Four Feathers

trench

...Come on Castelton. Give her a good kick. I want to wave to the ladies...

EXT. wharf/ LONDON DOCKS - NIGHT.

The CROWD below cheers as the soldiers crowd the rails.

EXT. rails/ troop ship/ LONDON DOCKS - NIGHT.

TRENCH waves at the crowd as if he were the Queen. CASTELTON is lost in the scale of it all. DURRANCE stares at the tiny figures, wondering if Harry's amongst them.

willoughby

(Interrupting his thoughts)

...Jack, I wanted to apologise for the other day. My argument wasn't with you.

DURRANCE

It's forgotten.

DURRANCE keeps staring into the crowd below.

EXT. wharf/ LONDON DOCKS - NIGHT.

HARRY stares up at the ship, a ghost amongst the cheering faces. The SOLDIERS at the rails look like specks, but Harry knows his friends are somewhere up there.

EXT. officer's stand/ wharf/ LONDON DOCKS - NIGHT.

A line of RETIRED OFFICERS, salute as the vessel finally sets off. Amongst them is GENERAL FEVERSHAM, Harry's father. He stands at attention.

EXT. LONDON DOCKS - NIGHT.

The celebrations over, the CROWD moves away from the docks. HARRY searches through the throng for his father.

EXT. HANSOM CABS/ LONDON DOCKS - NIGHT.

GENERAL FEVERSHAM and COLONEL SUTCH wait in line for a hansom cab. The two old soldiers look frail in the falling rain. As they're about to climb onto a carriage, a voice calls out:

HARRY (o.s.)

Father...?

The General turns around. His eyes fill with emotion as his son approaches.

HARRY

...I need to talk to you, Sir.

There's a long silence as GENERAL FEVERSHAM gazes at his son. HARRY looks as if he hasn't slept in days. His eyes are swollen and bloodshot, full of heartbreak and shame. For a moment it seems as if the old man will take him in his arms and comfort him, but instead he averts his eyes, and climbs into the carriage. COLONEL SUTCH looks at HARRY regrettably, as if to say there's nothing he can do.

EXT. LONDON STREETS - night.

NEWSBOYS follow HARRY home, trying to sell him their newspapers, refusing to take no for an answer.

NEWSBOY

...It's a commemorative issue, Sir. War in the Sudan...

HARRY buys a paper just to be rid of him, only for another NEWSBOY to take his place.

SECOND nEWSBOY

Different paper Sir, London Times. commerative issue...

INT. HARRY'S APARTMENT - DAY.

The sound of guns echoes in the distance. HARRY looks up. His face is unshaven, his eyes glassy from lack of sleep. Another volley sounds outside. HARRY gets off the floor and walks over. As he does so we see the piles of newspapers that have gathered on his floor over the past few weeks.

The regimental guns boom outside. HARRY opens the window. He wants to hear them more clearly. He wants to be reminded of his shame.

He walks back to the day's newspapers and kneels down amongst the mess. We see headlines of massacres and slaughters, beneath them artist's impressions of the Mahdist atrocities.

EXT. LONDON STREETS - day.

The NEWSBOYS run from HARRY now, mistaking him for a tramp. He catches up with one of them, forcing some money on him.

NEWSBOY

(Giving him a paper)

British defeat in the Sudan! Hundreds dead!...

HARRY flicks through the newspaper anxiously.

EXT. war office/ LONDON - day.

CROWDS have gathered outside the War Office. The mood has changed from celebration to panic. PEOPLE are stunned by the news of defeat, desperate to hear if their loved ones are alright. SOLDIERS hold back the surging mass. Only small groups are allowed in at a time.

INT. corridor/ war office BUILDING/ LONDON - day.

HARRY hurries down the corridor towards an area where the names of British casualties have been pinned to a notice board. PEOPLE swarm past him in the other direction. Some of them look relieved, others are overwhelmed by grief. HARRY hurries on, his heart pounding.

INT. CASUALTY LIST/ war office BUILDING/ LONDON - day.

HARRY pushes through the CROWD of peering heads. As he finally elbows his way to the front he glimpses the long list of casualties. His eyes look through the D's first. Durrance's name isn't there. No sign of Castelton under the C's. HARRY is jostled backwards as he searches for the other names. With a fierce effort he gets to the front again. No Trench under T, no Willoughby under W. They're all safe. HARRY's body slackens with relief.

EXT. harry's appartment block/ LONDON STREET - day.

HARRY looks drained as he reaches the front door of his building. As he opens it his LANDLADY walks out.

landlady

There's someone to see you Sir. They're waiting upstairs...

HARRY doesn't wait for her to finish.

INT. STAIRWAY/ harry's appartment block/ LONDON STREET - day.

HARRY bounds up the stairs, expecting to see Ethne. He stops suddenly as he sees COLONEL SUTCH instead, waiting outside his door. He hides his disappointment with an awkward smile.

hARRY

Colonel Sutch...

SUTCH can't help staring at HARRY, shocked by the state he's in.

INT. HARRY'S APARTMENT - DAY.

HARRY tries to make the room look more presentable, gathering up the newspapers and maps off the floor. He finally stops what he's doing and turns around.

harry

(Quietly)

How is he?

COLONEL SUTCH

He's been very withdrawn. I've tried to persuade him to leave the house but he's a stubborn man.

harrY

Will he see me?

COLONEL SUTCH

I don't think so...

(He pauses)

...but if it's money you need he won't cut you off. He hinted as much to me.

harry

I don't need money, Sir.

HARRY turns away. SUTCH looks torn. As a soldier he disapproves of what Harry's done, but as a family friend he can't help feeling sorry for the boy.

COLONEL SUTCH

You were never cut out for this proffession.

harrY

(A thin smile)

Was it that obvious?

COLONEL SUTCH

It was to me. Ever since you were a child. I only wish I'd said something to your father.

HARRY turns and faces him.

harrY

(With an almost morbid curiosity)

How did you know I didn't have it in me?

COLONEL SUTCH

What difference does it make?

harrY

It does to me, Sir. It's all I think about. What makes a man a coward?

COLONEL SUTCH

(Losing patience)

That's enough Harry. Get on a grip on yourself. You're no use to anyone, sitting here all day, driving yourself mad...

The outburst seems to release SUTCH from his soldier's reserve. He's all concern now.

COLONEL SUTCH

What's done, is done.

harrY

(Quietly)

No Sir, it isn't.

HARRY reaches into his pocket and pulls out a small white box. He opens it in front of SUTCH. There are four white feathers inside. SUTCH stares at the names on the cards.

COLONEL SUTCH

(Stunned)

Who sent you the fourth? Jack?

harrY

Ethne.

SUTCH looks up in surprise, beginning to realise the full extent of Harry's heartache.

COLONEL SUTCH

Throw them away. They don't mean a thing.

HARRY

They do to me, Sir. They're all I have left of my friends.

COLONEL SUTCH

Harry, this is morbid.

harrY

I don't mean it that way...

(Trying to make him understand)

You see, if there was something I could do, something so undeniable...I'm not saying it would change anything, it's too late for that...but if the feathers can be given, then they can be taken back.

COLONEL SUTCH

Harry, your friends are in Egypt.

HARRY

Yes Sir. In Alexandria. They transfer to Suakin in a fortnight.

SUTCH doesn't understand at first. Then he looks at the newspapers and maps spread out across the floor, and begins to see the method in Harry's madness.

COLONEL SUTCH

(In disbelief)

...You're a civilian. Even if you find them, there's nothing you can do.

harry

I'm well aware of my chances.

COLONEL SUTCH

Then what's the point!?

(Staring at him in dismay)

You think Ethne will take you back? Is that what you think?!

From the look in his eyes it's clear the thought had entered his head. Sutch's words bring him back down to earth. His voice is quieter now, resigned.

harrY

I don't have any choice...

(With a terrible honesty)

I'm not sure how much longer I can live with myself, here, like this...

COLONEL SUTCH stares at him with pity, seeing the depth of his anguish.

haRRY

I'm leaving for Egypt tomorrow.

COLONEL SUTCH

(He realises there's no point trying to dissuade him)

Do you want me to tell your father?

harry

Only if something should happen to me. I'll write and let you know how I am, as often as I can.

COLONEL SUTCH

What about Ethne?

HARRY has to think long and hard about this. The thought of her fills him with sadness.

hARRY

I'd rather you didn't tell her anything. After all I've put her through the least I can do is let her forget me in peace.

COLONEL SUTCH looks moved by his predicament, and impressed by these first, grasping signs of nobility.

harrY

Maybe I'll come back sooner than I think -- hear the guns booming off the African coast, and take the first ship home.

COLONEL SUTCH

I doubt it, Harry.

COLONEL SUTCH smiles weakly.

EXT. HARRY's POV. VIEW OF THE AFRICAN COAST - day.

Through the shimmering heat we see the outlines of the African mountains: an arid moonscape, dust clouds blowing in the wind.

EXT. port of ALEXANDRIA - DAY.

The same veil of dust blows through the crowded port. HARRY covers his eyes. His hair is longer now, his face gaunt and bearded. Clutching his suitcase, he moves through the throng.

EXT. streets of ALEXANDRIA - DAY.

The alleyways look almost dreamlike through the shimmering heat. It's as if we're in Harry's head, reflecting his state of mind. A crowd of URCHIN BOYS are following his every step, imitating his langorous walk. HARRY doesn't notice them. His gaze is riveted by the sights around him: the MERCHANTS beckoning him into their shops; the BRITISH SOLDIERS on leave, sheltering in the cool hollows of the cafes and whorehouses; the BEGGARS, hunched up against the stone walls, their faces covered with flies.

Through the arches of the Souk, a wedding procession appears. The BRIDE and GROOM sit on brightly painted donkeys. All around them WOMEN and CHILDREN clap and shrill. HARRY catches a glimpse of the bride's face. She gazes at him for a moment, then looks away.

INT. COLONIAL HOTEL/ ALEXANDRIA - DAY.

The colours of the Souk give way to the cool white emptiness of a colonial hotel. ENGLISH GUESTS talk in hushed whispers as EGYPTIAN WAITERS serve them tea. HARRY sits in a corner of the lobby, nursing his drink, observing a group of ENGLISH OFFICERS, laughing amongst themselves.

HARRY looks thoughtful, wondering how to approach them. Suddenly he hears a commotion. A drunk BRITISH CORPORAL is escorted out of the hotel by a group of SENIOR OFFICERS. He shouts and swears, but they ignore him, throwing him out of the door. HARRY gets up as he sees his chance.

INT. EGYPTIAN bar - brothel/ BAZAAR/ ALEXANDRIA - night.

The rhythmic beating of drums. Tattooed WOMEN dance on a makeshift stage, mesmerising the crowd of eager SOLDIERS. HARRY sits with the drunken BRITISH CORPORAL. The man's eyes keep drifting longingly towards the stage, as if he hasn't seen a woman in months. HARRY fills his glass.

BRITISH CORPORAL

(Resuming their conversation)

...It's all reconnaisance trips. The river's too swollen to move troops in numbers. Her Majesty's army's rotting in Suakin.

harry

Which other regiments were with you?

BRITISH CORPORAL

They're all there: the Hussars, the Highlanders, the Grenadiers...Which newspaper did you say you were from?

hARRY

The London Times.

BRITISH CORPORAL

You must think I'm a disgrace? 'Sand happy'. That's what those Officers called me.

harry

How much longer do you think the troops will be held up in Suakin?

BRITISH CORPORAL

As long as they can if they're lucky.

(He finishes his drink)

Does the Prime Minister read your paper?

harrY

I imagine so.

BRITISH CORPORAL

Then tell him from me we're on a losing wicket here. These bastards aren't scared of anything. If they saw death walking down the street they'd hide in an alleyway and try to pick him off with a stone. How do you fight people like that...

He tries to drain the last few drops from his empty glass, then looks over longingly, at the tattooed DANCERS.

EXT. SAND STORM/ desert near SUAKIN/ sudan - DAY.

Thick gusts of sand blow at us. As the swirling clouds settle we see a group of misshapen figures, huddled together. As they finally rise and start to move, we realise they're BRITISH SOLDIERS, on camels. Amongst the dust caked faces we see TRENCH, CASTELTON, WILLOUGHBY and DURRANCE.

EXT. DESERT near SUAKIN/ SUDAN - DAY.

The sand storm has cleared, and in its place a harsh desert sun beats down. The COLUMN OF BRITISH SCOUTS trudges forward. DURRANCE rides at the front, looking as if he were born here, eyes alert to every shimmer and nuance.

Up ahead he sees a large mound of stones standing out amongst the mud flat. He drives his camel forward. As he approaches he sees that it's a dervish burial mound. Skulls and skeletons are splayed across the rocks. WILLOUGHBY rides up through the ranks and joins him.

WILLOUGHBY

What do you think?

DURRANCE

I think they're trying to frighten us off. We should keep pressing forward.

WILLOUGHBY offers DURRANCE his water flask. DURRANCE takes a drink.

DURRANCE

(Pulling a face)

It's bloody whisky.

wILLOUGHBY

(Grinning)

My camel drinks the water.

EXT. burnt out fortress/ desert - day.

As the camels tread their way through the sun baked shingles a ghostly fortress appears on the horizon. The men start loading their rifles instinctively.

EXT. courtyard/ burnt out fortress/ desert - day.

All that's left of the fortress is a grim skeleton. The Union Jack lies ripped to shreds, halfway down its flagpole. The BRITISH SOLDIERS gaze at the destruction. Their camels sense their tension and rear a little in the eerie silence. As ever, TRENCH is the first to break the ice.

trench

(Jumping off his camel, walking towards the fortress well)

I don't know about you lot, but I'm going to grab a drink before Mustapha does.

"Mustapha" the camel whinnies as if he's understood every word. The MEN start laughing.

DURRANCE

The water's probably poisoned.

trench

(Leading his camel towards the well instead)

Mustapha, be my guest.

There's more laughter. DURRANCE smiles but his eyes are still alert. Above the fortress tower he sees a flock of birds taking flight, rising up gracefully towards the desert sun. Suddenly amidst the laughter and chatter, one of the SOLDIERS topples off his camel. His FRIENDS laugh:

friendS

...Capshaw you dosy bastard...

...Camilla's tired him out...

CAPSHAW doesn't move. CASTELTON's the first to realise something's wrong. He jumps off his camel and turns CAPSHAW over. Half the soldier's face has been blown off. Raw bone glistens underneath. CASTELTON rears back in horror.

CASTELTON

Sniper!

Panic erupts. The SOLDIERS leap off their camels, using them as shields.

The sniper's bullet rings out and sends one of the animals crashing to the dirt. The men start to run now, seeking shelter in the surrounding hutments. The sniper's gun rings out repeatedly.

EXT. HUTMENT/ burnt out fortress/ desert - day.

DURRANCE and CASTELTON duck into the hutment.

DURRANCE

...Keep him pinned. He's up in the tower.

CASTELTON unleashes a volley of shots. DURRANCE moves quickly to the other side of the hutment and climbs out of the window.

EXT. courtyard/ burnt out fortress/ desert - day.

The camels circle around themselves in panic. TRENCH weaves his way between the rearing animals, protecting himself from the sniper. A shot rings out and spits dust in his face.

trench

(Whispering in anger)

You bastard...

EXT. outer perimeter/ burnt out fortress/ desert - day.

DURRANCE runs around the back of the fortress, breathing hard.

EXT. courtyard/ burnt out fortress/ desert - day.

A second shot spins TRENCH round, grazing him in the arm.

trench

(His voice rising)

You bastard!

A third shot narrowly misses. TRENCH is up and running now, not waiting for the fourth.

trench

(Shouting like a madman as he charges towards the hutment)

You bastard! You bastard! You bastard!

EXT. outer perimeter/ burnt out fortress/ desert - day.

DURRANCE has a clear view on the sniper's tower now. From below he can see the man's rifle edge out, fire, and then withdraw. DURRANCE heads quietly towards the tower stairs.

EXT. STAIRS/ SNIPER's TOWER/ burnt out fortress - day.

Several of the steps are missing from the rickety stairway. DURRANCE climbs over them as lightly as he can. Up above he can hear the sniper's rifle ringing out.

EXT. castelton's HUTMENT/ burnt out fortress/ desert - day.

CASTELTON fires another round at the sniper's tower. TRENCH sits on the floor, cursing as he bandages his grazed arm.

EXT. SNIPER's TOWER/ burnt out fortress - day.

DURRANCE raises his head cautiously. At the tower window he sees the DERVISH SNIPER firing his rifle. DURRANCE hesitates. He could kill the man easily, but it would mean shooting him in the back. He can't bring himself to do it:

DURRANCE

Drop it!

The DERVISH SNIPER stops still. He turns around slowly and looks DURRANCE in the eye. A contemptuous smile flickers across his face. Very slowly, he takes a bullet from his pocket and slips it in the rifle. He doesn't even look at DURRANCE. There's a terrifying, suicidal calm about him.

DURRANCE studies his enemy, admiring his utter contempt for death, and then fires two bullets into his head.

EXT. TENTS/ THE BRITISH CAMP/ suakin/ sudan - night.

Bonfires flicker across the British camp. DURRANCE sits outside his tent, bathed in firelight, watching some BEDU DANCERS performing for the BRITISH TROOPS. He seems far away, as if he's thinking about the day's kill. TRENCH's braying voice snaps him out of his reverie.

treNCH

(Showing off his wound)

Look at this beauty...

TRENCH sits down between DURRANCE, CASTELTON, and WILLOUGHBY.

trench

(Playful)

It's true what they say. You haven't lived until you've been shot.

CASTELTON

It's only a scratch.

trench

You wouldn't understand. You haven't looked into the abyss.

CASTELTON

Shut up Trench...

DURRANCE joins in the laughter but he still seems far away.

wiLLOUGHBY

(Noticing)

Are you alright, Jack?

DURRANCE

(Smiling)

Couldn't be better.

WILLOUGHBY sees the haunted look in his eyes, but doesn't say anything. A SEARGENT-MAJOR interrupts.

seRGEANT-MAJOR

Lieutenant Durrance, Colonel Hamilton would like to see you in his tent, sir.

trench

Poor Willoughby, they've passed you over.

WILLOUGHBY grabs a handful of sand and throws it at TRENCH. DURRANCE gets up to see what HAMILTON wants.

EXT. COLONEL HAMILTON's TENT/ BRITISH CAMP/ suakin - night.

COLONEL HAMILTON sits at a fold-up table, eating his dinner by candlelight. He turns around as DURRANCE walks in. He wipes his face with his knapkin and gestures for DURRANCE to sit.

COLONEL HAMILTON

...Congratulations, it seems you had another successful day.

DURRANCE

(Too honest to accept the complement)

We killed one Dervish sniper, Sir.

COLONEL HAMILTON

I'm giving you three weeks leave.

DURRANCE looks surprised.

DURRANCE

I really don't need, or deserve any leave.

COLONEL HAMILTON

You certainly deserve it, every report I receive singles you out for praise.

DURRANCE

With your permission, I'd like to stay here with the rest of the regiment.

COLONEL HAMILTON

Permission refused.

DURRANCE is too disciplined a soldier to protest.

COLONEL HAMILTON

...Anyway the rest of the regiment is stuck here in Suakin until the Government agrees to send us to Khartoum...

(Containing his frustration)

You and several other Officers will be going to London, to convince parliament, and more importantly public opinion, that it is necessary to pursue this campaign with the utmost vigour. Do you have any questions?

DURRANCE

Yes Sir, why me?

HAMILTON pauses. Then almost mischievously:

COLONEL HAMILTON

Because you're a hero.

DURRANCE

With all due respect Sir, I don't think we've been fighting long enough to have any heroes in this campaign.

COLONEL HAMILTON

That's my point. It's all about perception.

DURRANCE sees there's no point discussing it further. He salutes and turns to leave.

COLONEL HAMILTON

A question Lieutenant?

DURRANCE

Yes Sir?

COLONEL HAMILTON

What is it you like about this place?

DURRANCE chooses his words carefully.

DURRANCE

The freedom Sir. The fact that one is reduced to what one really is.

COLONEL HAMILTON smiles softly, wondering if Durrance is insulting him, not giving a damn.

EXT. desert between EGYPT and sudan - day.

A searing white sun hangs over the desert. Somewhere amidst the rolling dunes and floating dust we see a caravan of camels, winding its way through the plateau.

EXT. caravan/ desert between egypt and sudan - day.

HARRY rides at the front of the caravan with GUSTAVE, a sun blackened french slave-driver. Behind them ride SAADI, his Dinka assistant, and three beautiful DINKA SLAVEGIRLS.

gustave

...The British soldiers rent my girls off me for three dhirrams an hour. Well worth the trip to Suakin.

HARRY smiles distractedly. His eyes are fixed on the majestic landscape before him, miles and miles of rolling desert.

gustave

(Recognising the first time awe one feels for the desert)

Don't fall in love too quickly. Nothing turns on you like the sand.

He looks back at the DINKA SLAVEGIRLS, who are whispering amongst themselves.

gustave

Shut up!!...

(To Saadi)

Keep them quiet! What do I pay you for?!

SAADI says something to the SLAVEGIRLS in their native Dinka tongue. From the deference in his voice it's clear the women are from a higher caste than him.

EXT. desert between EGYPT and sudan - day.

A breeze blows sand-drifts across the desert floor. As a veil of dust clears, HARRY sees the bones of a camel, forming a perfect skeleton on the floor.

gustAVE

Bones are a good sign. We must be near a well.

EXT. well/ desert between EGYPT and sudan - day.

The skeletons lie thick around the well: six or seven men in Bedu Robes, sprawled within yards of the precious water.

gustave

(As Harry stares at the bones)

What else is there to fight for in a desert. At least it makes sense of war.

SAADI hoists some water up in a goatskin canteen. He offers the canteen to GUSTAVE. The French slave-driver is about to take a drink when he hears one of the DINKA SLAVEGIRLS murmuring in her native tongue. He wheels his camel around angrily.

gUSTAVE

(To Saadi)

What did she say?

Before SAADI can make an excuse for her, the DINKA SLAVEGIRL starts cursing in her native tongue, her eyes fixed on GUSTAVE.

GUSTAVE lashes out with his whip. The SLAVEGIRL's camel rears, throwing her to the floor. GUSTAVE rides towards her, raising his whip, ready to beat her.

HARRY's camel suddenly lurches between them. At first it looks like he's lost control of the animal, but as he steadies his mount, it becomes clear he's put himself in Gustave's way.

GUSTAVE sneers. With inch perfect skill, he starts to circle HARRY, trying to get a clear view of the girl. With equal skill, HARRY twists his own camel round, keeping her blocked from him at every turn.

GUSTAVE grows impatient. He raises his whip, threatening Harry. HARRY doesn't flinch. His eyes are fixed on Gustave the whole time. Finally GUSTAVE backs down, intimidated by the mysterious stranger. He stares at HARRY, half in anger, half in admiration.

gustave

You ride well.

With that he rides his camel back to the well. The DINKA SLAVEGIRL doesn't look at HARRY. She's too proud to acknowledge his help.

INT. cave/ desert between EGYPT and sudan - night.

A howling sandstorm blows outside the cave. The camels screech in the night, terrified by the wind. SAADI and the DINKA GIRLS shelter in the furthest corner of the cave. HARRY and GUSTAVE sit by a flickering fire.

gUSTAVE

...What's your secret? Anyone who talks as little as you do must be hiding something? Did you kill a man?

HARRY prods the fire, ignoring him. GUSTAVE turns around as he hears SAADI and one of the DINKA GIRLS whispering.

guSTAVE

Taiser vouz!

Silence. GUSTAVE turns back to HARRY, looking pleased with himself.

guSTAVE

You have to break them. For their own good. They'll only be happy again when they forget what it's like to be free.

(He looks at Harry mischievously)

It's like a man who's been thrown over by a woman. At first he's defiant, then he's determined, but finally he longs to forget.

HARRY gets up and walks to the other side of the cave. He hears GUSTAVE chuckling behind him.

gUSTAVE

...Any secrets you have, the desert will find you out.

EXT. PASS/ CLIFFS/ desert between EGYPT and sudan - night.

A screaming gale howls through the desert pass.

INT. cave/ desert between EGYPT and sudan - night.

It isn't the storm that wakes HARRY up, but the sound of whispering. GUSTAVE is snoring by the fire. HARRY looks past him. He sees SAADI and the DINKA SLAVEGIRL he rescued earlier, lying in each other's arms, making love as quietly as they can.

HARRY can't help staring. Their act seems to represent the ultimate defiance, he ultimate affirmation of their freedom. He feels a spark of hope in their hope.

SAADI and the DINKA SLAVEGIRL finally come to rest in each other's arms. HARRY listens as they continue to whisper in their native tongue. He's about to close his eyes when suddenly the DINKA SLAVEGIRL gets up.

HARRY watches curiously as she walks across the cave. She picks something off the floor. As she walks towards GUSTAVE HARRY suddenly sees that it's a sharp jagged rock.

Before HARRY can say anything the girl falls to her knees and buries the rock deep into GUSTAVE's face. Almost simultaneously HARRY feels a sharp crack on the back of his head. He rolls away instinctively, but to no avail.

The blows rain down. As he tries to protect his face, HARRY sees SAADI, holding a thick wooden club over him. The club hammers down, splitting Harry's fingers, tearing into his face, knocking any resistance out of him.

As he stares up listlessly, HARRY sees SAADI standing over him, ready to finish him off. Suddenly a voice rings out, a woman's voice, calling Saadi off. HARRY's eyes drift away.

INT. ARMY/NAVY CLUB - LONDON - day.

We see ETHNE's face now, staring out. For a moment we think she's part of Harry's dream, but then the familiar noises of reality fade in, and we realise she's amongst a crowd of OFFICERS and JOURNALISTS, listening to DURRANCE lecturing about the Sudan:

DURRANCE

(Aware she's in the audience)

...Each moment we delay, we imperil General Gordon's life. The Mahdi is concentrating all his forces on Khartoum. At most the garrison can hold out for a few more weeks...

EXT. ARMY/NAVY CLUB - LONDON - day.

DURRANCE stands at the club entrance with ETHNE and her friend, CAROLINE ADAIR.

ETHNE

...Caroline read about your lecture in the Times. We're both very proud of you.

DURRANCE

I'm glad you came.

DURRANCE tries not to stare at ETHNE too hard.

CAROLINE

...We have to be somewhere this afternoon, but if you're free this evening Lieutenant Durrance...

DURRANCE

I'm afraid I have to give another talk.

ETHNE

(Suddenly)

Would you mind if I didn't come with you Caroline? I don't know the Gilby's all that well...

CAROLINE hesitates. We see the reluctance in her eyes, but she's far too dignified to show it.

CAROLINE

You can do whatever you like, darling.

EXT. LONDON/ STREET - day.

DURRANCE and ETHNE walk along a crowded street. Passing WOMEN glance admiringly at DURRANCE in his uniform.

ETHNE

That's six I've counted.

DURRANCE

Six what?

ETHNE

Six married women, gawping at you.

DURRANCE smiles shyly, wondering if she's flirting with him.

INT. tea shop/ LONDON - day.

A tinkle of china and cutlery. ETHNE and DURRANCE sit in a tea shop. ETHNE can't help sending up the place. She dabs her lips with her napkin, pretending to be all prim and proper.

DURRANCE

Do you want to go somewhere else?

ETHNE

No, it's lovely here. I'm teasing.

DURRANCE looks out of place in the surroundings, and nervous around ETHNE.

ETHNE

(Trying to put him at ease)

I want to hear all about the desert?

She leans towards him, like a child waiting to hear a tale. DURRANCE isn't sure if she's aware of the effect on him.

DURRANCE

It grows on you. There's something about all that emptiness that concentrates the mind.

ETHNE

(Looking into his eyes)

On what?

DURRANCE

(He hesitates)

You spend a lot of time thinking about the people you miss -- especially at night -- You have the most vivid dreams, it's hard to believe they're not real...

He stops as he sees the sadness in her eyes, reminded of the barrier between them.

DURRANCE

Have you heard from Harry?

ETHNE

(A beat)

No. Have you?

DURRANCE

I went to see General Feversham. He refused to discuss it with me.

ETHNE

I know they had a falling out.

She tries to sound casual, but DURRANCE feels how much the thought of Harry still pains her.

DURRANCE

(Testing her, almost in spite of himself)

He's one of the people I think about all the time.

ETHNE

(Very deliberately)

I don't as much as I used to.

(Looking up at Durrance)

I certainly wasn't until you brought him up.

There's a touch of reproach in her eyes, but also something flirtatious. It's as if she's forcing herself to put Durrance above Harry in her thoughts.

ETHNE

When do you go back?

DURRANCE

Friday.

ETHNE

So soon?

DURRANCE isn't sure how to read her disappointment. He feels conflicted about Harry, but he can't help being drawn to her.

DURRANCE

(Awkwardly)

Are you sure I can't persuade you to stay in London a few more days? Listen to more of my boring lectures...

ETHNE

I thought the talk was fascinating.

DURRANCE

(Steeling himself)

I really would like to see you again before I leave.

There's something touching about Durrance's shyness: a contradiction between the fearless warrior and the tentative lover. ETHNE feels torn, but she wills herself on:

ETHNE

(Lightly, but acknowledging his invitation nevertheless)

You could always visit us in Bintree.

She feels her eyes drifting away from him, but she forces herself to look back, and holds his gaze.

INT. cave/ desert between EGYPT and sudan - day.

HARRY opens his eyes painfully. His face is still battered and swollen from Saadi's beating. As he picks himself up he sees Gustave's body, lying exactly where the Dinka slavegirl killed him, the jagged rock still embedded in his face. HARRY looks away as he hears a camel whinnying outside.

EXT. cave/ desert between EGYPT and sudan - day.

The camel is tied by some rope to a jutting rock, a goatskin canteen slung over its back. HARRY realises the Dinka girl he rescued has left them for him. He looks over the horizon. There's no sign of the Dinkas, only the vast desert waste.

EXT. DUNES/ desert between EGYPT and sudan - day.

HARRY urges his camel up the steep slope of a crescent dune. His battered face is burnt raw by the sun, his skin covered in blisters. He looks out hopefully as his camel finally conquers the sandy peak, but all he sees in its place are miles and miles of rolling dunes.

EXT. water trough/ desert between EGYPT and sudan - day.

Harry's camel noses its way into a shallow water trough. HARRY almost drops off the animal in his haste to drink. He digs his hands into the mud and cups some of the precious liquid in his palms. It's only after he's drunk that he realises there are dozens of tics, stuck to his arms, and face.

EXT. desert between EGYPT and sudan - night.

HARRY shivers in the cold night air, partly from the wind, but also from the fever he's caught off the tics. Hands trembling, he burns the blood gorged insects off his arm with a glowing stick from the camp-fire.

EXT. shingles/ desert between EGYPT and sudan - day.

HARRY's camel rears as it treads over the searing shingles. He topples off. Eyes half shut, he grabs the reins, making sure the camel doesn't run off. He takes a knife from his pocket.

harry

...I'm sorry, I'm sorry...

He cuts a slash in the camel's hide and puts his mouth to it. He sucks up what little blood he can, and rolls the liquid around his mouth.

EXT. desert between EGYPT and sudan - night.

HARRY talks to himself in the dark. His face is all puffed up with fever, his hair chalked with dust. Above him the stars glimmer, promising another day of relentless sun.

EXT. DESERT HILLS/ desert between EGYPT and sudan - day.

HARRY lies unconscious on the camel's back, roped to the animal. The CAMEL noses it's way through the desert floor, coming across a few shrubs. It tears them out of the earth, and starts up the hill, in search of more nourishment. HARRY slides precariously down the camel's back. Only the ropes hold him tight. As the camel finally reaches the top we see a vast plateau open up before us. The earth is still desert brown, but there are patches of green now -- and somewhere in the distance, the sky is blackening with rain.

EXT. STREETS OF SUAKIN/ SUDAN - night.

A torrential downpour floods the narrow streets of Suakin. A group of excited BEGGAR BOYS lead HARRY and his camel through the rain swept alleyways.

EXT. LOCAL HOTEL/ SUAKIN/ SUDAN - night.

HARRY lies shivering on a bunk bed, overwhelmed by fever. An ARAB DOCTOR treats his ravaged skin with balm. Behind them the BEGGAR BOYS argue with the ARAB HOTELIER, demanding more money for bringing the foreigner here.

ARAB DOCTOR

English?

HARRY shakes his head no.

EXT. marketplace/ STREETS OF SUAKIN/ SUDAN - day.

Sunlight dries out the previous night's storm. HARRY wanders through the marketplace, wearing long Bedu robes now, limping from his desert ordeal. PASSERSBY pull away as they see his face, mistaking the open blisters for leprosy.

EXT. RIVERBANK NEAR THE BRITISH CAMP/ SUAKIN/ SUDAN - day.

A crocodile rears out of the water and tears a lump of meat off a hook. It disappears back under the surface, avoiding the trap. There's a cry of disappointment from the riverbank. A group of LOCAL CHILDREN are trying to catch the beast. TRENCH is their leader. CASTELTON smiles at his friend's antics.

treNCH

...Don't give up lads. Give the old porker another whack.

The BOYS have tied a pig to a stake, outside the water. They beat it with a paddle until it whines. Hearing the noise, the CROCODILE rears its head, and sweeps towards the remaining lump of meat on the hook.

TRENCH and the BOYS swarm around the river expectantly. In their excitement they fail to notice the shrouded FIGURE watching them from the distance. It's HARRY, hidden beneath his Bedu robes. He gazes at his two friends longingly. Finally one of the BOYS sees him, and thinking he's a leper, starts throwing stones:

sudanese boy

Imshi, imshi.

The other BOYS join in, yelling insults. TRENCH and CASTELTON pay no attention. They have no idea who it is.

HARRY steps back slowly, the pebbles landing at his feet, still gazing at his friends. He knows he doesn't have the courage to face them yet, that it's too soon.

INT. HAMILTON's TENT/ BRITISH CAMP/ SUAKIN/ SUDAN - night.

Colonel Hamilton's tent is lit in torchlight. Dozens of OFFICERS mill about, celebrating their orders to march on Khartoum.

A MAJOR FROM ANOTHER REGIMENT

...It's hard to imagine anyone changing the Prime Minister's mind.

COLONEL HAMILTON

Even he reads the papers. They told him if he didn't send us to Khartoum he'd be indicted for murder...

There's laughter all around. Across the tent, DURRANCE stands on his own, feeling out of place. WILLOUGHBY arrives with two drinks.

wILLOUGHBY

You're quite the hero tonight.

DURRANCE

The Colonel seems to be taking a fair bit of credit.

They smile as they watch COLONEL HAMILTON holding forth.

wILLOUGHBY

So you had a good time in London?

DURRANCE

Better than I thought.

wILLOUGHBY

(Trying to make it sound casual)

Did you look up Harry?

DURRANCE

(Hesitating)

Nobody knows where he is.

wILLOUGHBY

Not even Ethne?

DURRANCE

(A little put out)

Why should she? She's broken off their engagement.

WILLOUGHBY notices the edge in his voice but doesn't say anything. DURRANCE feels a touch of guilt, surprised by his own jealous reaction.

INT. HARRY's ROOM/ LOCAL HOTEL/ SUAKIN/ SUDAN - night.

HARRY studies his face in the mirror: his blisters have dried into tough leathery skin, his eyes are hollow from recent hardships. He whispers to himself in broken Arabic, and dips his fingers into a dark, mud like substance. He applies it to his hair, his beard, and his teeth.

EXT. COOLIES/ BRITISH CAMP/ SUAKIN - day.

Long lines of DESERT AFRICANS have gathered outside the British camp, looking for work as coolies. There are Nuers, Dinkas, Somalis, Ethiopians, all of them wearing different clothes, and speaking different languages. Somewhere amongst them, we see HARRY, disguised in his Bedu robes. He's being examined by a BRITISH SEARGENT-MAJOR and an EGYPTIAN ORDERLY.

BRITISH SEARGENT-MAJOR

Tell him to remove his shirt.

HARRY waits for the ORDERLY to translate before he opens his robes. His body is lean and tanned and scarred.

BRITISH SEARGENT-MAJOR

(Impressed by his physique)

This one's been in the wars. Let me see his teeth.

Again HARRY waits for the Arabic translation before he opens his mouth.

BRITISH SEARGENT-MAJOR

Good bones. Put him on the boats.

HARRY is ushered off. As he walks away he hears an argument start up behind him. The EGYPTIAN ORDERLY is protesting to the SEARGENT MAJOR about hiring a fierce looking NUBIAN warrior.

EGYPTIAN ORDERLY

...This man comes from a race of slaves. They have blood feuds with everyone. If you arm him it will mean trouble. None of the Egyptian soldiers will serve with him.

The NUBIAN stares ahead in silence, expressionless.

BRITISH OFFICER

Alright, put him on the boats.

The NUBIAN falls into line, behind HARRY.

EXT. DRILL AREA/ BRITISH CAMP/ SUAKIN - day.

WILLOUGHBY barks orders at the EGYPTIAN RESERVES, drilling them before departure. DURRANCE, TRENCH, AND CASTELTON walk out of their tent, imitating him.

EXT. COOLIES/ BRITISH CAMP/ SUAKIN - day.

HARRY watches his friends from afar. He sits amongst the COOLIES, holding out his soup bowl, waiting to be fed. The NUBIAN squats opposite him. HARRY can't help staring at the long white ostrich feather in his hair.

The EGYPTIAN ORDERLY arrives and pours a rancid looking gruel in HARRY's bowl. He turns to the NUBIAN.

EGYPTIAN ORDERLY

(In Arabic)

Is this good enough for you slave?

The NUBIAN ignores him. The ORDERLY spits in the gruel before handing it to him. The NUBIAN takes it, and calmly downs it in one. The ORDERLY moves on in disgust. The NUBIAN looks at HARRY. HARRY braces himself and swallows the stew.

EXT. CATARACTS of the nile/ sudan - day.

A heavy current rushes through the waters of the Nile. The cataracts are full of treachorous rocks, jutting out in all shapes and sizes. HARRY is force-marched with the other COOLIES, prodded on by the EGYPTIAN OVERSEERS. They drag the British supply boats through the cataract by hand, pulling on huge hemp ropes.

In front of HARRY, the NUBIAN is being singled out for punishment. The EGYPTIAN ORDERLY lashes him repeatedly. The NUBIAN keeps pulling, ignoring the stinging pain. He looks back at the ORDERLY as if to say; "Is that all you've got?"

EXT. SUPPLY BOAT/ CATARACTS of the nile/ sudan - day.

A supply boat rushes down a steep incline in the river. TRENCH yells at the top of his voice as the spray hits his face. CASTELTON stands beside him, staring at the banks of the Nile, watching the hundreds of COOLIES, dragging their boat through the cataracts.

EXT. COOLIE CAMP/ CATARACTS of the nile/ sudan - night.

Drum beats fill the night sky. The reflection of the coolies' camp-fires glistens over the black water. Some are singing, others praying, but most lie fast asleep. HARRY sits on his own, warming himself by a fire, his body wracked with pain. As he reflects he hears the gentle tread of feet. He looks up to see the NUBIAN staring at him. The man squats down beside his campfire without asking.

nubian (Abou fatma)

(In English)

My name is Abou Fatma.

haRRY

(Shaking his head as if he doesn't understand)

Bedu.

ABOU FATMA

I was a scout for General Hicks.

harry

Arabi --

ABU FATMA suddenly launches into a flurry of fluent Arabic. HARRY stares at him in silence, unable to respond.

ABOU FATMA

There are many in this camp who would serve the Mahdi. When they find out there is a British spy amongst them, watching them, they will kill him.

(Quietly mocking)

It won't be long, Bedu.

He turns to leave. HARRY hesitates, then:

harry

Shoukran.

ABOU FATMA

(Correcting his Arabic)

Shoukhran.

Their eyes stay on each other a moment.

harry

(Finally speaking in English)

Why do you warn me?

ABOU FATMA

For money.

harry

I can't pay you.

ABOU FATMA

I can't help you.

HARRY smiles. He gazes at the mercenaries's powerful features, and the long white feather in his hair.

harrY

What's the feather for?

ABOU FATMA

The first time I killed a man.

(Pointing to a feather earring in his left ear)

Five men.

(and an ivory bracelet on his wrist)

Ten men.

(He takes a beaded necklace out of his pocket)

This I will wear soon. I'm a good soldier. I will protect you.

HARRY stares at him a moment, then takes out a small box from his pocket. He shows ABOU FATMA the four white feathers inside. ABOU FATMA looks at them, unaware of the irony in Harry's gesture, thinking he's saying he doesn't need help.

ABOU FATMA

(Gesturing to the welts on Harry's body)

Underneath the flesh is white, and weak. Even if the Mahdi's men don't find you out, the whips will.

harry

I'll pay you one shilling a day.

ABOU FATMA

No.

ABOU FATMA gets up, and walks away. HARRY can't help smiling as he stares after him.

EXT. COOLIE CAMP/ CATARACTS of the nile/ sudan - day.

Screams of agony fill the air. The EGYPTIAN ORDERLY lies in a pool of blood, his belly sliced open, holding his guts in his hands.

HARRY stands amongst the gathered crowd, watching horrified, as a BRITISH OFFICER kneels beside the dying man.

BRITISH OFFICER

Who did this to you? Who did this?

The EGYPTIAN ORDERLY tries to speak, but all that comes out of his mouth is a froth of blood. His tongue has been cut out. HARRY looks around the crowd until he sees ABOU FATMA. The Nubian's eyes are expressionless. Around his neck he wears the beaded necklace now.

EXT. CATARACTS of the nile/ sudan - day.

The white sails of the British supply boats float through the hazy water. On the riverbank HARRY and the hundreds of other COOLIES drag them along. The OVERSEERS glance at ABOU FATMA warily, but none of them dare raise a whip to him now.

INT. DURRANCE's tent/ BRITISH CAMP/ CATARACTS - day.

We can still hear the noise of the coolies outside. DURRANCE sits at a table, writing a letter. We glimpse the words: 'Dearest Ethne...' He stops as he hears a commotion outside.

EXT. BRITISH CAMP/ CATARACTS - day.

DURRANCE walks out of the tent. In the distance he sees a handful of ragged looking BRITISH OFFICERS being helped off their camels. As he stares more closely DURRANCE notices that many of them have terrible wounds. Those that can still walk are lead off to the commander's tent.

EXT. general wolsey's tent/ BRITISH CAMP/ CATARACTS - day.

GENERAL WOLSEY and COLONEL HAMILTON are bent over a map of the Nile, discussing their progress with their AIDE-DE-CAMPS. WILLOUGHBY looks up as he hears the WOUNDED OFFICERS being led into the tent. He stops as he sees the terrible state they're in. Even WOLSEY and HAMILTON look shocked.

GENERAL WOLSELEY

(Slowly rising, saluting)

What is it?

WOUNDED CAPTAIN

A letter, sir... from General Gordon.

WILLOUGHBY notices one of the WOUNDED OFFICERS has tears in his eyes.

GENERAL WOLSELEY

What happened to you?

WOUNDED CAPTAIN

We were ambushed, Sir. More than half our company were killed.

GENERAL WOLSELEY

See that these men are tended to.

AIDE-DE-CAMP

Yes, sir.

The WOUNDED OFFICERS are led out. WILLOUGHBY, like all the other Aide-de-Camps, looks dazed. GENERAL WOLSEY opens General Gordon's letter, and reads in silence.

GENERAL WOLSELEY

(Finally looking up at Colonel Hamilton)

Gordon says he can only hold out for forty more days. It took eleven for these men to get here.

EXT. BRITISH CAMP/ CATARACTS - night.

DURRANCE, WILLOUGHBY, CASTELTON, and TRENCH sit around a camp fire, trying to ignore the hideous cries of the wounded British soldiers coming from the hospital tent.

wILLOUGHBY

(Recounting what he's heard)

...Wolsey's going to split the force. A River Column's going to continue down the Nile, whilst a Desert Column joins up with regiment at Abou Clea, and makes a dash for Khartoum.

The piercing screams start up again.

trench

Don't tell me, we've drawn the short straw.

EXT. BRITISH CAMP/ CATARACTS - day.

Silence hangs over the British camp. The COOLIES are lined up under the scorching sun. The EGYPTIAN OVERSEERS walk past them, selecting some for the desert march, others for the river march. HARRY stands next to ABOU FATMA. Across the camp he can see DURRANCE, TRENCH, CASTELTON, and WILLOUGHBY, preparing their camels for the overland trek.

haRRY

(Whispering to Abou Fatma)

I need to travel with the desert detachment.

ABOU FATMA

Two Shillings.

HARRY nods. The EGYPTIAN OVERSEER finally reaches them.

EGYPTIAN OVERSEER

(To Abou Fatma, in Arabic)

We'll keep you on the river.

ABOU FATMA

(A calm, menacing look in his eyes)

With you?

The EGYPTIAN OVERSEER hesitates, remembering what happened to his friend:

EGYPTIAN OVERSEER

(Gesturing to the desert column instead)

Over there.

HARRY falls into line behind ABOU FATMA. The EGYPTIAN OVERSEER doesn't seem to care. He's too relieved to be rid of the Nubian.

EXT. DESERT COLUMN/ BRITISH CAMP/ CATARACTS - day.

The Desert Column has assembled, fourteen hundred strong.

SERGEANt at arms

Column... FOR-WARD... march!

DURRANCE, TRENCH, CASTELTON, and WILLOUGHBY, ride off at the head of the column. Behind them, the COOLIES carry heavy loads, HARRY and ABOU FATMA bringing up the rear.

EXT. DESERT lanscape/ sudan - day.

A region of jutting cliffs and giant rock formations. The Desert column rides through a narrow pass. DURRANCE's eyes are fixed on the ridges above them, any one of which could be hiding a Dervish sniper or scout.

At the back of the column, HARRY's equally alert. He looks across the cliff walls. Suddenly he notices one of the COOLIES in front of him, listening intently to a high pitched whine coming from a nearby gorge.

HARRY studies the man. He's a powerfully built NUER TRIBESMAN, yellow streaks running down his long black hair. Every time he hears the distinctive noise, he looks up, concentrating. HARRY edges closer to ABOU FATMA:

harry

(Indicating the whining)

Do you recognise that sound?

ABOU FATMA

Mountain goats.

HARRY doesn't look convinced. He stares at the NUER TRIBESMAN, walking ahead of them, glancing up from his heavy load every time he hears the distinctive cry.

EXT. OPEN DESERT/ sudan - day.

The wind blows gusts of sand into the camels' eyes. DURRANCE stares through the shimmering heatwaves.

DURRANCE

There's a sandstorm coming.

COLONEL HAMILTON looks at the clear blue sky, seeing nothing to indicate a storm, but trusting Durrance's instincts.

EXT. DESERT CAMP - night.

HARRY and the other COOLIES gather sticks and desert shrubs, building a makeshift wall around the camp. The wind has picked up, blowing thick gusts of sand in their faces. As they work in the darkness and the dust, HARRY hears the whining sound he heard earlier. It's quieter now, but closer. ABOU FATMA hears it too.

harry

It's coming from inside the camp.

They look around, but the dust obscures everything. The whining starts up again. HARRY concentrates until he thinks he knows where it's coming from. He checks to make sure the ORDERLIES aren't watching them, and then signals for ABOU FATMA to follow him.

EXT. EDGE OF THE DESERT CAMP - night.

Through the drifting clouds of sand we see a FIGURE crouching near the camp perimeter. It's the NUER TRIBESMAN Harry noticed earlier. Every time the wind picks up he calls out to the surrounding cliffs in a high piched whine.

HARRY and ABOU FATMA watch him from behind a wagon. ABOU FATMA draws a knife from his boot.

haRRY

We need to find out who he's signalling.

ABOU FATMA replaces the knife reluctantly, and points to a makeshift corrall where the camels are gathered.

INT. TENT/ DESERT CAMP - night.

The tent flaps blow in the storm. TRENCH, CASTELTON, and WILLOUGHBY shelter inside, sharing a bottle of whisky. DURRANCE sits apart from the others, reading a letter.

treNCH

Is that the same letter you read over and over again, or do you get a different one each day?

DURRANCE

(He can't help a smile)

It's the same one, but it's twenty pages long.

wILLOUGHBY

He writes them to himself. Go on Jack, read us a line.

DURRANCE

Read your own.

trench

Don't be so coy, you're amongst friends.

Grins all around. DURRANCE looks at letter and tempts them with a single line:

DURRANCE

"...I often think about our walks by the river..."

He stops enigmatically to a chorus of protest:

tRENCH

More, more...

DURRANCE hesitates, reluctant to break the confidence of a letter, but anxious to broach the subject with his friends.

DURRANCE

(Reading more quietly)

"...Your letter surprised and delighted me...If I appear indecisive it's because I'm thinking of both of us...In the meantime I hope the length of my reply gives you some assurance of how very much I care about you..."

DURRANCE lowers the letter and looks at his friends.

treNCH

So who's the lucky lady?

DURRANCE

(After a moment)

Ethne...I've asked her to marry me...You probably gathered that from the letter.

There's a long silence. Astonishment. Then suddenly TRENCH raises his glass and roars.

treNCH

Congratulations.

wILLOUGHBY

That's fantastic Jack.

DURRANCE

She hasn't said yes.

trench

Of course she will: "I hope the length of this reply gives you some idea of how much I bloody love you."

DURRANCE

"How much I care about you."

treNCH

Same thing.

TRENCH fills his glass to the brim. DURRANCE laughs, relieved that his friends have taken it so well. It's only as he drinks that he catches a hint of disapproval in CASTELTON's eyes. CASTELTON raises his glass, trying to hide his feelings, but DURRANCE sees through him. The moment is interrupted by loud shouting outside:

BRITISH CORPORAL o/s

...Something's up with the camels.

CASTELTON

I'll go.

CASTELTON looks relieved to leave the tent, worried that his conflicting emotions will betray him. DURRANCE stares after him, not entirely free of the memory of Harry himself.

EXT. DESERT CAMP - night.

CASTELTON follows the CORPORAL through the windswept camp. Up ahead they can hear the camels screeching. CASTELTON covers his eyes from the dust. Suddenly he sees the silhouettes of two RIDERS, charging out of the corral. One of them stops and stares at him momentarily.

CASTELTON

(He can't see the man's face clearly, but his outline seems hauntingly familiar)

Harry?

The RIDER turns and charges out of the camp. The CORPORAL blows a whistle, reaching for his gun, firing after them. CASTELTON stares at the disappearing figures, wondering if what he saw was real, or a figment of his troubled conscience.

EXT. HILLS ABOVE THE DESERT CAMP - night.

HARRY and ABOU FATMA ride up a steep hill, shots ringing out behind them.

EXT. RIDGE ABOVE THE DESERT CAMP - night.

As the sands sweep past we see the Mahdi's scouts for the first time: four NUER TRIBESMEN, standing on a ridge, looking down on the British campfires below. As they hear the shots, they turn away from the cliffside, and mount their camels.

EXT. VIEW FROM A CLIFF/ DESERT - day.

The sand storm is still blowing, obscuring the sun. In the distance, the tiny figures of the NUER SCOUTS, can be seen riding across the arid sandscape. HARRY and ABOU FATMA watch them from the cliffs, and set off in pursuit.

EXT. ridge/ VIEW on NUER's campfire/ DESERT - night.

The Nuer's camp-fire glows far below on the valley floor. HARRY and ABOU FATMA have built their own fire in a crevice on the cliff wall, hidden from view. HARRY's eyes are fixed on the Nuer scouts, ABOU FATMA's are fixed on him.

ABOU FATMA

Why would a British spy be hiding from his own people?

HARRY looks up at the Nubian, realising he can't keep up the pretence any longer.

hARRY

Because I'm not a spy.

ABOU FATMA

You're a deserter?

harry

(A long pause)

Something like that. I was sent to fight, and I ran away.

ABOU FATMA considers this for a moment.

ABOU FATMA

All soldiers run away. Only the good ones return.

HARRY smiles.

harry

Shoukran.

ABOU FATMA

Shoukhran.

HARRY looks away. Down below the Nuer's camp fire goes out.

EXT. OPEN DESERT - night.

The moonlight colors the dunes in blues and greens. HARRY and ABOU FATMA follow the Nuers' tracks through the virgin sands.

EXT. crest of A hill/ OPEN DESERT - day.

The sunrise casts a blood red light over the horizon. The four NUER SCOUTS appear on the crest of a hill. We see them clearly now, their long black hair streaked yellow, their faces painted ghostly white. They survey the land beneath them and gallop off.

EXT. THE same HILL/ desert - day.

ABOU FATMA and HARRY walk their camels quietly up the hill, following the Nuers' hoofprints. As they reach the top of the dune a vast plateau opens up beneath them. They see the NUER SCOUTS, riding along a winding trade route. At the end of the desert road stands a huge fortress.

ABOU FATMA

That is Abou Clea. A British fort.

HARRY stares after the Nuer scouts, wondering why they're heading back into a British stronghold. The four riders merge into one of the caravans that dot the landscape.

EXT. CARAVAN/ TRADE ROUTE TO ABOU CLEA - day.

A long line of DINKA REFUGEES walk alongside one of caravans, begging for food. HARRY and ABOU FATMA ride near the back, their faces hidden by their Djellabas.

EXT. FORTRESS OF ABOU CLEA - night.

A village of tents has spread around the fortress walls. More STARVING REFUGEES clamour at the gates. HARRY gazes up at the garrison walls. BRITISH SENTRIES can be glimpsed high up. The fortress gates creak open to let the caravan through. HARRY lowers his eyes as he rides past the guards.

EXT. courtyard/ FORTRESS OF ABOU CLEA - night.

As he looks up again, HARRY suddenly feels a rush of panic. The fortress courtyard is filled with DERVISH WARRIORS. There are no British faces anywhere. HARRY glimpses a familiar red uniform, but as he stares more closely, his relief turns to horror. The British uniform is stained with blood. Wearing it is a fierce looking DERVISH WARRIOR with long braided hair.

HARRY looks back at the ramparts. All the soldiers he thought were British sentries are in fact Dervish warriors, wearing the bloody uniforms of their victims. As he turns around, HARRY sees the worst sight of all. Hanging from scaffolds, are the chalk white bodies of the real British soldiers.

HARRY is shaken out of his horror by a sharp hissing sound. ABOU FATMA glares at him to keep calm. DERVISH WARRIORS grab hold of their camels, and lead them with the rest of the caravan towards the stables.

INT. stables/ FORTRESS OF ABOU CLEA - night.

HARRY and ABOU FATMA tether their camels. Behind them the DERVISH WARRIORS unload the caravan's shipment of rifles.

ABOU FATMA

(Whispering to Harry)

Follow me out.

HARRY nods, still in shock. ABOU FATMA turns around and heads out of the stables, unchallenged.

EXT. courtyard/ FORTRESS OF ABOU CLEA - night.

HARRY follows ABOU FATMA through the crowded courtyard. His eyes are drawn to the torchlit faces all around him. The Mahdi's army is made up of dozens of different tribes: some in glowing war paint, others marked with ritual scars, wearing the dried viscera of their victims around their necks. The Dervishes' eyes seem to follow HARRY wherever he goes, staring out at him through their slit Djellabas. Suddenly HARRY feels a pair of hands grab him. He wheels around to see a huge DERVISH CAPTAIN towering over him.

DERVISH CAPTAIN

(In Arabic, studying Harry's features)

Come with me.

ABOU FATMA

(In Arabic)

Our caravan is waiting outside.

DERVISH CAPTAIN

(Waving Abou Fatma away)

Imshi!

ABOU FATMA murmurs something to HARRY in his native Nubian tongue, slipping in the English words: 'I'll find you.'

DERVISH CAPTAIN

(To Harry, in Arabic)

Follow me!

EXT. gallows/ courtyard/ FORTRESS OF ABOU CLEA - night.

HARRY's heart is pounding as he walks back through the hellish courtyard. He isn't sure if the DERVISH CAPTAIN has realised he's British. It's only as he points HARRY towards the gallows that he realises the predicament he's in.

DERVISH CAPTAIN

(In Arabic; gesturing to a mound of British dead)

Over there.

HARRY hesitates, then walks over to the pile of British corpses, convinced he's going to be shot amongst them.

DERVISH CAPTAIN

(In Arabic; gesturing to the uniforms)

Find one that fits.

HARRY stares at him, then slowly begins to understand. He's been picked out as a pale looking Arab, one that might pass as a British officer from a distance. As he looks around he sees other DESERT ARABS, grinning at him, wearing their own blood stained British uniforms.

HARRY kneels beside the slaughtered British soldiers. One of them still has his pipe stuffed between his teeth. As HARRY stares at the obscenity, his fear slowly turns to anger. With trembling fingers he unbuttons the dead man's jacket. As he slips the bloodstained British uniform over his shoulders we begin to see the change in his eyes.

EXT. ABOU FATMA/ courtyard/ FORTRESS OF ABOU CLEA - night.

ABOU FATMA wanders amongst the Dervish army, begging for alms, searching for Harry. Finally he spots him at the far end of the courtyard, sitting amongst the other DERVISH WARRIORS IN BRITISH UNIFORMS.

EXT. HARRY/ courtyard/ FORTRESS OF ABOU CLEA - night.

ABOU FATMA grovels at the feet of the DERVISHES, before he approaches HARRY.

ABOU FATMA

(In Arabic)

Alms for the poor.

HARRY turns around. His eyes are distant. He looks back at the spot he was staring at before. At first ABOU FATMA thinks he's in shock, but then he sees what HARRY's looking at. Across the courtyard stands a large tent, surrounded by flags. Waiting outside, are the four NUER SCOUTS.

ABOU FATMA

(Beginning to see his intent)

We have to leave.

harry

Wait for me at the gates.

(As Abou Fatma starts to protest)

Imshi.

The other DERVISHES look at ABOU FATMA threateningly. ABOU FATMA gets up and walks away reluctantly. Across the courtyard, the NUER SPIES have been ushered into the tent.

INT. WAR COUNCIL tent/ FORTRESS OF ABOU CLEA - night.

The MAHDI, a tall, gaunt, warrior in desert robes, listens to the NUER SCOUTS in silence. As they notify him of the British advance, he starts to draw a battle plan on the tent's sandy floor. His LIEUTENANTS move closer to see what he's planning.

INT. WAR COUNCIL tent/ FORTRESS OF ABOU CLEA - night.

Outside the tent more DERVISH WARRIORS have gathered to catch a glimpse of their revered leader. HARRY is amongst them. He stares at the white clad figures within. Suddenly he feels a pair of eyes on him. He turns to see the DERVISH CAPTAIN who stopped him earlier, watching him intently. HARRY moves off. The DERVISH CAPTAIN stares after him suspiciously.

EXT. gates/ FORTRESS OF ABOU CLEA - night.

ABOU FATMA waits anxiously outside the fortress gates. The hordes of STARVING BEGGARS are pushed back as a troop of DERVISH WARRIORS ride out, carrying the naked bodies of the British dead. ABOU FATMA stares after them, wondering what's going on.

EXT. HARRY/ courtyard/ FORTRESS OF ABOU CLEA - night.

HARRY looks behind him. Through the milling crowd he sees the DERVISH CAPTAIN, still following him. His heart pounding, HARRY heads towards the stables, trying to give him the slip.

EXT. HARRY/ STABLES/ FORTRESS OF ABOU CLEA - night.

Camels kick and snort in the stable. HARRY crouches down. Through the animals' legs he sees the DERVISH CAPTAIN enter.

Suddenly the DERVISH CAPTAIN shouts at the top of his voice. The camels scatter, leaving HARRY exposed. The DERVISH CAPTAIN stares at him menacingly.

HARRY bows, and starts to walk towards him, in supplication. His hand slips behind his back, groping for the knife that's hidden there.

The DERVISH CAPTAIN barks at him to stay where he is. As he steps backwards, HARRY suddenly charges, and drives the dagger deep into his gut. The DERVISH CAPTAIN screams, but all that comes out is a terrible hissing sound.

HARRY clamps his hand over the CAPTAIN's mouth and bends his head backwards. As they tumble to the ground, HARRY twists the knife in deeper. The Dervish bites down in agony, drawing a stream of blood from Harry's knuckles. HARRY rams his fist deeper into the man's throat, choking him slowly. Meanwhile his knife hand tears its way out of the Dervish's gut, and plunges back into his thigh.

The CAPTAIN's eyes water in pain and fear. HARRY stares at him, crushing his spirit with his own unflinching gaze. As he feels the man's grip weaken, he pulls away sharply, and swings the knife down with all his force. The blade sticks in the DERVISH CAPTAIN's chest, sending his eyes spinning out of focus, forcing a rush of blood out of his mouth.

HARRY watches in horror, as the man's eyes roll around, desperately trying to find their focus, then stop still. He feels his enemy's dying breath on his face, and hears a horrible sucking sound, as he withdraws the knife.

HARRY's arm is elbow deep in gore. He turns away and tries to retch, but nothing comes out. He stays like that for a moment, bent over the bloody sand, contemplating what he's just done. Finally he gathers himself, grabs the dead man by the ankles, and drags him further into the stable.

EXT. courtyard/ FORTRESS OF ABOU CLEA - night.

HARRY brushes past the crowds of DERVISH WARRIORS, his eyes fixed on the fortress gates ahead. He's only a few yards away, when a DERVISH SENTRY calls out:

DERVISH SENTRY

(In Arabic)

The gates are closed.

HARRY stares at him dangerously. For an instant it looks like another fight may ensue, but then a calming voice calls out:

ABOU FATMA

(In Arabic)

Let him give us alms. It will bring you both fortune in battle.

ABOU FATMA sticks his hands through the fortress gates, along with the hundreds of other BEGGARS outside. HARRY begins to understand. He pulls out some coins from his robes, and approaches the BEGGARS.

harry

(Whispering to Abou Fatma, as he hands out alms)

Go to the British camp. Tell them they're going to be ambushed. Tell them they have to change their route. It's a trap...

ABOU FATMA stares into HARRY's eyes, seeing the change that's come over them.

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