The Ghost and the Darkness

FADE IN ON:

A TINY FIGURE OF A MAN hurrying toward camera. The figure gets

larger as he approaches. But as yet we cannot tell who he is or

where we are.

MALE VOICE (over)

This is the most famous true story

of Africa. It happened a hundred

years ago, but even now, when

children ask about it, you do not

tell them at night.

(The FIGURE continues

to grow)

It began with the race to build a

railroad across Africa.

(beat)

But this is not about building a

railroad- it is about Patterson.

And now we can tell that the FIGURE is a YOUNG MAN, A LIEUTENANT

COLONEL. This is PATTERSON. He is gifted and bright and serious,

serious about his life, serious about his career. He has been

successful in everything he's attempted, in part because of his

talents, in part because he is willing to outwork anybody.

AND THIS IS WHERE WE ARE: ENGLAND.

More specifically, in a high-ceilinged corridor of an elegant

building - lovely woodwork all around. Everything is neat,

everything is clean and in order.

MALE VOICE (over)

Patterson was thirty. A brilliant

engineer. A fine man, but do not

become attached to him- there are

many fine men in this story but do

not become attached to any of them.

(beat)

So many of them die.

Patterson stops at a large ornate door, knocks. Waits.

MALE VOICE (over)

And remember this: only the

impossible parts of what follows

really happened...

(Now the door opens

and we-)

CUT TO:

Just a wonderfully handsome man standing in the doorway. This is

ROBERT BEAUMONT - 40, with an irresistable smile. We're in his

office and the place reflects the man - clean, cold. There are

maps and charts on the walls. He ushers Patterson inside.

BEAUMONT:

(The great smile flashes)

John Henry Patterson, come in. I'm

Robert Beaumont.

(They shake hands)

Firm- I like that, tells me a lot

about you-

(beat)

-now why don't you tell me about me?

To get you started, many people find

me handsome, with a wonderful smile.

I'm sure you agree.

(Surprised, uncomfortable,

Patterson nods)

Winning personality, heaps of charm?

PATTERSON:

My wife is the game player in the

family, sir.

BEAUMONT:

Games?

(staring dead at Patterson)

Look at me closely, Patterson: I am

a monster. My only pleasure is

tormenting people who work for me,

such as yourself.

(again the smile - only

now it's chilling)

One mistake and I promise you this:

I'll make you hate me.

CUT TO:

PATTERSON, as he realizes Beaumont is serious. Beaumont turns

sharply and moves to a large map.

CUT TO:

THE MAP. It covers a great deal of East Africa with a very clear

line that ends at Lake Victoria, a distance of some 600 miles.

BEAUMONT:

(pointing along the line)

We are building this railroad

across Africa for the glorious

purpose of saving Africa from the

Africans. And, of course, to end

slavery. The Germans and French

are our competition. We are ahead,

and we will stay ahead providing

you do what I hired you to do-

CUT TO:

A MORE DETAILED MAP. This one ends at "Tsavo," 130 miles in.

BEAUMONT:

-build the bridge over the Tsavo

river. And be finished in four

months time. Can you do that?

PATTERSON:

I'm sure you've examined my record.

So you know I've never yet been

late on a bridge.

BEAUMONT:

You've never built in Africa.

PATTERSON:

But I have in India- every country

presents problems.

BEAUMONT:

You'll need your confidence, I

promise you.

PATTERSON:

I've got a reason far beyond

confidence:
my wife is having our

firstborn in five months and I

promised I'd be with her when the

baby comes.

BEAUMONT:

Very moving, Patterson; I'm touched

you confided in me.

(beat)

But I don't really give a sh*t about

your upcoming litter. I've made you

with this assignment-

(the smile)

-don't make me break you.

PATTERSON:

(smiling right back)

You won't have the chance.

(glancing at his watch)

Any further words of encouragement?

(silence)

Then I've a train to catch.

They look at each other a moment in silence - and it's very clear

they do not like each other. Patterson turns, leaves and we

CUT TO:

A RAILWAY STATION, IMMEDIATELY AFTER

A train is loading up. A lot of activity, a lot of noise.

Patterson stands in the midst of it, anxiously looking around.

CUT TO:

HELENA PATTERSON, hurrying through the crowd. Early 20s, with the

kind of serene beauty of Jean Simmons. She is still slim, has not

begun to show. She spots him, puts a smile on, goes straight into

his arms.

HELENA:

I tried to be late, John- it would

have been easier if you'd gone.

PATTERSON:

(They are nutty about

each other - he nods)

We're not much good at goodbyes,

Helena.

HELENA:

(brightly)

Tell me about Beaumont- does he

understand how brilliant you are,

how lucky he is to have you?

PATTERSON:

It was embarrassing- the man showered

me with compliments.

They start to walk hand in hand along the platform toward a

quieter place. Patterson is suddenly very serious-

HELENA:

Oh dear-

(beat)

-you're geting that downtrodden look

again-

PATTERSON:

-well, it's just...

(beat)

...other men don't abandon their wives

at such a time-

HELENA:

(not unkindly)

-oh please- if I'd been against your

taking this, you would have abandoned

me. You've been desperate to see Africa

your whole life.

PATTERSON:

What if there are complications?-

HELENA:

-not "what if"- there will be, there

always are. Which only means that our

"son" and I- note my confidence- will

have an excuse to come visit.

THE TRAIN WHISTLE sounds.

HELENA:

Go, now.

(He kisses her hand)

Such a gentleman.

(Now he holds her)

PATTERSON:

I am desperate to see Africa- but I

hate the leaving.

CUT TO:

HELENA. She hates it, too.

HELENA:

You build bridges, John-

(beat)

-you've got to go where the rivers are.

They hold each other a moment more, then break, then back into

each other's arms a final time, then-

CUT TO:

THE TRAIN, and thick clouds of steam-

-Patterson runs into the clouds and disappears.

HOLD FOR A MOMENT.

KEEP HOLDING.

Patterson runs out of the steam and we

PULL BACK TO REVEAL

A DIFFERENT TRAIN, A DIFFERENT COUNTRY, A DIFFERENT WORLD.

This is the train to TSAVO and Patterson is alone on the engine

seat- a wooden bench in front of the engine used by railroad

inspectors and visiting VIPs. Behind it is a white circular piece

of wood used to keep the engine heat from the passengers.

CUT TO:

NIGEL STARLING, running as best as he can alongside the train,

trying to pull himself up onto the engine seat.

STARLING is a terribly appealing young man. Clothes do not fit him

well, and he is constantly tugging at this sleeve or that

shirttail, trying to get things right. He wears glasses, tends

nonetheless to squint at the world. He is, above all, a good man,

morally impeccable and very much a product of these Victorian

times.

STARLING:

(as Patterson helps

him aboard)

Many thanks.

(squints)

You're Patterson, yes?

(Patterson nods)

Nigel Starling- I'll be assisting you

at Tsavo- but surely Beaumont must

have told you that.

PATTERSON:

He just gave me his "monster" speech.

STARLING:

That. I know Robert seems dreadful,

but when you truly get to know the man,

well, he's much worse.

(beat)

And I'm one of his defenders.

(Patterson smiles)

Forget him for now- it's your first

ride to Tsavo- I think you'll find it

breathtaking.

(And on that word-)

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