.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GUARAYOS TENT - CLEARING</stage_direction>
    <scene_description>A thunderstorm is coming. Fawcett, with his makeup looking native now, walks into the clearing, and in front of him he sees that here are THOUSANDS of Indians living about. An astonishing discovery. And they are not just savages. They have advanced methods of farming; MAIZE GROWS AS FAR AS THE EYE CAN SEE. Costin approaches:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>We seem to have lost Mr. Murray.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>They've made the jungle into farmland somehow. All the families are working together--and there is no rank or superiority among them. It's truly humbling.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Chief--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Designed at right angles, mathematical in its precision.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It confirms so much of what we believed.</dialogue>
    <parenthetical>(to Costin)</parenthetical>
    <dialogue>Can you imagine what our lost city must be like...?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Chief, did you hear me about Mr. Murray? Your great polar explorer's gone lost in the trees--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Murray is an accomplished man-- we're not to fret over him. And anyhow, he can't have gone very far. Tell the men I've designed new rafts--the canoes are riddled with arrows and useless now. We'll be off on foot in the morning...</dialogue>
    <scene_description>Fawcett walks into the field of MAIZE. The wind blows the plants, and Fawcett is an incongruous figure amidst the Guarayos, who tend to the crops. Costin watches as Fawcett approaches the LEADER OF THE GUARAYOS and teaches him to HANDSHAKE. A GOODBYE OF SORTS...</scene_description>
    <character>CHIEF GUARAYO (SUBTITLE)</character>
    <dialogue>You may stay here with us. Join your spirit to ours.</dialogue>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <parenthetical>(a beat; awe)</parenthetical>
    <dialogue>You honor me beyond words. But it is not yet time for me to rest.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE - MORNING</stage_direction>
    <scene_description>Murray is asleep on the ground. He has gotten lost. Strewn nearby: his machete, all the photos of his family. Sitting in the mud. Food eaten, the wrappings all over. Turkish cigarette butts... He awakens to see FAWCETT AND THE REST OF THE GROUP, approaching him. Fawcett sees all the food's been eaten. To Murray, Fawcett must appear a strange figure--with his FACE PAINT, now slightly streaked from the rain like tears...</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Thank God you've found me--I--I got lost.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>I didn't think we'd survive in the presence of those horrible savages. My clothes and mouth--full of grit!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You'll be looked after. We must be on our way now--</dialogue>
    <scene_description>BUT THEN: Fawcett reaches down, finds: AN EMPTY BOX OF CARAMELS. INSIDE THE LID: "For your journey, darling, I love you. Nina". A FAWCETT FAMILY PHOTO IS INCLUDED. Something changes in Fawcett. DARKENS.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>This...was from my wife and children...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>For all of us.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Yes--I know--I was hungry! It was supposed to be just a short rest. The scrub's incredibly dense and I fell. I think I've a terrible fever...</dialogue>
    <scene_description>A BEAT. And then Fawcett looks like he is about to EXPLODE. His EYES BULGE WITH RAGE:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Get up.</dialogue>
    <scene_description>Fawcett turns, ferociously hacks a branch with a machete.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Mr. Fawcett--just one more moment of rest... I'm very tired--</dialogue>
    <scene_description>Fawcett FREEZES. SPINS BACK AROUND. Raging:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You're tired? You have no right to be tired!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>My own sons--at their tender ages-- could be counted on more than you. I could be with them at this very moment, yet I am here with YOU, to attempt great things.</dialogue>
    <scene_description>He collects himself, bends down again. Privately:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You stole from the group and violated our trust. I won't have this again.</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(shocked)</parenthetical>
    <dialogue>How dare you speak to me that way! Have you seen my leg? HAVE YOU?!?</dialogue>
    <scene_description>Fawcett looks down: Murray's leg has a gash. Fawcett bends down, looks at the wound. The other men surround Murray. Murray's things have scattered all over the jungle.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>It's not yet infected, but if blood poisoning should set in, you'll be a dead man.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>If you'd stayed with the group and trusted the so-called savage, you'd be fed--and cured. As it is, we've got to hope for the best.</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(at a loss for words)</parenthetical>
    <dialogue>Yes, well, I'll, I'll do that!</dialogue>
    <scene_description>ANGLE ON MURRAY as FAWCETT walks away. He is STEAMING.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE RIVER</stage_direction>
    <scene_description>They are rafting. Dizzying. Murray is SHIVERING, VERY SICK, a mess. Maggots have overwhelmed his legs. Fawcett and Costin are maneuvering the raft. BUMP! The rafts shift with the river's flow. Murray and Costin fall off the raft. Costin knows what to do; he starts swimming to shore. Murray does not.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Swim to shore! The water's too rough for piranhas!</dialogue>
    <scene_description>Instead, Murray attempts to hold onto the raft and threatens to capsize it.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I said, swim to shore!</dialogue>
    <scene_description>The raft starts to shift. Fawcett is enraged:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>God damn it!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <character>PERCY FAWCETT</character>
    <dialogue>Let go! You pink-eyed weakling-- LET GO!</dialogue>
    <scene_description>The raft tips, and TWO CRATES OF SUPPLIES GO TUMBLING OVERBOARD. Manley tries to stop them, to no avail...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SHORE</stage_direction>
    <scene_description>Fawcett directs the raft to the shore using a bamboo pole. The raft bumps up against the riverbank. Everyone has congregated. All are out of breath. Fawcett eyes Murray with utter contempt.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>We've just lost a third of our rations!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(glaring at Murray)</dialogue>
    <scene_description>Getting to the city and back was already going to be difficult.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>For heaven's sake, I was drowning! Didn't you SEE?!?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>There was no chance of that! And this after you took our food!</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>I suppose the honorable course of action would be for me to starve, then? Is that it? Is that what you wish for? My death?!?</dialogue>
    <scene_description>Fawcett, to Costin:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Where are we now, do we know? Are we behind our schedule?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Yes. We are--</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>You're entirely without mercy! You could at least slow down to give a lame man a chance for his life!</dialogue>
    <scene_description>Still not paying attention to Murray, Fawcett remains fixed on Costin. Seeing a couple of ABANDONED HUTS behind Costin:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Pitch camp here for the night, we'll determine our progress.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>And now you ignore me!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAMP - DUSK</stage_direction>
    <scene_description>One of the HORSES starts to collapse. Looks very ill. A CREWMEMBER turns to the others, shouting:</scene_description>
    <character>CREWMEMBER</character>
    <dialogue>Horse down!</dialogue>
    <scene_description>The Crewmember takes out his gun, SHOOTS THE HORSE.</scene_description>
    <character>ACROSS THE FIRE:</character>
    <dialogue>Murray has a fever. Truly sick: swollen, distended, in terrible shape--covered with maggots. A colorful snake hangs from a tree over his head. He moans over and over, shivering. To a noncomprehending Indian, he gets delirious:</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>I'm going to die too, just like that horse. I'm a man of property...now worth as much as that horse...</dialogue>
    <character>SEEING THE MAGGOTS, TEARS COME TO MURRAY'S EYES.</character>
    <dialogue>SICK, DYING, DELIRIOUS:</dialogue>
    <character>COMPLETELY</character>
    <dialogue>JAMES MURRAY</dialogue>
    <scene_description>The affrontery of this upstart, and his vulgar quest for glory... Like a Judas...delivering me over to this jungle when he handed over our Lord, to be crucified... Father, forgive me this trespasses, As we forgive them that trespass against us... But...but let me not compare myself to thee, my Lord. You have delivered me from other evils, Lord. The fierce cold in Antarctica, was I weak then? (strained smile through tears) He is not even worthy to kiss the hem of my garment, Lord. Even as I am not worthy to touch yours... Give me strength to survive, to forgive this man his sins against me...</scene_description>
    <character>SEVERAL YARDS AWAY</character>
    <dialogue>Costin comes over to Fawcett, who is standing near the fire. Pondering...something. Manley is here, too.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>We're about two weeks behind our planned pace. That's my best guess, from the sextant and the charts.</dialogue>
    <scene_description>In the background, James Murray lets out a MOAN.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>It appears our Mr. Murray's got blood poisoning now.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes... I'd noticed that.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>So much for his good bloodline.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>I caught him with our maize yesterday morning. He claimed it was from his own private store.</dialogue>
    <scene_description>Fawcett moves closer. Sotto voce, looking at Murray:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I fooled myself for some time, but no longer--the man is a cancer. If we keep him with us we won't survive, much less reach the city and return to our families.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>I say we ditch him, leave him to rot. I've wanted to from the beginning. His Lordship's a coward and a thief.</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>I'm in agreement, Major--there aren't two sets of rules, one for the high and one for the low.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>What's it going to be, Chief?</dialogue>
    <scene_description>Fawcett eyes Murray. MOMENTS LATER PERCY APPROACHES MURRAY, around whom flies swarm. Murray eyes Fawcett suspiciously:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>What is it...?</dialogue>
    <scene_description>Fawcett speaks deliberately, almost as if proving a case in a courtroom. In measured and careful tones, like a speech he has prepared:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>When traveling in the jungle without other resources, every man must realize that if he falls sick and cannot move with the others that there must be consequences. The others cannot wait and die with him.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Do you understand?</dialogue>
    <scene_description>Murray seems to get it. An awkward beat, then: Murray starts to grip his revolver.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>You're only here--all of you-- because of the funds I provided!</dialogue>
    <scene_description>Costin whips his shotgun out, points it directly at Murray. Pushes the shotgun up against his cheek. A tense moment.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Many of us have families back home. And I cannot allow you to further jeopardize the welfare of our entire party.</dialogue>
    <parenthetical>(to Costin)</parenthetical>
    <dialogue>Mr. Costin.</dialogue>
    <scene_description>As Costin takes Murray's revolver from him:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>You don't care one whit about me or the rest of our party, Mr. Fawcett. You don't even care about returning home--you only care about finding your bloody city!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>There are some in our group that would have me abandon you here and leave you to die. But I will not. There are mining encampments south of us, along the river. In the morning you'll be on your way to them. I'll give you our last horse with what supplies we can spare and an Indian to guide you.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>You'll pack me off with a bloody swamp wog, will you?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>This calm willingness to abandon me is a queer thing to hear from an Englishman. But it does not surprise me, as I have now sufficiently gauged your class and character.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE - MORNING</stage_direction>
    <scene_description>Murray is placed atop a mule. Manley and Costin have trained their guns on him. Fawcett notices MURRAY'S INFECTED KNEE.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Godspeed, Mr. Murray--</dialogue>
    <character>JAMES MURRAY</character>
    <parenthetical>(interrupting, with rage)</parenthetical>
    <dialogue>Let's hope our paths don't ever cross again, Mr. Fawcett. For your sake.</dialogue>
    <scene_description>With that, Murray rides off. Fawcett and the others watch as the mule disappears into the jungle.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Good riddance, I say.</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Any chance for him, Chief?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Slim, to be sure. But it's the best we could do...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Let us go.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CANYON - DUSK</stage_direction>
    <scene_description>Fawcett leads the men as they slide down a steep canyon. The RAIN comes.</scene_description>
    <character>LIGHTNING.</character>
    <dialogue>THE RUMBLE OF THUNDER.</dialogue>
    <scene_description>Fawcett looks up, through heavy downpour: SEES what he thinks is a MASSIVE STONE FACE CARVED INTO THE WALL OF THE CANYON. A GODLIKE VISION. Then, A ROAR. The "STONE FACE" CARVED INTO THE WALL OF THE CANYON seems to CRUMBLE AMIDST THE DOWNPOUR... Fawcett SEEMS in a TRANCE when--</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Chief!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes, I saw it! We're close now!</dialogue>
    <scene_description>The men are SOAKED. FROZEN. PANTING. FAWCETT, HOWEVER, IS READY TO KEEP MOVING:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>All our reserves are lost!</dialogue>
    <scene_description>The CAMERA TILTS DOWN. Costin and the others have flung over the rations CRATES. INSIDE, the rations are COVERED with OIL. Ruined:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>They're covered in paraffin! The bloody bastard destroyed them!</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We've got to head back!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We can't! We've nothing to show for our efforts--no evidence--</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>MAJOR! With what little we've got on our backs, death would be certain within days! If we'd still had the horse you gave Murray and all it could carry, we might have a fighting chance!</dialogue>
    <scene_description>Fawcett ponders. Through gritted teeth and deep rage:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>God damn me for a fool to bring him!</dialogue>
    <scene_description>Then: he bashes the side of a rock repeatedly with his machete. Pure frustration over the whole situation. Over this, we HEAR:</scene_description>
    <character>PERCY FAWCETT (O.S.)</character>
    <dialogue>To be sent to the R.G.S.: Mr. James Murray was forced to separate from our expedition to seek medical attention. His location is currently unknown, and he has most likely perished.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LA PAZ - BRITISH EMBASSY - DAY</stage_direction>
    <scene_description>Fawcett has arrived in La Paz, Bolivia, to the British Embassy. He is writing on a notepad a message to the RGS, which an English Officer is typing:</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>The British Minister has his case in hand and his family should not be contacted unless there is definitive news of some kind. The rest of the group shall arrive back in England as soon as is possible...</dialogue>
    <scene_description>Fawcett looks at the counter. CLOSE SHOT ON a newspaper. The headline, in Spanish, is all about the ASSASSINATION OF THE ARCHDUKE FERDINAND and WAR IN EUROPE. The ENGLISH OFFICER sees Percy looking at the paper. In a jolly tone:</scene_description>
    <character>ENGLISH OFFICER</character>
    <parenthetical>(grinning)</parenthetical>
    <dialogue>Looks like a war with Fritz! We'd better all get home or we'll miss our chance to fight!</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(eyes him; then, re telegram)</parenthetical>
    <dialogue>Please send this immediately.</dialogue>
    <character>ENGLISH OFFICER</character>
    <dialogue>Yes, sir.</dialogue>
    <scene_description>WE SEE PERCY WALK OUT OF THE OUTLET into the distance...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. OUTSIDE THE FAWCETT HOME - LATE DAY, SUNNY</stage_direction>
    <scene_description>It's quiet, punctuated only by the sounds of boys playing in the distance: Fawcett's sons play with a rugby ball. CLOSE SHOT on a BEAUTIFUL BABY GIRL, ALMOST A TODDLER, sitting on the ground surrounded by blocks. We HEAR:</scene_description>
    <character>NINA FAWCETT (O.S.)</character>
    <dialogue>That is Joan, as you might have guessed.</dialogue>
    <scene_description>Widen to SEE FAWCETT and NINA in the backyard of the house, eyeing their daughter. Nina has a BROAD SMILE.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Beautiful name. For a beautiful child.</dialogue>
    <parenthetical>(to the toddler)</parenthetical>
    <dialogue>Joan, I'm your father.</dialogue>
    <scene_description>SHE SMILES AT HIM, POKES HIS FACE. An instant connection.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I'll go and get the boys--they're playing a fierce match--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No no. Let them finish. It's good for them...</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>(beat)</dialogue>
    <scene_description>There are many urgent telegrams waiting for you, inside. Fawcett nods.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Perhaps it's about the war, on the continent--</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(interrupting her)</parenthetical>
    <dialogue>It's not. It's about my mission. I'll need to go to London soon, no doubt. There will be a reckoning.</dialogue>
    <scene_description>He steps forward, watches his boys play in the distance.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I came close, Cheeky. I had to turn back, for the good of the men.</dialogue>
    <parenthetical>(fighting tears)</parenthetical>
    <character>PERCY FAWCETT</character>
    <dialogue>I face humiliation now... I did everything I could and I accomplished nothing.</dialogue>
    <scene_description>Her face contorts: ANGRY, she stands over him but remains outwardly calm:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>If you have accomplished nothing, then what does that say about us? That all our efforts on behalf of this family have been for naught? Our willingness to live in something less than splendor will not be in vain.</dialogue>
    <scene_description>Fawcett turns back to face Nina; starts to walk to the house.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>When the boys are done with their game, send them in and I'll tell them what's happened.</dialogue>
    <scene_description>Fawcett walks into the house. Looking around, he disappears-- but we still see his SHADOW. He buries his head in his hands.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. ROYAL GEOGRAPHICAL SOCIETY - NEW BUILDING - DAY</stage_direction>
    <scene_description>A magnificent structure.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - HALLWAY</stage_direction>
    <scene_description>Fawcett walks down the hall and, looking lost, he enters:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MAP ROOM 78</stage_direction>
    <scene_description>An elegant space. FAWCETT EYES THE ROOM. Packed, with Sir George Goldie, Sir John Scott Keltie, and the rest of the RGS gang we know--including Manley and Costin and William Barclay among the roughly twenty in attendance.</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Major. You know many of us here.</dialogue>
    <scene_description>Then a seated man with his back to us turns: JAMES MURRAY. Fawcett spots him, then moves to a seat; a trial-like atmosphere in the room, tense. A silent beat, then:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Mr. James Murray has arrived in London just this morning.</dialogue>
    <scene_description>Fawcett eyes Murray without a HINT of what has gone on between them. If anything, he seems calm, with the trace of a smile on his face:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I would like to congratulate you. On your safe return.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>A remarkable effort.</dialogue>
    <scene_description>No answer by Murray.</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Mr. Murray contends that you abandoned him.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Is this true?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No, it is not. He was sent back with both food and money. It was a necessary maneuver, in order to save lives.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>He also tried to kill me, Sir George. Ask him about THAT--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>That's absurd. We almost killed ourselves giving you what rations we could!</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Sir John, we spent all our time playing around in the mud with savages. And may I say, I never saw any evidence of a lost city, either.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mr. Murray, you were the reason we did not reach our destination!</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>(to Percy)</dialogue>
    <scene_description>Tell them--our rations were covered with paraffin!</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>I reject that accusation--</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(to the room)</parenthetical>
    <dialogue>You may ask Mr. Manley here--or ANY of the other members of my team--if you have doubt of it.</dialogue>
    <scene_description>SIR GEORGE GOLDIE, who has been listening this whole time, STARES AT PERCY. Looks almost DISAPPOINTED in him.</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Sir John, I will not tolerate any further insult from this young man! I have retained counsel and will proceed accordingly. And as for his lackeys--they're swine, as untrustworthy as their master!</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>(to Percy)</dialogue>
    <scene_description>It is out of respect for you that I do not beat him like the dog he is. Costin STANDS. Goldie speaks up, looking utterly heartbroken, near tears:</scene_description>
    <character>SIR GEORGE GOLDIE</character>
    <dialogue>Please. Sit down.</dialogue>
    <scene_description>(Costin does so; then) Gentlemen, our nation is now at war, and it ill becomes us to hold onto private conflicts. I earnestly beseech you to come to an understanding. A beat. Then:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Well... I will...very generously offer that if Mr. Fawcett were willing to apologize--here, in the company of the entire society, then...I might be inclined to drop my claims against him and the RGS.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>With certain conditions, of course.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>What about it, Percy? Will you apologize?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>For the general good, I am willing to reconcile.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>However, I should like to hear Mr. Murray's conditions.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>On the night I agreed to join you-- and allowed your star to enter my sphere--your wife was there to witness your ascent. My condition-- my sole condition--is that she once again be present. On this occasion she will witness your acknowledgement of the wrongs you have done me.</dialogue>
    <scene_description>Fawcett stews, contemplating a response in front of the enormous--and uncharacteristically quiet--group. Then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>When I last saw you, Mr. Murray, I was putting you on our only remaining horse and giving you more than your share of our food. The rest of my men urged me to leave you where you lay, but I could not bring myself to do so. And as a consequence I saved your life.</dialogue>
    <character>JAMES MURRAY</character>
    <dialogue>Saved my life, did you?!? You left me to die! Yet by my own expertise, which you despise, I was able to escape the hell to which you had abandoned me! And I now confound your hopes to bury your shame in that filthy jungle!</dialogue>
    <scene_description>(to Keltie) Mr. Secretary--I demand that apology!</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes. I should apologize.</dialogue>
    <parenthetical>(looks to Costin, Manley)</parenthetical>
    <dialogue>To my crew. I'm sorry that I ever believed Mr. Murray to be worthy of your company. And that I ever mistook a man's rank for his mettle. I shall not make that mistake again.</dialogue>
    <scene_description>Fawcett stands, walks toward the door.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Sir John, what your purpose can be in this ambush I cannot say. But you need fear no more embarrassment from me.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I hereby resign myself from this institution. And I shall proceed on my own. Good day.</dialogue>
    <scene_description>MURRAY SMILES JUST A BIT as he says:</scene_description>
    <character>JAMES MURRAY</character>
    <dialogue>Mr. Fawcett, no man is an island unto himself--a fact you shall soon discover to your deep regret! I shall teach you what it means to challenge your betters!</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FAWCETT HOME - NIGHT 79</stage_direction>
    <scene_description>Fawcett gets out of a Hanson Cab.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT HOME - FOYER - NIGHT</stage_direction>
    <scene_description>Fawcett enters. Nina's been in the kitchen, extinguishing the oil lamps. She looks toward the door, looking grave. She and Percy exchange looks. Something is amiss:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>What's going on?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <scene_description>WHAT'S WRONG?:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>You've received a letter. All former officers not currently posted must send their names to the War Office.</dialogue>
    <scene_description>(beat) I suppose it's best we try and find your uniform. She goes back to extinguishing the lamps.</scene_description>
    <character>NINA FAWCETT (CONT'D)</character>
    <dialogue>(upset, trying not to be)</dialogue>
    <scene_description>Let us hope it's a brief conflict.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Don't be concerned, Cheeky. I've spent a whole life training for this. Besides, the jungle has never harmed me--a little war cannot beat that challenge.</dialogue>
    <scene_description>He walks up the stairs.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT HOME - STAIRWELL</stage_direction>
    <scene_description>Fawcett comes up the stairs, sees BRIAN AND JACK, at their desks from the hall. Presumably doing homework. Jack is now almost a young teen now and Brian a boy. Fawcett stands near the doorway, looking at them. SMILES.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Father.</dialogue>
    <character>BRIAN FAWCETT</character>
    <dialogue>Papa.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Jack. Brian.</dialogue>
    <character>BRIAN FAWCETT</character>
    <dialogue>Papa, why are we at war?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(nonplussed)</parenthetical>
    <dialogue>As to that, greater men than we must answer that question.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>You're not going away again, are you? To fight?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>If the reports are true, I must.</dialogue>
    <scene_description>Beat.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>But you've only just returned.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I've received my orders, Jack. I'm obligated to serve.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>What about your obligations to mother and to us?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We are your family and you have abandoned us for many years.</dialogue>
    <character>NINA COMES UP THE STAIRS, ENTERS:</character>
    <dialogue>NINA FAWCETT</dialogue>
    <scene_description>Jack!</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(shocked; darkens)</parenthetical>
    <dialogue>How dare you talk to me in such a manner?</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>How dare you, Father? You do not think of us. You think of Indians or Germans, or any other path to glory that you can find.</dialogue>
    <character>NINA FAWCETT</character>
    <parenthetical>(appalled)</parenthetical>
    <dialogue>JACK! You must stop it at ONCE!</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Mother, I will NOT STOP! He's returned a failure. ALL the papers are full of it! And now he wants to abandon us again! It is contemptible!</dialogue>
    <scene_description>Percy EXPLODES. He LUNGES ACROSS THE ROOM and SLAPS THE BOY with tremendous and frightening ferocity.</scene_description>
    <character>BRIAN FAWCETT</character>
    <parenthetical>(bursting into tears)</parenthetical>
    <dialogue>Father!</dialogue>
    <scene_description>Brian COVERS HIS EYES, deeply distraught. Nina steps forward to defend Percy, who, though furious, steps back--eyes widened, still in a dazed fit of anger.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Everything your father has done, since the day you came into this world, has been to better your life, and that of your brother and sister. For your own sake, I hope the day will come when you regret the things you have said to him.</dialogue>
    <scene_description>Jack's FACE is buried in his pillow:</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>I hate him, Mother! I hope he never comes back!</dialogue>
    <scene_description>Percy exits the room. We PAN off this image to the WALL of the bedroom. A LARGE SPEAR from AMAZONIA-- MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BATTLE OF THE SOMME - THE FRONT - CLOUDY DAY</stage_direction>
    <scene_description>A MACHINE GUN on a battle-scarred scene. Total devastation. We PAN past a field scorched by destruction, as far as the eye can see. No vegetation at all. The area is EERILY QUIET, only occasionally punctuated by a RAT-A-TAT-TAT or a distant explosion. We SEE a TRENCH LINE.</scene_description>
    <character>SUPERIMPOSE: "THE FRONT, RIVER SOMME, FRANCE. TWO YEARS</character>
  </scene>
  <scene>
    <stage_direction>INT. TRENCH</stage_direction>
    <scene_description>The trench itself is filled with weary and shattered troops, and rotting corpses. Blood and fumes. Urine and shit and bones and lice and maggots and rats. A dead man has drowned in the slime, only part of his head exposed. HELL ON EARTH.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKER - FAWCETT'S SPACE</stage_direction>
    <scene_description>A table, a phone, a lantern, not much else. Dark corners. There's someone in the corner, in that darkness. Manley is here, in uniform. He is reading a letter with a NEWSPAPER CLIPPING. He LAUGHS.</scene_description>
    <character>ARTHUR MANLEY</character>
    <parenthetical>(amazed)</parenthetical>
    <dialogue>Well what do you know! It appears our old friend Mr. James Murray isn't so powerful after all!</dialogue>
    <character>PERCY FAWCETT'S VOICE</character>
    <dialogue>What's that, Mr. Manley?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>He and his bloody cronies may have put us in this hellhole, but his latest expedition seems to have come a cropper.</dialogue>
    <character>PERCY FAWCETT'S VOICE</character>
    <dialogue>Please give me the details.</dialogue>
    <scene_description>Manley approaches the dark corner, holding the CLIPPING and putting it in Fawcett's face (presumably). As he does so:</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>Bastard went off on an arctic expedition with Canadians and mutinied--he's not been heard from since!</dialogue>
    <scene_description>ANGLE ON THE DARKNESS. We SEE an ARM REACH UP, out of the dark, and turn up the LANTERN. The LIGHT REVEALS only PART OF FAWCETT'S SHOULDER, SURROUNDED BY LARGE DRAWINGS OF THE AMAZONIAN JUNGLE, FAMILY PHOTOS, ETC. An elaborate shrine.</scene_description>
    <character>MANLEY IS LAUGHING.</character>
    <dialogue>Fawcett enters the light, and it looks like he's aged a THOUSAND YEARS. LOOKING DOWN AT THE MURRAY NEWSPAPER CLIPPING:</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Someone should warn the eskimos that Mr. Murray is on the prowl...</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRENCH - LATER</stage_direction>
    <scene_description>A young man RUNS from atop the trench, JUMPING DOWN into the trench. He runs toward the small bunker and ENTERS:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKER - FAWCETT'S SPACE</stage_direction>
    <scene_description>Where Fawcett is in the midst of writing at his desk and Manley is reading. The TRENCH RUNNER announces himself:</scene_description>
    <character>TRENCH RUNNER</character>
    <dialogue>Sir! A message, from Colonel Howard!</dialogue>
    <scene_description>Fawcett READS THE NOTE. A beat. Then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Thank you, Private.</dialogue>
    <scene_description>The Private salutes. Leaves. Percy looks unsettled.</scene_description>
    <character>ARTHUR MANLEY</character>
    <dialogue>What is it, Chief?</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(very grave)</parenthetical>
    <dialogue>There's movement in the German position. Perhaps preparing for some kind of attack.</dialogue>
    <parenthetical>(with disgust)</parenthetical>
    <dialogue>We may be asked to withdraw...</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(sotto)</dialogue>
    <scene_description>Fools... He gets up, looks through the periscope to SEE: MOVEMENT AMONG THE GERMAN TROOPS. THEY ARE PREPARING THEIR GUNS.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>How many men are at our command at present?</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Seven hundred, sir. And the two Indian brigades on horseback.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Gather up as many men as you can. Cooks and signallers as well. We'll go over the top at dawn.</dialogue>
    <character>ARTHUR MANLEY</character>
    <dialogue>Chief, if plans are being made to withdraw--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Those plans are absurd. We might all die if the Germans attack. Is that what you prefer? There is no other course open to us but to fight it out.</dialogue>
    <scene_description>(beat) There can be no retirement--our backs are against the wall. Prepare to go over the top. Any man who has not written to his loved ones should do so.</scene_description>
    <character>ARTHUR MANLEY</character>
    <parenthetical>(humbled)</parenthetical>
    <dialogue>Yes, Chief.</dialogue>
    <scene_description>Manley turns away, to carry out the orders.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRENCH - OUTSIDE THE BUNKER - JUST BEFORE DAWN</stage_direction>
    <scene_description>Fires illuminate the space. Fawcett checks his watch, then walks through the trench, passing frightened soldiers. Then toward the bunker, where he hears a CHEERFUL COMMOTION.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BUNKER</stage_direction>
    <scene_description>HE ENTERS THE BUNKER, where his AMAZON ARTWORK is all over the walls. The troops--about twenty--sit around a table, packed into the cavernous room. Seated at the table is MADAME KUMEL, a mystic. The soldiers see Fawcett; HENRY COSTIN is here! Costin shouts out:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Won't you join us, sir! We're having a mysticism--a medium of fine spiritualist skills!</dialogue>
    <scene_description>Costin approaches:</scene_description>
    <character>HENRY COSTIN</character>
    <parenthetical>(sotto)</parenthetical>
    <dialogue>She'll bless us for the fight with Fritz. With a bit of the occult-- part of the world that isn't right in front of our face, if you know what I mean.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes... I surely do.</dialogue>
    <parenthetical>(to the Madame)</parenthetical>
    <dialogue>We'll be in battle soon, madame. Any spiritual aid we can get--I think we'd all very much like your blessing.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>Madame, how 'bout you read the Major?</dialogue>
    <scene_description>The whole group CHEERS the idea. Madame Kumel motions for Fawcett to sit down. Fawcett sits and the men CHEER WILDLY. Manley ENTERS the BUNKER.</scene_description>
    <character>MADAME KUMEL</character>
    <parenthetical>(the men told her)</parenthetical>
    <dialogue>You are the explorer?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I am. As are these fine men, who have transferred here, to be with me.</dialogue>
    <scene_description>Points to Costin and Manley, who cheer. She reaches over, takes an Indian NECKLACE that Fawcett has wrapped around his hand like a bracelet. She slips it off. She looks up at the WALL, SEES THE JUNGLE ARTWORK. She begins to HYPNOTIZE THE ROOM. She holds the object and with her other hand holds Fawcett's:</scene_description>
    <character>MADAME KUMEL</character>
    <dialogue>Feel my hand... Listen to my voice. Only my voice... Only my voice. Empty your mind, the only thing is my voice...</dialogue>
    <scene_description>Fawcett stares at the mesmerizing Madame.</scene_description>
    <character>MADAME KUMEL</character>
    <dialogue>You have loved ones at home?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I do... My wife, and children...</dialogue>
    <character>MADAME KUMEL</character>
    <dialogue>But you are not home. Can you take me where you are...?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Can you take me to where you dream to be?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It is far away...</dialogue>
    <character>MADAME KUMEL</character>
    <dialogue>Is it the forest?</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>You wish to be in the forest?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I wish to find a lost city...</dialogue>
    <character>MADAME KUMEL</character>
    <dialogue>Can you see yourself there, now...? Try to picture it, in your mind.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes. I can. I can see it, in the jungle. My family is with me.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE - DAY</stage_direction>
    <scene_description>We SEE Kumel and Fawcett, at the table--which is now situated in the middle of the jungle. NINA and THE CHILDREN are SEATED AROUND HIM--JACK'S BACK is to US. We still HEAR ONLY the SOUND FROM THE BUNKER and the sounds of the WAR. KUMEL CONTINUES:</scene_description>
    <character>MADAME KUMEL</character>
    <dialogue>Your place is beyond the jungle city. A timeless place.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RUINS</stage_direction>
    <scene_description>We are in what looks like a more extensive Machu Picchu. There are GOLD STATUES, ENORMOUS, everywhere. Still, we HEAR ONLY THE SOUND FROM THAT BUNKER. And yes, now Kumel and Fawcett are around the table in the middle of the ruins:</scene_description>
    <character>MADAME KUMEL</character>
    <dialogue>I see a valley... A valley and a great city, full of jewels.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>A wealth of real jewels and gold. But also jewels of the spirit...</dialogue>
    <scene_description>THE EXPLOSIONS GET LOUDER. AND LOUDER. THEN, a BEAUTIFUL RAIN OF FLAKES OF GOLD COMES DOWN, NOT TOUCHING OUR PROTAGONISTS BUT SEEMINGLY COVERING THE GROUND LIKE SNOW... Kumel continues:</scene_description>
    <character>MADAME KUMEL</character>
    <dialogue>Your soul is not quiet. You must find this new world. It is your destiny. You seek escape from our world, escape from its cruelties and customs...</dialogue>
    <scene_description>CUT TO: 91 FAWCETT IN THE JUNGLE 91 Seated, by himself. The CAMERA DOLLIES IN, SLOWLY:</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Our world has set itself afire...and we must look elsewhere to quench the blaze...</dialogue>
    <character>ALL OF A SUDDEN, A DEAFENING EXPLOSION SHATTERS THE MOMENT</character>
    <dialogue>and we are BACK IN:</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. THE BUNKER</stage_direction>
    <scene_description>Which has been hit by a shell. The men all scatter, in panicked chaos... Fawcett covers his head from the falling debris... A close call... The rain of gold flakes was actually falling dirt... Fawcett exits the bunker, into:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRENCH - JUST BEFORE DAWN</stage_direction>
    <scene_description>The troops, looking weary and beyond battle-scarred, stare at CAMERA as we DOLLY PAST THEM. They cower from the shells. We're in Fawcett's POV. FAWCETT PATROLS THE TRENCH. Fawcett then looks over to SEE a LOW PRIVATE, shaking like a leaf. The Private has vomited all over his uniform. Fawcett then charges through the trench, YELLING HIS SPEECH:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>When I was younger, I ventured all for King and Country, for place, and rank. I believed that to be the makings of a man. But my travels have taught me that such ambitions are mere phantoms. Phantoms that exclude humanity from the Garden of Eden. My dear friends, what DOES matter--the only thing that matters--is the esteem we show our fellow man. In our hearts we fight for our loved ones; as they are not here today, we fight for each other.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Good luck and may God be with you.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>And fuck the bloody Boche!</dialogue>
    <scene_description>Everyone laughs, including Fawcett. Then the men separate, begin to line the trenches. Cleaning their rifles, making sure the bayonets are screwed on tightly. Readying the charge. Many men start throwing up; others kiss small bibles; others look at family photos which they kiss and place in their breastpockets. Others are merely still, awaiting almost certain death. Fawcett takes a small drawing of AMAZONIA JUNGLE, holds it to his head. Almost like he's praying to it. Then pockets it. We SEE: ROWS OF HORSES, getting GAS MASKS put on their heads. INDIAN TROOPS are getting ready to mount them, and are adorned in the most elaborate and absurd manner...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRENCH - BATTLEFIELD - DAY</stage_direction>
    <scene_description>Fawcett takes several steps near the top of the trench. Places a whistle in his mouth. Looks at his men, who are donning GAS MASKS. Raises his arm and BLOWS THE WHISTLE. Upon blowing the whistle, an army of men charge out of the trench with a collective BATTLE CRY. Among them, the Low Private. ALMOST INSTANTLY, so many of the men are RIDDLED WITH MACHINE GUN FIRE. Others are SET AFIRE with FLAMETHROWERS. EXPLOSIONS ALL AROUND. Mines. Shells. Brutally loud. THEN: THE TWO INDIAN CAVALRY REGIMENTS GALLOP out of the TRENCHES; the HORSES HAVE GAS MASKS OF THEIR OWN. Absurd. They charge toward the German position, but are SET ON FIRE by FLAMETHROWERS and HIT BY THE HAIL OF BULLETS. Huge numbers of new troops leap from the trenches, many to be met with a similar fate. Wounded infantrymen crawl into shell holes. Fawcett himself emerges from the trench. Sees ARTHUR MANLEY, shrieking. Then MANLEY gets his FACE BLOWN OFF. Costin charges right along with Fawcett. Fawcett whips off the gas mask and starts to yell. Screams to his soldiers, often inaudible from the devastating sounds of war, we can nonetheless tell what he's saying either by reading his lips or by the occasional word peaking through:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Come on! Come on! Come on!</dialogue>
    <scene_description>FLASH CUT TO: 95 FAWCETT, URGING ON FELLOW EXPLORERS IN THE JUNGLE; HIS MOTION CUT BACK TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BATTLEFIELD</stage_direction>
    <scene_description>A GONG sound. CHEMICAL WEAPONS are coming. HENRY COSTIN SCREAMS FROM HIS POSITION:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>Incoming! Gas!</dialogue>
    <scene_description>Fawcett stands in the middle of the battlefield, seemingly a man on his own. And in his own world. Men shrink and charge forward around him; men die around him; men courageously stand their ground. BULLETS and FLAMES seem mysteriously to avoid him; he seems impervious... SMOKE seems to envelop Fawcett in his crazed, dazed state. He holds up his rifle with its bayonet into the air. He has a THOUSAND-YARD STARE NOW... AND THEN WE HEAR IT: A GONG SOUND. A nearby explosion. Fawcett falls to his knees. His mouth opens in lockjaw and his eyes roll back into his head. He falls... WE PAN OFF HIM TO REVEAL: bits of letters and photos that the men carry into battle flutter over the corpses like snow. The CAMERA MOVES through the battlefield, littered with the papers and blood and parts of bodies. The camera settles, finally, on a piece of BARBED WIRE. Attached to it: the DRAWING BY FAWCETT of AMAZONIA. Stained with blood, moving gently in the wind...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MILITARY HOSPITAL - ROOM - DAY</stage_direction>
    <scene_description>Fawcett, in the hospital. In bed, somewhere in England. He awakens, dazed, shocked--by the EYE PATCHES which cover his eyes. NINA FAWCETT is here, with the three children behind her. She approaches the bedside as he moves. She TEARS UP. Fighting the tears, she smiles, puts on a brave face:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Darling, it is I. We're here--the children are here.</dialogue>
    <scene_description>The children walk to Fawcett's side, all muttering "HELLO". Jack is now a young adult; Brian, a young teen; and young daughter JOAN a toddler.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Let me kiss you all.</dialogue>
    <scene_description>Nina lifts the toddler Joan, and Fawcett kisses her. Fawcett strokes the top of Brian's head tenderly.</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>Joan, and Brian...where's Jack?</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Here, father.</dialogue>
    <scene_description>Jack steps forward, CRYING. Then to Nina:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>What's...happened to me...?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>They say you've been exposed to chlorine gas. Your eyes were affected, but with any luck, your sight shall return. And--you're here, darling. You're with us, and that is what matters.</dialogue>
    <scene_description>Fawcett lifts his head a bit, straining for sensation. A DOCTOR is here, too.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>What about Costin? The rest of the men?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Mr. Costin was unhurt. As for your division, they suffered many losses- -but far fewer than others. It is the most death in the history of any battle.</dialogue>
    <scene_description>(beat) But darling, because of your bravery, the Germans have retreated, all along the front. We've made His Majesty aware of what you've done. And they're going to award you with the distinguished service order. They've also agreed to raise your rank to Lieutenant Colonel. Jack cannot help himself, but, appalled, he blurts out:</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Lieutenant Colonel? After all he's done?!?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>(not now)</dialogue>
    <scene_description>Jack... The young man, still in tears, takes several steps backward and sits on a bench.</scene_description>
    <character>NINA FAWCETT (CONT'D)</character>
    <dialogue>We'll bring you home as soon as we're able, darling.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(beat)</dialogue>
    <scene_description>What about--what about my travels? To Amazonia? Nina cannot answer this. She looks to the Doctor:</scene_description>
    <character>DOCTOR</character>
    <dialogue>I...I'm afraid you may never be able to return to your jungle.</dialogue>
    <scene_description>Percy Fawcett shuts his eyes in quiet disappointment and turns away. The Doctor attempts to cheer him:</scene_description>
    <character>DOCTOR</character>
    <dialogue>However, you can take comfort in the fact that here we'll be able to offer you the very best care in all the civilized world.</dialogue>
    <scene_description>Fawcett turns back to the Doctor when he hears this:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>"Civilized"? That word is an obscenity. I've been years in that jungle, with so-called savages. And none would ever bring such horror and destruction on his fellow creatures.</dialogue>
    <scene_description>Percy turns away. Everyone takes the hint--Nina pats everyone out. But staying is JACK. Jack sits down in a chair against the wall. NINA TURNS to OBSERVE:</scene_description>
    <character>PERCY FAWCETT</character>
    <parenthetical>(sotto voce)</parenthetical>
    <dialogue>Jack...?</dialogue>
    <scene_description>Jack approaches his father's bedside. Without being able to make eye contact, Fawcett somehow finds his son's FACE. He TOUCHES it, FEELING ITS CONTOURS--then touching the young man's tear...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. FAWCETT HOME - STOKE CANON, ENGLAND</stage_direction>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT HOME - STOKE CANON, ENGLAND</stage_direction>
    <scene_description>The camera PANS PAST many objects from the Fawcett past. We HEAR an AMERICAN MAN'S VOICE, a reporter whom we never see:</scene_description>
    <character>AMERICAN MAN'S VOICE (O.C.)</character>
    <dialogue>Our readers have been asking where you've been since the war. America has quite a fascination with you.</dialogue>
    <scene_description>ANGLE ON PERCY AND NINA FAWCETT, seated on a couch. Nina holds young Joan; Percy pets the family dog.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I'm grateful for their interest. You may tell your readers I've recovered from my wounds and have adapted to home life. The family's lived in many places--Jamaica, also in America, briefly. We've only just returned to England.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>It's been quite wonderful to have him with us for this time.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes--my family's needs are above all now.</dialogue>
    <character>AMERICAN MAN'S VOICE (O.C.)</character>
    <dialogue>But your pursuits in South America led to tremendous interest in exploration in the United States. There have been many new voyages planned.</dialogue>
    <scene_description>Percy Fawcett perks up. NEW voyages?</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Have there...?</dialogue>
    <character>AMERICAN MAN'S VOICE (O.C</character>
    <dialogue>Well, Dr. Hamilton Rice is headed to Brazil soon...with radio, and airplanes.</dialogue>
    <scene_description>Fawcett gets up, walks over to a large MAP of South America. He stares at it. ANGLE ON FAWCETT still looking at that map:</scene_description>
    <character>AMERICAN MAN'S VOICE (O.C.</character>
    <dialogue>He's taking a large and very well- armed party.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We can only hope that--with all of his arms, Dr. Rice doesn't destroy what he wishes to discover...</dialogue>
    <parenthetical>(turns back to the reporter)</parenthetical>
    <dialogue>Tell me, how did you find us here?</dialogue>
    <character>AMERICAN MAN'S VOICE (O.C.)</character>
    <parenthetical>(surprised)</parenthetical>
    <dialogue>Your son, Colonel. He wrote us a letter--didn't he tell you?</dialogue>
    <scene_description>ANGLE ON FAWCETT as we GO TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. LARGE FIELD - CLOUDY DAY</stage_direction>
    <scene_description>We HEAR distant GUN SHOTS. The wind howls. Then we SEE, emerging from over a hill, Jack Fawcett, holding a RIFLE. A RABBIT runs through the grass. Jack raises his rifle, FIRES again. He hits the RABBIT. Percy and Nina Fawcett emerge, having seen the shot.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You've become quite expert with that rifle!</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Thank you, father.</dialogue>
    <scene_description>After he recovers, he WATCHES HIS SON RUN to GET THE RABBIT. JACK PROUDLY HOLDS UP THE CARCASS. Father stares at son, something on his mind. Then, re the rabbit:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>No no, I'll retrieve it...</dialogue>
    <scene_description>As Percy goes to get the animal, Nina has a private moment with Jack:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I know you feel remorse about the harsh words you said to him. But that was years ago. He loves you. Go talk with him.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TOP OF A HILL - LATER</stage_direction>
    <scene_description>The RABBIT hangs from a tree. Fawcett and Jack are settled here, atop a hill, overlooking the field. Fawcett stands, lighting a small cigar; Jack sits, cleaning his gun. Fawcett PETS THE HANGING CARCASS of the rabbit, then lowers it from the string and begins to prep it for eating.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Father...?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Mmm?</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>I realize how fortunate I am not to have lost you in the war. When we came back to England, I saw how few of my friends still had their fathers.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(nods; then)</parenthetical>
    <dialogue>It's been a difficult few years for many.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>You've been writing to the American newspapers about us, I'm told.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>I have. I've been reading of your exploits. They are quite extraordinary.</dialogue>
    <scene_description>Beat.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I've something for you.</dialogue>
    <scene_description>Fawcett pulls something out of his bag: AN INDIAN NECKLACE. He gives it to Jack:</scene_description>
    <character>PERCY FAWCETT (O.C.)</character>
    <dialogue>It was from a Guarani Indian. It's yours now.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Thank you... It's remarkable...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>The Americans are going to Amazonia now. I'm sickened by the thought that they might steal your thunder.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(a broad smile)</dialogue>
    <scene_description>I've little enough thunder to steal, my boy. I never did find Z.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>You must not say that! I've read of your achievements--you are a great man! You still believe in Z, do you not? That we have always underestimated the Indian?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(beaming at his son's enthusiasm)</dialogue>
    <scene_description>Of course...</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Then why don't we go back? You and I, together--to find the lost city once and for all?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(taken aback; a flood of emotion)</dialogue>
    <scene_description>I--I don't know if I able, Jack.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>I know you are. You easily outmatch my strengths.</dialogue>
    <scene_description>Fawcett STANDS, looks out at the VISTA as Jack continues:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I am touched by your faith in me. But--the war took its toll.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Father, the Americans will venture there with their guns. And then we must pray they do not destroy the Indian. We must beat them to the spot.</dialogue>
    <parenthetical>(beat; he smiles)</parenthetical>
    <dialogue>I want to go with you so much, I want nothing more.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We could find Z. You and I can do it.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>On this, Jack, we must consult a higher authority.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Your mother, I mean.</dialogue>
    <scene_description>Jack lets out a laugh. Then:</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Father, there is something else I can barely speak of. I wish...to apologize for the disgraceful things I said to you before you went away.</dialogue>
    <scene_description>Fawcett turns back, looks at Jack.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You were only doing your best to protect all of us.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>The hero in you was speaking.</dialogue>
    <scene_description>Fawcett approaches Jack. Offers him a hand:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Come. We'll conquer your mother's reserve together...</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT HOME - EARLY MORNING</stage_direction>
    <scene_description>Fawcett, silhouetted in the unlit office. He is SILENT. Only the daylight illuminates the room. Jack faces NINA.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Please, Mother. I know it's dangerous. But you've said yourself with...with all that's happened--it's not possible to choose a safe passage through life. So many men near my own age did not return from the war--and who is to say it will not happen again?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>By all rights I should be furious. You've used my very own words against me.</dialogue>
    <scene_description>(fighting with herself) Yet I do not refute them now-- indeed, try as I will, I cannot.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>(beat; gets emotional)</dialogue>
    <scene_description>Please...</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>(looks at Percy; then)</dialogue>
    <scene_description>There's little doubt I would worry night and day about my two boys in the jungle. But...your father and I have never let fear determine our future-- Jack gets up and excitedly kisses his mother, who looks less than overjoyed.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Thank you so much, Mum. Thank you!</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>We're not there yet, Jack. These journeys require a great deal of money and training.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Of course, father... But I shall begin preparing immediately, nonetheless! You and I, and perhaps Mr. Costin, too. He'll come, I know it!</dialogue>
    <scene_description>Jack leaves the room. Fawcett turns to maps on his desk, starts collecting them.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I admit I'm surprised by your speedy acceptance.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Did I have another choice? It would be wrong to betray his nature now.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>If you shall go, the both of you, then you must find Z, once and for all.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Yes...we shall see it through... I'll go see Mr. Costin.</dialogue>
    <parenthetical>(beat; looks at her)</parenthetical>
    <dialogue>You're concerned about Jack?</dialogue>
    <scene_description>She does not answer.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>He'll perform splendidly. I've learned from the past that character is more important than experience.</dialogue>
    <scene_description>The CAMERA PANS to the WINDOW, to SEE JACK RUNNING. OUTSIDE IS YOUNG JOAN, playing. Fawcett watches them both, then:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>The boy has what it takes, I'm sure.</dialogue>
    <character>NINA FAWCETT</character>
    <parenthetical>(brightening; a laugh)</parenthetical>
    <dialogue>He should--he is my son, after all!</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. SAVAGE CLUB - LONDON - NIGHT</stage_direction>
    <scene_description>It is the elegant club in London. A place for gentlemen. Not a place for Percy. Men in black tie, men drinking brandy. HENRY COSTIN is here, looking older, simultaneously more settled yet more shattered. Percy sits across from him. Both are in high-backed leather chairs, and a small table sits between the two. Costin opens a large BRIEFCASE sitting next to his chair. Withdraws something... Costin places NOTEBOOKS on the table and slides them to Fawcett. With a smile:</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>In fine condition, Chief. All my notes. I hope they are of help to you.</dialogue>
    <scene_description>Percy takes them as one would handle a delicate child.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Can I truly not persuade you to come with us?</dialogue>
    <scene_description>Costin averts Percy's gaze. Percy leans forward. Whispering:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>We were so close before--and think of what it would mean, for all human history.</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>I'm honored you still consider me worthy. But...things have changed. I've a wife and children now.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I would remind you that when we went on our travels, my own children were younger than yours are now.</dialogue>
    <scene_description>(leans back, subtly introspective) I did have my fair share of concern about their welfare, it's true. (leans forward again, louder) Yet my son today--if you were to see his character, his vim and vigor, for yourself, it would tear down your resistance in an instant. A WAITER comes over:</scene_description>
    <character>WAITER</character>
    <dialogue>Would you like some more brandy, sir?</dialogue>
    <character>HENRY COSTIN</character>
    <dialogue>No, thank you, Nigel.</dialogue>
    <scene_description>The Waiter leaves.</scene_description>
    <character>HENRY COSTIN (CONT'D)</character>
    <dialogue>Chief--I do not doubt Jack's excellence. But I'm afraid you and I part ways in this regard. For me, the search for Z--I can no longer bear the cost, you see.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(surprised)</dialogue>
    <scene_description>You doubt its existence.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>No. Not for a moment. But I do doubt that it can ever provide all the answers you require from it.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>You feel I romanticize the significance of Z.</dialogue>
    <scene_description>Costin begins to protest. Fawcett stops him:</scene_description>
    <character>PERCY FAWCETT (CONT'D)</character>
    <dialogue>The charge does not dismay me. But let the world stand in judgement once I knock the scales from their eyes. Do not doubt me, my friend.</dialogue>
    <scene_description>Costin breaks out into a huge smile.</scene_description>
    <character>HENRY COSTIN</character>
    <dialogue>God bless you, Colonel--you've not lost your fire.</dialogue>
    <scene_description>(beat) Forgive me, I cannot say yes. (beat) I wish you godspeed and the greatest success.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DORCHESTER HOTEL LOBBY - PRESS CONFERENCE - DAY</stage_direction>
    <character>SUPERIMPOSE THE LEGEND: "LONDON. DECEMBER 3, 1924".</character>
    <dialogue>Percy Fawcett talks to a syndicate of newspapers. A press conference. REPORTERS and PHOTOGRAPHERS pack the room. Jack Fawcett and Nina are here, too, by Fawcett's side. So are a host of cigar-smoking financiers...</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>This will be no pampered expedition. Top-heavy missions get nowhere; they linger on the fringe of civilization and bask in publicity. We will not. Our journey will last three years. A tribesman will take our messages to bring them to you as often as we can, for you to publish.</dialogue>
    <character>REPORTER #1</character>
    <dialogue>Who is financing this latest journey of yours?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>The money is generously being supplied by a consortium of American newspapers and Mr. John D. Rockefeller, Jr.</dialogue>
    <character>REPORTER #2</character>
    <dialogue>Are you aware the Royal Geographical Society has just offered to help with the financing?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I am glad to see our nation is not to be left behind.</dialogue>
    <character>REPORTER #2</character>
    <dialogue>What about America's own explorers? They're in South America now, with great technology--</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I'm not concerned with them--we have our own plans. I would like to introduce to you now my son, Mr. Jack Fawcett.</dialogue>
    <scene_description>ANGLE ON JACK, who is beaming.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>He will be my companion on this historic expedition.</dialogue>
    <parenthetical>(Fawcett looks at his son)</parenthetical>
    <dialogue>He is strong as a horse and keen as mustard.</dialogue>
    <scene_description>FLASH! go the cameras. Then we HEAR:</scene_description>
    <character>SIR GEORGE GOLDIE (O.S.)</character>
    <dialogue>Well, we could not very well be shamed by the Americans, now could we.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. ROYAL GEOGRAPHICAL SOCIETY - CONFERENCE ROOM</stage_direction>
    <scene_description>Fawcett and Jack, inside a large conference room. A GROUP OF PEOPLE is standing there, getting ready to SAY GOODBYE to PERCY FAWCETT: KELTIE, WILLIAM BARCLAY, others.</scene_description>
    <character>SIR JOHN SCOTT KELTIE (CONT'D)</character>
    <dialogue>I'm proud to say, we did finally meet them halfway...</dialogue>
    <parenthetical>(sobers; sheepish)</parenthetical>
    <dialogue>Percy, this organization has not...</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>always recognized you as perhaps we should have in the past.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Our differences were always honorable, Sir John.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>(nods; then)</dialogue>
    <scene_description>Sir George, rest in peace, always bore you great affection. But I admit my error in not accepting your beliefs long ago. Fawcett takes out his COMPASS. Moves close to Keltie.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>When I find Z, I shall send it to you. Consider it a sign.</dialogue>
    <scene_description>Keltie looks at it.</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Godspeed, Percy.</dialogue>
    <scene_description>A NEARBY CHURCH BELL RINGS in the now-quiet room.</scene_description>
    <character>SIR JOHN SCOTT KELTIE (CONT'D)</character>
    <dialogue>We do have something here for you, at the Society.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Mr. Barclay?</dialogue>
    <scene_description>William Barclay OPENS A WOODEN CASE. Inside:</scene_description>
    <character>SIR JOHN SCOTT KELTIE (CONT'D)</character>
    <dialogue>It's our highest honor. The Founders' Gold Medal.</dialogue>
    <scene_description>ANGLE ON JACK. His eyes widen; he is truly impressed.</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>You are truly deserving, Colonel. Truly.</dialogue>
    <character>PERCY FAWCETT</character>
    <parenthetical>(virtually moved to tears)</parenthetical>
    <dialogue>I'm grateful...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>My son and I will rejoice in telling you the whole story in three years time.</dialogue>
    <scene_description>Fawcett grabs both arms, squeezes. Jack has a smile from ear to ear. Champagne is served, and the men toast--in SILENCE.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. STOKE CANON HOUSE - DAWN</stage_direction>
    <scene_description>A TRUCK is idling. Percy and Jack Fawcett are loading it with supplies. Alongside them are the rest of the family: Nina, Brian, Joan.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>All the arrangements are completed-- we're off to Portugal on the 7th and then we meet in Brazil.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Good. Now remember: the code with the coordinates--a copy is in my desk and another is in safekeeping, with Mr. Costin.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>No one will trump us now...</dialogue>
    <scene_description>Awkward silence as Nina begins to turn inward.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Well, I suppose that's all. I'll send you the dispatches, for the newspapers.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Jack--</dialogue>
    <scene_description>She gestures to his suit coat handkerchief, which is falling out. Fawcett, meanwhile, moves close to her, out of earshot of anyone else:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Cheeky, if I should not come back-- do not look for me. If one of us lives, we all shall live.</dialogue>
    <character>NINA FAWCETT</character>
    <parenthetical>(as though his death is an insane thought)</parenthetical>
    <dialogue>I've complete faith in you. You'd better get going, you'll miss your boat.</dialogue>
    <scene_description>Fawcett moves to Brian, who is quiet.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>You're a man now, responsible for your mother and sister's care. It's a fine calling, no less and perhaps more virtuous than ours.</dialogue>
    <scene_description>No response. Percy Fawcett takes out a sealed LETTER.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Brian? Say goodbye to your father. And tell him how much you'll miss him.</dialogue>
    <character>BRIAN FAWCETT</character>
    <dialogue>Goodbye, father. I shall indeed miss you. As I always have.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>I've written something for you.</dialogue>
    <scene_description>Brian takes it. Fawcett kisses Joan:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Dear Joan. Take care of your mother.</dialogue>
    <character>JOAN FAWCETT</character>
    <dialogue>Goodbye, father.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>On to Z, then. And a new history.</dialogue>
    <scene_description>Fawcett then leans over, kisses Nina briefly, and unsentimentally boards the truck. Jack hugs Nina, who then turns and gets in the truck as well. Brian watches as his father and brother WAVE. He looks down at the ENVELOPE FROM HIS FATHER. FAWCETT AND JACK WAVE as the TRUCK DRIVES OFF...</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. FAWCETT STOKE CANON HOME - BRIAN'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Brian opens the envelope: a poem. Starts reading.</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Never forget us, brave little man Mother and father trust in you. Be brave as a lion, yet kind returning</dialogue>
    <scene_description>CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. AQUITANIA - DUSK 108</stage_direction>
    <scene_description>The ship at sea, on its way to South America. We STILL HEAR:</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Ready to fight and averse to wrong... Never forget you're a gentleman And never a fear you'll do.</dialogue>
    <character>CUT TO:</character>
    <dialogue>109 STILL PHOTOS of the AQUITANIA, a huge SHIP. WIDE SHOTS. 109</dialogue>
    <scene_description>Then CLOSE SHOTS of JACK AND PERCY on the DECK, WAVING. BLACK AND WHITE STILLS.</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Life is short and the world is wide.</dialogue>
    <character>CUT TO:</character>
    <dialogue>110 SERIES OF SHOTS of Fawcett's house and old Ireland ARMY 110</dialogue>
    <character>BARRACKS:</character>
    <dialogue>THE ARMY BARRACKS in Ireland - empty, save the usual post- move detritus. THE BEDROOM - empty. Dust now. ARMY BACKYARD - empty. Windswept, covered with leaves. THE FRONT LAWN - empty. A child's TOY, covered in dirt.</dialogue>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>We're just a ripple on life's great pond.</dialogue>
    <scene_description>We END with:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. NEW MADEIRA HOME - NINA'S BEDROOM - NIGHT 111</stage_direction>
    <scene_description>A new ROOM, in Madeira. Nina is asleep with a newspaper on her lap. It reads, "EXPLORERS ENTER JUNGLES TO SEEK LOST RACE". Then we HEAR a LOUD TRAIN WHISTLE:</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Enjoy your life to the best you can, All will help enrich the span,</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TRAIN - BRAZIL - NIGHT</stage_direction>
    <scene_description>On the train into the jungle, they pass parades for the Carnival. They pass beautiful fields, vistas. Crowds wave to them. Jack stands, looking out the window. Fawcett remains seated, eyes a map.</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>But never forget you're a gentleman.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Forty million, father! The newspaper said forty million are following our journey! Look, even here!</dialogue>
    <scene_description>Fawcett stands, looks out the train. Sotto:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>It is rather marvelous...</dialogue>
    <scene_description>Fawcett turns to look at the people waving at the train. ANGLE ON A SLIGHTLY WISTFUL YET ALSO ENTHUSIASTIC PERCY FAWCETT; he waves back to them. CUT TO: SERIES OF SHOTS as we STILL HEAR the train: The CAMERA DOLLIES PAST a sleeping Nina in the MADEIRA HOME. Next: the CAMERA DOLLIES PAST a sleeping Brian. Last: PAST a sleeping Joan. CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TRAIN 114</stage_direction>
    <scene_description>Loses his STETSON HAT. It blows away. THE HAT TWISTS AND SPINS AND FLOATS IN THE WIND, eventually leaving our sight.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>(to Jack)</dialogue>
    <scene_description>We are getting closer. The CAMERA SPINS PAST the COUNTRYSIDE-- MATCH CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE - DAY 115</stage_direction>
    <scene_description>CLOSE SHOT: Fawcett. He consults a map. ZOOM OUT: DWARFED BY NATURE, THE AWESOME DEPTHS OF THE JUNGLE. Jack is right behind him. The Peons (Indian messengers) are near but bringing up the rear and looking exhausted.</scene_description>
    <character>SUPERIMPOSE: "PANTANAL REGION, BRAZIL.</character>
    <dialogue>APRIL 30, 1925".</dialogue>
    <scene_description>Percy turns to Jack.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>My compass appears to have stopped working.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>It's nothing to fret over--I've two others. How are you faring?</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>I've rarely felt better.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>Good. We'll be on the river soon-- and then if we're lucky, to see an opera...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. FAZIENDA JACOBINA - CLEARING</stage_direction>
    <scene_description>Out of the jungle comes our group. They are close to the hut that served as an opera house... But it seems abandoned. Fawcett leads the group toward its front doors, which are swinging open... The old opera hut house is still in the jungle, but this time it is COVERED WITH VINES, overgrown with weeds and spiders.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. OPERA HOUSE</stage_direction>
    <scene_description>Fawcett cannot believe what he sees. The jungle is swallowing up the structure, with spiderwebs and detritus. The men stand in the center, stunned. The camera PULLS BACK TO REVEAL A RUIN being OVERRUN BY MONKEYS. PERCY FAWCETT IS LEFT STANDING IN THE MIDDLE OF THE DILAPIDATED STRUCTURE as the PRIMATES SWIRL AROUND HIS LEGS.</scene_description>
    <character>SWARMS OF VAMPIRE BATS SHRIEK ABOVE THEIR HEADS...</character>
    <dialogue>PERCY FAWCETT</dialogue>
    <scene_description>A pity you could not see it intact... (brightens) No matter. We'll hit the river as scheduled.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERBANK</stage_direction>
    <scene_description>Percy and Jack and the Peons have made a canoe. They SLIDE IT OFF, into the RIVER.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. RIVER</stage_direction>
    <scene_description>The men in their canoe. They move through the river. AND THEN: Bodies. Floating. WHITE MEN, looking EMACIATED. FACE DOWN. NUMBERING AROUND TEN OR SO... FAWCETT seems to accept it. JACK is terrified... THE CANOE MOVES PAST THE CORPSES... THE PEONS are in the canoe behind them.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CLEARING - LATER</stage_direction>
    <scene_description>Jack hacks away at a tree with his machete, collecting firewood. A PEON, looking feverish, approaches Percy as he sits by the fire. He has been writing in a notebook. In Portuguese:</scene_description>
    <character>PEON (SUBTITLE)</character>
    <dialogue>Mr. Fawcett, our work is done. We warn you, past this point is only danger.</dialogue>
    <scene_description>Fawcett stands.</scene_description>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>You have acquitted yourself wonderfully. We are grateful for your efforts.</dialogue>
    <parenthetical>(reaching down, into a stack of his papers and envelopes)</parenthetical>
    <character>PERCY FAWCETT (SUBTITLE)</character>
    <dialogue>Please--if you could deliver this final dispatch...</dialogue>
    <scene_description>The Peon nods, takes the ENVELOPE.</scene_description>
    <character>MOMENTS LATER</character>
    <dialogue>WIDE SHOT of group. The Peons say GOODBYE, shaking hands, and disappear into the jungle. Our men are alone now.</dialogue>
    <dialogue>Fawcett and Jack walk off into the jungle in the opposite direction...</dialogue>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Dearest Cheeky, this is the last letter you shall receive until we reach Z.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. THE JUNGLE - DUSK 121</stage_direction>
    <scene_description>The men get off the canoe and ENTER THE DEEP JUNGLE. They look thinner now, more worn.</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>As always, we have encountered some setbacks. But Jack is acquitting himself marvelously. Today we reached a tribe of Bakairi Indians, who told us of a cave entirely unknown to anyone outside their clan.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE VILLAGE - DAY</stage_direction>
    <scene_description>A Bakairi village. The men enter the place and speak with the Indians. CLOSE SHOT of PERCY FAWCETT as HE TAKES PICTURES WITH HIS CAMERA, which is mounted on a TRIPOD. Our CAMERA DOLLIES INTO an EXTREME CLOSE SHOT on the camera's LENS...</scene_description>
    <character>PERCY FAWCETT (V.O.;</character>
    <dialogue>They tell of an enormous rock there, covered with painted pictures of men and horses. Its location is perhaps the gateway to Z...</dialogue>
    <scene_description>SERIES OF BLACK AND WHITE PHOTOS of the INDIANS: In the photos, Jack and Fawcett all pose with the "savages". Standing in different positions, some holding arrows, some merely seated. Other photos show the Indians in the middle of ritual, crouched, dancing, upright, with spears, in a circle, etc. CLOSE SHOT on PHOTOGRAPHS FLOATING THROUGH THE STREAM, GETTING DEVELOPED, THE IMAGES QUICKLY FADING BEFORE OUR EYES FROM THE HEAT...</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON JUNGLE - DAY</stage_direction>
    <scene_description>Near Dead Horse Camp. Fawcett EYES the camp... He and Jack approach it...</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>...I expect we will be in touch with the old civilization within a month, and to be at the main objective in August.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. NEW MADEIRA HOME - BEDROOM</stage_direction>
    <scene_description>Nina is at her desk, reading the letter:</scene_description>
    <character>PERCY FAWCETT (V.O.)</character>
    <dialogue>Thereafter, our fate is in the lap of the gods.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>You need have no fear of any failure.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. JUNGLE</stage_direction>
    <scene_description>Fawcett and Jack walk down a muddy path. Fawcett takes notes while walking. Then:</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Father--</dialogue>
    <scene_description>Fawcett looks up from his journal to SEE: RED-MASKED SUYA. TENS OF THEM. FAWCETT motions for JACK to stop, then TAKES ONE SINGLE STEP FORWARD. A SINGLE ARROW WHIZZES BY HIS HEAD. SUYA INDIANS are ABOUT 200 YARDS away. STARING.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Stay calm. I know precisely the approach.</dialogue>
    <scene_description>Confident, he tries his signature approach with the SUYA. He begins to walk toward them, waving his handkerchief:</scene_description>
    <character>PERCY FAWCETT (SUBTITLED)</character>
    <dialogue>Friend! Friend!</dialogue>
    <character>AND THEN: MORE ARROWS COME, FAST AND FURIOUS.</character>
    <dialogue>CLOSER. THEY DON'T STOP.</dialogue>
    <character>FAWCETT WALKS</character>
    <dialogue>THIS TIME, THE SUYA INDIANS START CHARGING TERRIFYINGLY</dialogue>
    <character>TOWARD THE MEN. THE INDIANS LET OUT A TERRIFYING WAR CRY...</character>
    <dialogue>ALL OF A SUDDEN: WHOOP WHOOP WHOOP WHOOP WHOOP--</dialogue>
    <dialogue>A SPINNING CLUB OF WOOD, about three feet in length, comes seemingly from nowhere.</dialogue>
    <character>WHOOP WHOOP WHOOP--A PUNISHING BLOW TO THE HAND.</character>
    <dialogue>A WAR CLUB, then another.</dialogue>
    <dialogue>Realizing his tried-and-true plan will not work, Fawcett takes his RIFLE OFF HIS SHOULDER AND FIRES:</dialogue>
    <dialogue>He shoots one of the Suyas in the stomach. The Indian bleeds profusely and falls down, dying...</dialogue>
    <character>FAWCETT SEES THIS AND HIS FACE WRINKLES IN ANGUISH:</character>
    <dialogue>PERCY FAWCETT</dialogue>
    <scene_description>Oh Lord... (recovering) Into the brush! Fawcett and Jack bolt into the dense jungle, and so do the Indians, in pursuit.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE JUNGLE</stage_direction>
    <scene_description>Fawcett and Jack run for their lives. A chase on foot has begun.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE AMAZON JUNGLE - LATER</stage_direction>
    <character>THE DENSE JUNGLE. VERTIGINOUS. BACK AND FORTH.</character>
    <dialogue>LEAVES, VEGETATION, MUD, BUGS, HEAT.</dialogue>
    <character>TREE</character>
    <dialogue>The camera is HAND-HELD now, tossing back and forth, our characters' POV. DISORIENTED...</dialogue>
    <dialogue>A sound: WHIRRING. What is that? CLUBS. CLUBS OF WOOD. WAR CLUBS.</dialogue>
    <dialogue>The Suyas are HURLING THEM through the trees, presumably. BUT WE CAN'T SEE THEM. ONLY SPINNING CLUBS OF WOOD--A TORRENT OF SPINNING WOODEN STICKS, CUTTING THROUGH THE FOREST.</dialogue>
    <dialogue>SPINNING AND MOVING AT INCREDIBLE SPEED. And they are coming CLOSE TO US, millimeters from FAWCETT'S HEAD. Fawcett ducks them as he bolts through the trees.</dialogue>
    <dialogue>WHOOSH! Jack, away from Fawcett, is hit in the chest. It knocks him over, but he gets up and continues to run.</dialogue>
    <character>ANGLE BACK ON FAWCETT</character>
    <dialogue>Who is moving through the forest with great speed, determined to survive. In his POV, the denseness becomes DIZZYING, obscuring, difficult. We HEAR the WHIRRING and his HURRIED BREATHING.</dialogue>
    <dialogue>Fawcett gets up. He is on the move again as ARROWS DART PAST HIM, PERILOUSLY CLOSE...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. RIVERBANK</stage_direction>
    <scene_description>Fawcett reaches the riverbank. Jack is here on his knees, with his back to us. Is he dead? He's oddly still. Fawcett approaches his son. THEN HIS SON TURNS, TERRIFIED. IN SHOCK and SHAKING.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>They'll keep after us--we've got to keep moving.</dialogue>
    <scene_description>Fawcett grabs his son, shakes his head.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Do you hear me?!?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CLEARING - LATER</stage_direction>
    <scene_description>Fawcett and Jack are running in tall grass. Then they stop. Surrounded by Indians. They have more PAINT on them, more MUD, than the other group of Indians that were chasing them earlier. Fawcett and Jack turn around. Indians close in behind them, too. DOOMED? ONE INDIAN STEPS FORWARD. HE TAKES HIS SPEAR and HURLS IT RIGHT TOWARD FAWCETT. Fawcett thinks this is the END. Instead, it goes past him, and THWOK! HITS ANOTHER INDIAN, RIGHT BEHIND HIM. KILLS THE MAN. THE OTHER INDIAN, A SUYA, was POISED WITH BOW AND ARROW, ready to kill Fawcett. THIS INDIAN HAS SAVED FAWCETT'S LIFE. WARRING TRIBES. The Indians fire at each other, as Fawcett and Jack duck down into the grass...</scene_description>
    <character>THE SUYAS RETREAT... THE NEW GROUP OF INDIANS SURROUND</character>
    <dialogue>FAWCETT AND JACK. Fawcett looks up, raises his hands...</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. VILLAGE SQUARE - LATE DAY</stage_direction>
    <scene_description>Fawcett and Jack sit in the middle of the Indian tribal village. A RAIN BEGINS TO FALL. LIGHTNING and THUNDER, though in the distance. A low rumble, then nothing but rain... Fawcett whispers to his son:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>I've encountered this before. We're in no real danger.</dialogue>
    <scene_description>Jack nods. A KAYAPO INDIAN plays with a FLASHLIGHT that Fawcett has given him. Fawcett and Jack are seated with the Indians surrounding them. The Indian appears thrilled with the flashlight. Two other Kayapos are in a debate:</scene_description>
    <character>KAYAPO INDIAN #2 (SUBTITLE)</character>
    <dialogue>The Christian is not one of us.</dialogue>
    <character>KAYAPO INDIAN #1 (SUBTITLE)</character>
    <dialogue>He is not one of them, either.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>He is a shadow man, never at rest...we must send him back to the shadows...</dialogue>
    <scene_description>The Kayapo BRING IN THREE CORPSES, THE SUYA INDIANS WHOM THEY KILLED. The bodies are tied up on TREE BRANCHES. And PUT OVER THE FIRE. Jack's EYES POP as he sees this.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>They eat the ash of the bodies. They believe it saves their enemy's souls.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. ABOVE A RIVER WITH ROCKS</stage_direction>
    <scene_description>The Kayapo lead Jack and Percy up a PATH of ROCK. They lie them down in a circle of ROCKS. In Portuguese:</scene_description>
    <character>KAYAPO INDIAN #1 (SUBTITLE)</character>
    <dialogue>Sleep...</dialogue>
    <scene_description>Percy nods. The Kayapo SEEMS entirely friendly. And they place ONE TORCH in between TWO LARGE ROCKS.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Are...are we going to die?</dialogue>
    <scene_description>Fawcett looks to his son for a moment, cupping his son's chin in his hand. Then his eyes unexpectedly turn to the heavens, and he begins:</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>"Hast thou commanded the morning since thy days, and caused the dayspring to know his place? Who hath put wisdom in the inward parts? Or who hath given understanding to the heart?"</dialogue>
    <scene_description>(his head sinks; not making eye contact with his son, but to his son) Most of life is a mystery. We know so little of the world. But we've made a journey other men cannot even imagine. And it has given understanding to our hearts. We do not need to know the future. Jack sits up. Then he STANDS.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Jack, sit down. They need to know that we trust them.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>Father...</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>Is--is this not Z?</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>No... Zed is over those mountains. Let us hope we'll be on our way soon.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>But--I believe we may have already reached part of Z.</dialogue>
    <character>123A.</character>
    <dialogue>PERCY FAWCETT</dialogue>
    <scene_description>Temper your enthusiasm, my boy. We've not yet reached our coordinates.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>Do you not see the causeways you've described? They're perfectly straight and stretch as far as the eye can see. And a bridge as well! The ancient Indians must have forged something truly astonishing. Imagine the plans, the skill, all of them working together, to achieve it!</dialogue>
    <scene_description>Percy stands and takes a few steps to see the causeway.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>And you just told me how they were saving the souls of their enemies.</dialogue>
    <character>JACK FAWCETT</character>
    <dialogue>That is the sort of civilization your opponents always denied could exist here.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>We are IN Z, father! It's all around us!</dialogue>
    <scene_description>Percy takes a step forward. Looks around. A STUNNING REVELATION--in the look of SHOCK--SEEMS TO COME OVER HIS FACE.</scene_description>
    <character>JACK FAWCETT</character>
    <dialogue>One day the whole world will see it, without doubt. It's everything you've always wanted!</dialogue>
    <scene_description>Percy EYES his son, then breaks down. He begins to cry.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>My boy, to be here with you, on this journey...is everything.</dialogue>
    <scene_description>Fawcett tenderly grabs Jack's neck. Percy then withdraws a LETTER from his pocket, hands it to Jack Fawcett.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>Your mother gave this letter to me some time ago. It's given me great strength over the years. You should have it now.</dialogue>
    <scene_description>Jack takes it. CLOSE SHOT ON THE LETTER, as it is being opened. Then, MUSIC UP: A KAYAPO DANCE.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CAMPFIRE - NIGHT</stage_direction>
    <scene_description>The Tribe does a ritual dance around Fawcett and Jack. They then approach the men, who sit, kneeling with their heads down. A Kayapo then begins to paint Fawcett and his son, GIVING THEM SOME KIND OF MILKY DRINK. The Indians paint the men's chests too, around their necks and sterna. A close shot on Percy Fawcett. He stares at his son, who appears to be at peace. FAWCETT turns away. Seems to drift off. We PUSH EVER CLOSER ON HIM. He looks over, at the GROUND. He SEES: the LETTER from NINA. Then: all sound from the jungle disappears. We:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. DINING ROOM - LORD BERNARD HOME - BRIGHT DAY</stage_direction>
    <scene_description>A CLOSE SHOT of NINA, MUCH YOUNGER THAN WHEN WE LAST LEFT HER. SHE IS HOLDING A BABY. WIDEN to REVEAL: A dining table, covered with food. Crowded with presumably family and friends. A CHEER goes out. Nina and Fawcett stand at the head of the table, having just arrived with their newborn: JACK. Lord Bernard is here, too, as are the other faces from our story's opening at the church. (The scene is UNNATURALLY QUIET, almost like a HALLUCINATION. But it's an event that it's happened, a FLASHBACK.)</scene_description>
    <character>RANDOM WOMAN</character>
    <dialogue>So wonderful, little Jack!</dialogue>
    <parenthetical>(to Nina)</parenthetical>
    <dialogue>And you--you look so robust, and healthy!</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Thank you... Yes. I do feel better.</dialogue>
    <scene_description>Fawcett pulls out a chair for Nina and the baby. Then:</scene_description>
    <character>LORD BERNARD</character>
    <dialogue>A toast--shall we?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Yes, Lord Bernard. But--I--I would like, if I could, to read something first.</dialogue>
    <character>PERCY FAWCETT</character>
    <dialogue>(as a joke)</dialogue>
    <scene_description>Now I'm in for it! LAUGHTER.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I wrote it for you. In the event I did not survive the birth.</dialogue>
    <character>LORD BERNARD</character>
    <dialogue>Oh, but you did, my dear, thank heavens!</dialogue>
    <scene_description>LAUGHTER. She begins, reading off a small piece of stationery as Fawcett eyes her:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>"My Percy, I know your first instinct will be to grieve, but I adjure you rather to consider our son and the love you must show him--"</dialogue>
    <parenthetical>(looking at young Jack)</parenthetical>
    <dialogue>See--? I knew it would be a boy, and born on the birthday of the Buddha, no less!</dialogue>
    <parenthetical>(only some laughter; back to letter)</parenthetical>
    <dialogue>"--Always teach him to dream. For as the Buddha teaches, to seek the unknown, to look for what is beautiful, is its own reward. And I beg you to remember those words so easy to forget, written by our beloved Browning--allow me one last time to repeat them: "a man's reach should exceed his grasp, or what's a heaven for?" My dearest love forever, Cheeky."</dialogue>
    <scene_description>The women at the table let out a collective "AWWWW" as Fawcett smiles, kisses his wife's hand. He then looks over to the baby, reaching out to touch its hand. We MATCH CUT:</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. THE JUNGLE AGAIN</stage_direction>
    <scene_description>We're back where we were. Or are we? It's oddly silent, save for Fawcett's breathing. Percy touches his son's hand.</scene_description>
    <character>PERCY FAWCETT</character>
    <dialogue>We're here, Jack... You're right... Z is all around us...</dialogue>
    <scene_description>CLOSE UP ON PERCY FAWCETT as the Indians dance, lifting and moving him somewhat sloppily. It is not tender, but it is not violent, either. Fawcett turns: musicians and dancers circle what looks like a plaza. In the distance: mound-shaped houses in endless rows. They hold him aloft... He reaches up. SEES something. Tries to touch it. We SEE what PERCY FAWCETT SEES: SILHOUETTED: A GATEWAY, a LARGE ARCH, in the distance, through the trees. Across the river. The Indians carry FAWCETT AND NOW JACK too. The KAYAPO begin a march... They CARRY PERCY AND JACK up toward the GATEWAY, which is HIGH ABOVE the community...</scene_description>
    <character>PERCY SEES SCORES OF TORCHES, EVERYWHERE...</character>
    <dialogue>SO MANY PEOPLE...</dialogue>
    <character>SO MANY INDIANS,</character>
    <dialogue>CUT TO:</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. RGS OFFICE - DAY</stage_direction>
    <scene_description>Seated behind his desk: SIR JOHN SCOTT KELTIE. Keltie is near eighty now. ENTERING: WILLIAM BARCLAY. Keltie does not look up from his notes. After an awkward beat:</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Sir John?</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Yes...?</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>She's outside again.</dialogue>
    <scene_description>Keltie seems both sympathetic and peeved. After a beat:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Bring her in.</dialogue>
    <scene_description>Barclay spins around, opens the door. Entering the room: NINA FAWCETT. Keltie gets up, smiles. Puts on his best behavior in her presence.</scene_description>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Miss Nina.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>Nina my dear, how are you?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Sir John... Mr. Barclay.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>How may we be of help to you today?</dialogue>
    <scene_description>Nina speaks, but in a way that is almost interior, trancelike. Her eyes have a kind of thousand-yard stare, and she seems to connect, then turn inward, from moment to moment:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>A man...came to see me yesterday.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>A man?</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>He was from Brazil. He's seen Percy, and Jack, living with the Indians. He says they claim to have reached Z.</dialogue>
    <scene_description>Keltie tries to hide his skepticism, but cannot. Reaches out to Nina. Tenderly:</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <dialogue>My dear, it's been years. Almost a hundred men now have been sent to look for your husband and son. I'm...I'm afraid they are no more. And I would advise...</dialogue>
    <scene_description>He cannot continue. Tears well up in her eyes--and, amazingly, he gets emotional as well.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>Sir John, I confess that the brutal wear and tear is great, and I suffer with heart and soul.</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>It has taken all my strength of will to push horrors out of my thoughts...</dialogue>
    <scene_description>Then Nina seems to reconnect:</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>But I beg you not to lose confidence. I cannot doubt--after so many years of sacrifice--it has become my own life's work. It cannot have all been in vain...</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>Miss Nina, we do plan more search parties. We do.</dialogue>
    <scene_description>No response. Keltie looks pained. He sits back down, behind his desk.</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>The Brazilian gave me this, to give to you. He said Percy told him you would understand.</dialogue>
    <scene_description>Nina hands him THE COMPASS. Keltie takes the COMPASS. Tries to reveal not a hint of wide-eyed shock. BUT HE IS SHOCKED!</scene_description>
    <character>NINA FAWCETT</character>
    <dialogue>I have trained myself to be impartial to evidence, but surely this is a sign.</dialogue>
    <character>SIR JOHN SCOTT KELTIE</character>
    <parenthetical>(in a state of shock)</parenthetical>
    <dialogue>I--I will have it examined...</dialogue>
    <character>NINA FAWCETT</character>
    <dialogue>Thank you, Sir John. It is all I can ask.</dialogue>
    <scene_description>Nina withdraws again. DEVASTATED BY HIS WORDS. A beat, and then she nods, turns, leaves. Keltie looks up after she has left. Takes the compass in his hand, is WHITE AS A SHEET!</scene_description>
    <character>SIR JOHN SCOTT KELTIE</character>
    <parenthetical>(to himself)</parenthetical>
    <dialogue>Good God...</dialogue>
    <character>WILLIAM BARCLAY</character>
    <dialogue>What is it, Sir John? Anything? At all?</dialogue>
    <scene_description>Sir John looks up at Barclay. We: CUT TO:</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HALLWAY - ROYAL GEOGRAPHICAL SOCIETY 136</stage_direction>
    <scene_description>Nina enters the hall. The camera PANS with her. We WATCH her solitary figure walk off, back to us... And as she makes the turn in the hallway, she enters: THE JUNGLE. THE HALLWAY becomes DARK JUNGLE! SHE DISAPPEARS INTO THE DARKENSS. And then we HEAR:</scene_description>
    <character>A NARRATOR</character>
    <dialogue>Many rescue groups were sent to find Percy and Jack Fawcett, but none was successful. Nina Fawcett kept hope that they would return up until her death in 1954.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. AMAZONIA</stage_direction>
    <scene_description>An aerial SHOT of the Amazon river, snaking through GREEN FOREST...</scene_description>
    <character>A NARRATOR</character>
    <dialogue>Though many recognized Fawcett's attitude toward the peoples of Amazonia to be ahead of its time, his belief in a lost city was ridiculed for almost a hundred years. But early in the 21st century, scientists were astonished to discover key evidence of ancient roads, bridges, and complex agricultural systems spread throughout the jungle: an advanced civilization.</dialogue>
    <parenthetical>(beat)</parenthetical>
    <dialogue>The modern age had come to see, in this way too, that Percy Fawcett was correct.</dialogue>
    <character>CUT TO BLACK.</character>
    <dialogue>The End</dialogue>
  </scene>
</script>

Summary: In 1905, Percy Fawcett is a young British major who participates in a stag hunt on an Irish baronial estate for the visiting Archduke Franz Ferdinand’s benefit. A skilled horseman and marksman, he brings down the stag swiftly, but is snubbed at the after-hunt party. A year later, Fawcett meets officials of the Royal Geographical Society (RGS) in London, where he is informed that the governments of Bolivia and Brazil are nearly at war over the location of their mutual boundary. Directly affecting the region’s extremely lucrative rubber trade, they have asked the British government to survey it. Fawcett leads the survey party, meeting Corporal Henry Costin, who is familiar with the Amazon rainforest,  aboard the ship to Brazil. At a large rubber plantation in the jungle owned by Portuguese nobleman Baron de Gondoris, they meet Lance Corporal Arthur Manley, who tells them the British government advises against further exploration. Nevertheless, Fawcett and Costin, along with several guides and Amazonian scout Tadjui, complete the mission. Tadjui tells him stories about a legendary jungle city covered in gold and full of people. Fawcett dismisses this as insane ravings, but he soon discovers highly advanced broken pottery and some small stone statues in the jungle, convincing him of the story’s veracity. Upon his return, Fawcett is praised, and his wife, Nina (Sienna Miller), has given birth to their second son. In the Trinity College Library of Dublin, she discovers a conquistador text telling of a city deep in the Amazonian jungle, which Fawcett names “the Lost City of Z”. He also meets renowned biologist James Murray, who agrees to back his Amazon expedition to find that lost city. Attempting to convince RGS members for backing, he is initially ridiculed, but ultimately they concede to further exploration. Murray, unfamiliar with the rigors of the deep jungle, greatly slows them down. Fawcett’s party is attacked along the river, but he makes peace with the natives. Murray’s leg injury becomes severely infected, and he begins to succumb to madness. Fawcett sends him off with a native guide and their last pack animal to find aid. The team must abandon the expedition after discovering that Murray poured paraffin on their supplies. Murray survives and, in front of RGS trustees, accuses Fawcett of abandoning him in the jungle, demanding an apology. Fawcett opts to resign from the society rather than do so. When World War I breaks out in Europe, Fawcett fights in France. Manley dies in the trenches at the Battle of the Somme, and Fawcett is temporarily blinded in a chlorine gas attack whilst leading an infantry attack. His estranged eldest, Jack, who had long accused Fawcett of abandoning them, reconciles with him as he recovers. In 1923, Fawcett is living in obscurity in Britain. American interest in exploring the Amazon has escalated, mostly due to Fawcett’s stories of the lost city. John D. Rockefeller Jr. and a consortium of U.S. newspapers finance a new Fawcett expedition. The RGS co-funds it at the last moment to maintain British pride. Fawcett shows Sir John Scott Keltie a compass, telling him that he will send it back to him once he finds the lost city. Fawcett and his son go alone this time, travelling as light as possible for up to three years to find “Z”. Costin declines an invitation to join them. The Fawcetts are attacked by natives and run off, only to be stopped by a second tribe, who say that the Englishmen's spirits aren’t wholly of their own world. They declare their spirits “must belong” somewhere, so they will help them find their rightful place. The Fawcetts are drugged during a ceremony and carried away. Years later, Nina Fawcett has a meeting with Keltie at the RGS, claiming she has heard that Fawcett and Jack are still alive and living with tribespeople. The RGS, having sent over a hundred people to search for Fawcett over the years, refuses to do another search; and Keltie advises Nina to accept her husband’s death, but she refuses. Instead, she shows him the compass Fawcett had promised to send once he found the lost city. As Nina leaves, her reflection in a mirror shows her walking out into what looks like the Amazonian jungle.