"LAWRENCE OF ARABIA" (1962)

As background to FINAL CREDITS, the peaceful farmyard; noise of motor-bike receding to silence. Then sharp cut to:

EXTREME CLOSE SHOT. The MOTOR-CYCLIST. Head and shoulders. On SOUND TRACK engine roaring. He is so heavily begoggled and mufflered as to be anonymous but he wears no helmet and his bright hair is ruffled in the slipstream.

It is too early in the morning for the workers to be there; a NIGHT WATCHMAN yawns over his brazier. A notice says "WARNING.

Drain laying. Roadworks ahead". We throttle down and pass the roadworks, still too fast and bank for a corner. Round the corner

‘a Similar roadworks and a similar notice which we see nearer than before, the word ''WARNING" looming larger. Again we throttle down and pass the roadworks, again too fast, and are accelerating immediately towards a. second corner.

Coming out of the corner a third roadworks ahead. The same notice repeated, this time the word "WARNING" almost filling the screen.

CLOSE SHOT of the MOTOR-CYCLIST. The scarf has slipped a little and we can see his mouth. It is neither smiling nor particularly determined but it sets into a sort of still calm as the CYCLIST accelerates:

Through the roadworks far too fast. We swerve to the left, to the right, tilt, approach a blind bridge, are out of control, spin, crash.

CLOSE SHOT. A piece of the road. The goggles slither along it up to CAMERA.

CUT TO

CLOSE SHOT. The blind stone eyes of LAWRENCE's bust ina chapel of St. Paul's Cathedral. On SOUND TRACK, the organ. A MAN in very correct civilian clothes, holding his bowler hat, adjusts the céntral wreath which has fallen askew. He does this not reverently but neatly , severely, and then without a backward glance leaves the

chapel (past two SOLDIERS in blues who keep vigil there) and makes his

way up the aisle after the rest of the discreetly murmuring, shuffling congregation where an elderly friend, a CLERIC, awaits him.

CLOSE TRACKING SHOT. BRIGHTON and his FRIEND pace slowly along the aisle, past memorials to other honoured heroes, which - glimmer faintly from the walls. At these the CLERIC glances; then

away.

' BRIGHTON (must defend Lawrence, though he can't disagree) He was aremarkable chap. By any counts, remarkable.

:

CONGREGATION is leaving, watched by a crowd of more ordinary FOLK who are kept aside by afew POLICEMEN. ALLENBY is. standing alone, and quite still. He is in civvies and his bearing is modest, but one or two who pass him raise their hats, as though

saluting. A REPORTER approaches.

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campaign".

. The REPORTER is disappointed.

, REPORTER Yes sir, but about Colonel Lawrence himself.

ALLENBY moves away. The REPORTER sees somebody else off screen and darts towards BENTLEY and a LADY.

. BENTLEY {a public "statement" which ' REPORTER takes down) "It was'my privilege to know him and to make © him known to the world: he was a scholar, a poet, and a mighty warrior’.

REPORTER tips his hat to the LADY and moves away.

Oh.

(recovers instantly) You whoever you are sir, I heard your ‘last remark and I take the strongest possible exception:

(challenging) He was a very great man!

- BENTLEY (mildly) Did you know him?

BENTLEY turns away with politely raised eyebrows. MURRAY passes witha FRIEND. He growls:

| MURRAY - Knew him? NolInever knewhim. He

had some minor function on my Staff in Cairo.

| DISSOLVE TO

CLOSE SHOT: LAWRENCE is neatly tinting a map with water

colour. He sits back to look at it, patiently, but without enthusiasm.

A shadow falls across him and he looks up, interested.

CLOSE SHOT: LAWRENCE's point of view of a basement window. Outside, the lower half of a camel walks by.

MED. SHOT. We now see that LAWRENCE is seated in a long narrow room, hardly more than a glorified passage. At each end a hole has been knocked high up in the wall and a massive bundle of electric cables proceeds in from one to the other and out again,

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‘ LAWRENCE watches him, and goes on with his work. It isa

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dimming the already inadequate light which comes through a series of semi-circular windows high up in the wall of the basement. There are six drawing boards with pots of paint, brushes, T squares,

protractors, compasses, pens and ink, pencils, piles of rolled maps and whatever else cartographers need. Above the boards hang lamps with metal shades, and before each board is astool. At one of | these sits the only other OCCUPANT of the room, a SERGEANT.

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LAWRENCE a Then you are an ignoble fellow.

He lights a cigarette, throwing down the packet and box, while

relationship not uncommon in the Forces; the gulf of class and ‘rank has been bridged by means of a ritualised parody. There is the sound of boots on stone floor. LAWRENCE looks up.

CLOSE SHOT. The door opens and a chirpy CORPORAL enters with a folded newspaper. Beyond him we catch a glimpse of a telephone exchange and a flight of stairs leading upwards from the basement. .

MED. SHOT. The CORPORAL walks over towards LAWRENCE. The phlegmatic SERGEANT takes no notice at all.

. CORPORAL Here y'are tosh.

: Cy 14 Continued 4 LAWRENCE takes the paper, paying for it with a coin from his pocket. | { . LAWRENCE a (quite simply) Thanks. .

; (back to the act) i ¢ . Would you care for one of Sergeant } Hartley's cigarettes ? Ta CORPORAL

_ Ta. It is part of the game that no-one shall smile. The CORPORAL takes one of the SERGEANT's cigarettes as LAWRENCE unfolds his paper.

. SERGEANT Is it there?

15 CLOSE SHOT. LAWRENCE holds up the paper at the front page. is in Arabic. He is instantly absorbed. The SERGEANT and

man with a passion, even uncomprehended.

( | : (grimly) , . But I'll bet it isn't mentioned in The Times.

(he indicates)

' "Bedouin Tribes Attack Turkish Strong- hold”. And I'll bet there’s no-one in the rea | : whole of this Headquarters who even knows it's happened.

(he throws down the paper) Or would care if he did.

ae 16 MED. SHOT. LAWRENCE finds their sympathetic, bovine gaze v | upon him and laughs. .

He strikes one of the SERGEANT's matches and lights the

© CORPORAL's cigarette. Then, he extinguishes the match by very ( 3. slowly closing his finger and thumb upon the flame, his face very — attentive the while. It is a trick the other two have evidently seen before but which evidently still fascinates. ©

It

Ho CORPORAL regard him with the respect which everyone feels for the -

rots ain

iP.

16 Continued

LAWRENCE returns to his work, murmuring:

17 CLOSE SHOT. The door opens and an M.P. SERGEANT enters.

He goes towards LAWRENCE.

18 CLOSE SHOT. The CORPORAL sits down on his own stool, as the M.P. enters picture, hands the flimsy to LAWRENCE, and exits. LAWRENCE unfolds the flimsy and his expression changes. The SERGEANT takes no notice, assuming it to be a routine order of some kind. LAWRENCE puts down the flimsy and takes his hat from a nail driven into the wall within reach, and gets down from his stool, his face very still, his eyes excited. The CORPORAL is preoccupied with a burning match which he proceeds to extinguish between his fingers.

Well what's the trick then? -

THE ‘CAMERA Is PANNING with him on the way to the door. He opens it and turns. :

_. He turns to go.

CLOSE SHOT. The SERGEANT and CORPORAL.

| SERGEANT . (not looking up) Right you are, tosh. —

. SERGEANT Gone to see the General.

high, and airy, once ornate, now stripped, but immaculately clean and orderly. One side is of glass and gives onto a courtyard. Its

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‘ master. . the triangular frame from the reds when the SECRETARY sees

floor is covered in bleached matting: on the walls are steel engravings of old victories, dead Generals and living Royalty. It is furnished with a great many basket chairs of uniform pattern arranged in symmetrical fours round small tables with cloths of

unbleached linen.

There is a bar and a billiard table in the foreground of picture. Fans turn. At the bar are two or three OFFICERS. One or two OTHERS

sit at tables. TWO are preparing for snooker. Otherwise the place is empty. Their voices are pleasant and well-modulated. LAWRENCE appears in the background walking through the Club alongside the glass screen. .

The SECRETARY (GIBBON) is chalking his cue at the billiard table.

He is a CAPTAIN and wears a fierce moustache like a circus ring- The other OFFICER is also a CAPTAIN and is raising

LAWRENCE, frowns, surprised, and after a fractional hesitation, —

- calls:

LAWRENCE veers over towards them; the SECRETARY continues with his cue until LAWRENCE is within a few paces of the table.

The SECRETARY's tone is not hectoring, but on the contrary, quite

low-pitched, to avoid needless embarrassment, and his words accompanied by a serious little smile. LAWRENCE's tone with the OFFICERS will be nervously aggressive, whereas his tone with the B.O.R.'s was comfortable, courteous, and even affectionate.

LAWRENCE had in fact forgotten the cap and wishes very much that he had not. His eyes slide to take in the other OFFICERS who stop talking. He relaxes deliberately.

2k

Mustn't talk shop, Freddy. Not in the

Club.

The OFFICERS regard him not with animosity, but with decent disapproval.

, LAWRENCE Matter of fact, I'm just going for a pow- wow with the General.

should be on duty. (firmly) Where are you going, please?

By way of answer, LAWRENCE, smiling knowingly, takes the black and flicks it across the table.

CLOSE UP. The black hits the triangle sending the balls in all directions.

MED. SHOT. The CAPTAIN who all this time has been chalking his cue with considerate indifference, looks up and says with frank exasperation:

LAWRENCE looks at the littered table where the balls still roll in confusion, and the glitter leaves his face.

LAWRENCE

Sorry! And he turns and goes, watched by EVERYONE. SECRETARY says

after him, not jeering but firmly:

. SECRETARY You're a clown, Lawrence.

At this LAWRENCE turns and says, backing:

‘ i

And backs into a table at which a young LIEUTENANT of Yeomanry with a handsome face and buttered hair is drinking.

CLOSE UP. A half-empty bottle of lager falls over on the table and spills onto the perfect breeches.

CLOSE SHOT. The LIEUTENANT, with cruel restraint merely puts down his glass and looks at LAWRENCE.

CLOSE SHOT. An awkward pause.. LAWRENCE hesitates. But there is nothing to be done. He goes. They all look after him in silence, the LIEUTENANT of Yeomanry steadily wiping his breeches with a handkerchief, the CAPTAIN starting to rearrange the triangle. The SECRETARY turns back to the table saying clearly:

CLOSE SHOT. GENERAL MURRAY is one of those regulation

officers whose pride is to appear more regulation than anyone can be.

His face is hard and shrewd, his expression exasperated. He is seated at his desk. On the wall behind him is an "Illustrated London

News” type pen and ink sketch of heavy artillery on the Western front.

On a ledge under the picture is a collection of empty shell cases of varying sizes. GENERAL MURRAY is addressing DRYDEN, a

-donnish man with a pale, lined, lively face, wearing civilian clothes

who at this moment has his back to us as he stands looking out of.a . window overlooking the gardens of the Headquarters.

DRYDEN turns from the window, smiling a little at the reference to —

LAWRENCE's incompetence, and offers a smiling explanation of it.

C > 26

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He strolls away from the window towards a chair in front of MURRAY's desk, the CAMERA TRACKING BACKWARDS with him into a medium shot of the two of them. We now see that DRYDEN is

carrying a copy of the Arabic newspaper.

- Officer Commanding, and get away with it!

He loosens the collar of his shirt as DRYDEN smiles again, and sits in the chair. .

CLOSE UP. DRYDEN:

CLOSE UP. MURRAY. He is a little put out by the moral tone of this, which though a shade spinsterish is not less authentic for

that. He grumbles:.

+ ramets}

) : 13 C >: 28 Continued

MURRAY

Knows the books you mean.

"books" is very

contemptuous)

oO I've already sent out Colonel Brighton -

who is a soldier - and if Brighton thinks we should send them some small arms then we will. What more d'you want?

29 MED. SHOT

. DRYDEN spreads his hands deprecatingly as he says this, as one ie who makes an almost childishly small request. But his eyes are ready for conflict - he speaks for the Bureau - and MURRAY is j . uneasy. This is a conflict which has been brewing for some time.

30 CLOSE UP. MURRAY. He looks away, fiddels with a ruler. Blurts out:

31 CLOSE UP. DRYDEN. He raises and lets fall the newspaper.

~ ~y

(J 31 Continued O 32 CLOSE UP.

33 CLOSE UP

MURRAY.

theatre of operations is a side-show.

The real war's being fought against the Germans not the Turks. Not here, but on the Western Front ... in the trenches! (his eyes glow and we see for a moment how he longs to be there organising mass attacks through mud) And your ''Bedouin Army" or whatever it calls itself - would be a side-show of a side-show! .

»- DRYDEN. He is smiling again.

‘DRYDEN Big things have small beginnings, sir.

34 CLOSE SHOT. MURRAY darts a quick look at him and rises.

- Don't tell me my duty, Mr. Dryden.

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CLOSE SHOT. The door is opened bya STAFF MAJOR. Behind him we see LAWRENCE standing in the outer office. He moves forward as soon as he is announced. .

LAWRENCE brushes past the MAJOR and walks into the room.

CLOSE SHOT. MURRAY

CLOSE SHOT. LAWRENCE comes to a halt near DRYDEN and salutes, very badly, his legs not quite together, and throws a side- long glance at DRYDEN expecting approbation, but DRYDEN shakes his head quickly, somewhat to LAWRENCE's surprise.

MED. SHOT. THE GROUP. MURRAY has been looking at LAWRENCE, ready to be enraged, but with something not unlike caution, but he intercepts the look at DRYDEN and explodes.

-MURRAY If you're insubordinate with me, Lawrence, I'll put you under arrest?

but it isn't really.

MURRAY is again baffled by his own lack of imagination and LAWRENCE's apparent innocence. He moves uneasily.

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I have the same trouble, sir.

properly.

| LAWRENCE (smiling, he quotes - not mockingly, but as dons do quote, en passant) "I cannot fiddle but I can make a great state from a little city."

He pushes back his chair, rises, and walks to a window.

39 CLOSE SHOT.

LAWRENCE and DRYDEN. LAWRENCE raises

his eyebrows and smiles enquiringly at DRYDEN, but DRYDEN frowns and gestures with his hand that he is to simmer down.

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CLOSE SHOT. MURRAY standing looking out of the window.

A swirl of dust blows by outside. MURRAY's face is dark with all the extrovert's loathing of the sensitive and introspective. He says, slowly and with great sincerity:

CLOSE UP. LAWRENCE

LAWRENCE's face lights up, but almost immediately he composes himself.

CLOSE SHOT. MURRAY has turned around eyeing LAWRENCE heavily. . MURRAY Who knows! It might even make a man of him. (in answer to a knock at the door) Come in!

excitedly with a sheaf of bills.

MURRAY _ What is it, Hawthorn?

any artillery. MURRAY's joy changes to anxiety. He snatches the paper.

C) 43 Continued i DRYDEN and LAWRENCE have been forgotten. DRYDEN (firmly) O It’s something of an expedition, sir. He has got to get to Yenbo, find transport, - . find the Arabs, and then get back. He fo: can't do that in six weeks. ° | D MURRAY : Two months then. ss DRYDEN Three. © MURRAY All right, three! Now let me do some work, Dryden. - And immediately his attention is back on the papers. Co 7 DRYDEN Thank you, sir. | DRYDEN leaves, beckoning to LAWRENCE to follow, but c LAWRENCE remains. He addresses MURRAY's bent head. He is o— sincere and correspondingly awkward. LAWRENCE I'd like to say, sir, that lam gratefulfor.... © MURRAY Shut up and get out. 44 CLOSE SHOT. LAWRENCE. His expression is hurt, then viciously resentful; then is replaced by his habitual protective mockery. © THE CAMERA PANS with him as he goes to the door and turns: LAWRENCE Sirt e 45 CLOSE SHOT. MURRAY andthe MAJOR. They both look up. ( ~ 46 CLOSE SHOT. LAWRENCE. He performs a slow-motion parody | / of the regulation army salute and goes.

ma

47 CLOSE SHOT. MURRAY andthe MAJOR. Even before the door

has closed MURRAY is searching rapidly through the Bills of Lading.

He comes to the end and starts again, more and more frantically. Suddenly he cries out in real distress.

48 CLOSE TRACKING SHOT. DRYDEN and LAWRENCE. THE | CAMERA IS TRACKING on a CLOSE SHOT of DRYDEN. LAWRENCE

runs up behind him.

DRYDEN avoids him and continues walking.

DRYDEN again avoids him and goes on walking.

At this LAWRENCE falls into step beside him, and although his words are still flippant his face begins to assume its expression of stiff and bitter withdrawal.

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© © | | ©

DRYDEN opens the door and they enter.

MED. SHOT. This is a room at once similar to but utterly different from GENERAL MURRAY'S. It is elegantly furnished and carpeted, the room of a cultivated xenophile. There are pictures of ancient desert monuments and fragments of carving.

LAWRENCE appreciates the significance of this. He walks away a little and comes to rest with his hand on a fragment of stone.

DRYDEN agrees. LAWRENCE puts down the piece of stone.

LAWRENCE throws back his head in silent rapture.

(> 49 Continued

‘CO -

DRYDEN

\ Lawrence, only two kinds of creature get

‘fun’ in the desert, Bedouins ... and - (his gaze wanders round the

© photographs of silent sun~ scorched figures and the

( fragments of stone) a ~ gods. And you're neither. Take it from me for ordinary men it's a burning ©) fiery furnace.

D es | 50 © 52 |

|

DRYDEN is irritably tapping a black Russian cigarette for himself.

LAWRENCE steps forward, takes a box of matches and lights it for

him.

The set intensity of his expression is in utter contradiction ta his words.

CLOSE UP. DRYDEN. He looks from the burning match in LAWRENCE's fingers to LAWRENCE's face.

CLOSE UP. LAWRENCE. He smiles and raises the flame to his lips. He bows it out in the normal manner,

DISSOLVE TO

SUNRISE IN THE DESERT :

A series of shots taken with an under-cranked camera so that the change from grey dawn to brilliant sunlight is speeded. The audience should be unaware of the trick process, but from the first appearance of the sun over the horizon and the casting of the first shadow there should be a constant sense of movement as the sun rises higher and higher and the shadows grow shorter and shorter. Prominent in the composition of almost every shot should be the footprints of two camels. We do not see the actual camels until the series of under-cranked shots are finished and we

CUT TO

(-

CLOSE SHOT. THE SUN, now a searing white.

tiny figures of two MEN on camels appear over a distant ridge.

CLOSE SHOT. The camels come toahalt. They are ridden by LAWRENCE, who is dressed in regulation British uniform, and TAFAS, his Arab guide, who wears the robes of a Hazimi of the Beni Salem. The two MEN scan the horizon. .

CLOSE SHOT. LAWRENCE AND TAFAS. Almost involuntarily

LAWRENCE takes in a deep breath of air.

LAWRENCE unstraps a tin army mug and fills it from his water bottle. He is about to drink and then stops.

LAWRENCE

I will drink when you do. LAWRENCE begins to return the “water to the bottle.

DISSOLVE TO

mud flat should be broken by rocks and not comparable to the Nefud mud flat later, and the dust not comparable to either the opaque wall of the dust-storm nor the weird effect of Sinai. This is, as it were, a mere introduction to and explanation of the

phenomenon. ) .

MED. TRACKING SHOT. LAWRENCE and TAF AS emerge well . powdered from one smal] cloud into clarity. TAFAS ties his headcloth round his mouth. LAWRENCE spits out dust while TAFAS is doing this and TAFAS looks at him. They are obscured

again.

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65 CLOSE SHOT. A red sun low on the horizon.

MED. TRACKING SHOT. They emerge. TAFAS offers to LAWRENCE a bit of rag, intimating in mime that he should tie it over his mouth. LAWRENCE hesitates. They are obscured again.

MED. TRACKING SHOT. They emerge, LAWRENCE with the rag tied over his mouth. Camera pans with them.

distantly drifts down towards them.

DISSOLVE TO MED. SHOT. It is evening and the two camels are approaching the

long shadows of a circle of juniper bushes and high sheltering rocks which frame a secluded hollow of soft multi- coloured sands. The

camels are brought to a halt. CLOSE SHOT. TAFAS AND LAWRENCE

The camels are made to kneel and TAFAS dismounts. For a moment

LAWRENCE remains in the saddle easing his aching back, then, anxious to hide his discomfiture, he climbs stiffly out of the saddle only to find that standing is even more painful. TAFAS has untied his water skin and brings it to LAWRENCE.

LAWRENCE undoes his cup and holds it out.

_TAFAS (pouring the water) You do well ... Aurens.

LAWRENCE raises his cup to him. They both drink.

DISSOLVE TO

an

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ridge backed by deep blue sky. After a few moments the small figures of the two MOUNTED MEN appear over the crest.

CLOSE SHOT. TAFAS signals a halt and both MEN stare down at the landscape below.

-LONG SHOT. A wide and empty plateau with mountains in the distance.

CLOSE SHOT. TAFAS points out ahead, but seeing nothing, LAWRENCE unslings an old pair of binoculars and raises them to

his eyes.

moving across the plateau towards the mountains. —

CLOSE SHOT. TAFAS is looking at them intently, but finding LAWRENCE's regard upon him he gives a quick explanatory grin and

says, with the off-handedness of one belittling his own anxiety, for

his own comfort.

. to the distant RIDERS) Iam not Harith...

Aye!

But immediately his pleasure fades, and as he urges his beast forward, he is again gazing thoughtfully towards the caravan...

DISSOLVE TO

| ~\

ic 72

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©

© ©

CLOSE SHOT. Little gusts of wind are blowing sand across the embers of last night's fire. CAMERA, drawing back, reveals TAFAS and LAWRENCE, both squatted, Durham-miner fashion, by the fire in identical postures, absorbed, eating; then their kneeling camels. Saddles and saddle bags piled before LAWRENCE and ~ TAFAS on the other side of the fire. CUT BACK from this again to:

CLOSE SHOT. TAFAS is eating a fist full of rancid mutton fat. LAWRENCE is eating thin arrowroot biscuits which he extracts from their packet and eats as neatly as if he were in a vicarage. Between them on the sand are LAWRENCE's shining tin mug, and whatever nasty receptacle such a person as. TAFAS might use. Silence prevails. TAFAS' eyes flick intently from time to time to LAWRENCE's revolver on the pile of LAWRENCE's equipment. (CLOSE SHOT on this) LAWRENCE from time to time, watches the brisk progression of fat from TAFAS' hand to mouth. His expression is in no way disgusted. He is wondering if he could do it. Absently he takes up his mug. Itis empty. TAFAS quickly offers his own which is half full. It is rimmed with mutton fat. LAWRENCE gently rejects it. TAFAS looks at it for a moment and replaces it on the ground. LAWRENCE disapproves of himself. TAFAS addresses His jaws to the mutton and his eyes to the revolver.

Then you

He gives the pistol to TAFAS, who, eyes shining, wipes his fingers on his clothes and takes it reverently as though it were ceramic and he a connoisseur. Wordlessly he thrusts it into his belt. He looks at LAWRENCE with a complex of emotions struggling beneath his rudimentary features.

He takes up his fat and has a brilliant idea. He holds it out eagerly. but his smile vanishes as he remembers the incident of the mug. He laughs deprecatingly at the mutton...

T4

TAFAS

Bedu food. (... and rather sadly

draws it back again)

LAWRENCE thrusts out his hand and takes apiece and puts-it in his mouth, watched anxiously by TAFAS. There is no comedy, and from the steely concentration of his face we see that the flesh is

indeed mortified.

LAWRENCE gravely takes some more. DISSOLVE TO

firm and level plain. At first we see nothing but the sweep of the empty desert, then we perceive two tiny moving objects far below - moving towards the CAMERA. The CAMERA begins to descend towards them, and as they increase in size, we see two shadows, two camels, two RIDERS. The CAMERA keeps boring in, and we identify LAWRENCE and TAFAS cantering along at a good clip.

CLOSE TRACKING SHOT. LAWRENCE is still awkward on his mount and TAFAS is giving him riding tips as they move along. LAWRENCE's confidence grows, and the CAMERA pans and tracks

with him as he urges the camel into a gallop. The camel describes an erratic circle which brings LAWRENCE back alongside TAFAS.

LAWRENCE knows he has done well, and raises his eyebrows, amused by his own greed for praise. .

a7

LAWRENCE obediently puts his beast into acanter, TAFAS following.

CLOSE SHOT. The white hot sun of noon.

CLOSE SHOT. The parched surface of a mud flat baked by the sun into a flattened honeycomb.

TRACKING CLOSE UP. The CAMERA is close on the faces of LAWRENCE and TAFAS which are outlined against the pattern of the mud flat which slips by below them. LAWRENCE's skin is the fiery red of the sunburnt European, and the folds of his headcloth and the creases of his skin are powdered with fine dust. They ride

in silence.

and ndrrow mud flat enclosed by tall black cliffs of rock.

CLOSE TRACKING SHOT. TAFAS is again scanning the horizon before them with narrowed eyes. He grunts and points.

CLOSE SHOT. A brilliant circle of blue sky framed in black. The faces of LAWRENCE and TAFAS appear on the edge of the circle. A bucket hurtlés down towards CAMERA, and with a loud splash, breaks the reflection in the still water at the bottom of a —

well.

MED. SHOT. The top of the well is situated on the edge of the mud

flat. As TAFAS begins to haul up the bucket he glances carefully all

round the horizon. . LAWRENCE, noticing this, does the same - but

they see nothing. TAFAS regains the bucket, pours some water into

LAWRENCE's tin cup, then raises the bucket to his own lips. They —

both drink.

_ TAFAS

(the idea is new to him,

but he looks into his bucket,

catches on, and with the

patronizing indulgence

proper between two

civilized gentlemen for

the weakness of the primitive) This is a Harith Well.

(with hypocritical regret) The Harith are a dirty people.

(he drinks greedily)

~ With another look round the horizon he goes over to a small trough

and pours out the remainder of the water for the camels. As the camels drink, LAWRENCE strolls over to a little patch of sand and lazily sits watching TAFAS as he returns to the well and drops the bucket into it. A splash echoes up from below.

CLOSE SHOT. LAWRENCE begins to whistle to himself. (''The Man Who Broke the Bank'') as he drifts off into a little daydream. The sound of the bucket is heard bumping up the side of the well - then it stops. There is a moment's silence followed by a heavy

splash. LAWRENCE looks up.

CLOSE UP. TAFAS is standing stock still looking out over the mud flat.

CLOSE UP. LAWRENCE turns to see what he is looking at.

about half a mile, floating above the mirage.

MED. SHOT. LAWRENCE rises, and slowly goes over to TAFAS.

They stand together staring out over the flat.

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cloud. It could be a MAN running, a MAN on horse, a MAN ona camel, almost anything.

CLOSE SHOT. LAWRENCE AND TAFAS.

TAFAS does not answer.

but elongated, as if on stilts by the mirage.

CLOSE UP. LAWRENCE AND TAFAS. A moment's pause.

Without looking at LAWRENCE, he hurries off. MED. SHOT. As TAFAS leaves LAWRENCE and goes over to his

camel the approaching FIGURE out on the mud flat is now nine see):

as an ARAB mounted on a camel.

CLOSE UP. TAFAS unhitches his gun from the side of the camel, and keeping close into animal, stands still, waiting...

He wears a black hooded cloak with a black cloth drawn across his face.

CLOSE SHOT. TAFAS is standing in the foreground of picture, while LAWRENCE waits, puzzled and apprehensive by the well. TAFAS masks his face with his headcloth.

Tafas!

QUICK CLOSE SHOT. TAFAS, masked. His eyes frightened. Deaf to LAWRENCE.

QUICK MED. SHOT. Ata distance of some 125 yards the STRANGER is tapping his camel into a kneeling position. As he reaches the ground he draws his rifle from the saddle holster.

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CLOSE SHOT. With a sudden movement TAFAS steps out from the side of his camel, raises his pistol and fires.

MED. SHOT. The STRANGER drops to the ground behind his camel. There is another shot. TAFAS remains as still as a statue in the

foreground of picture.

CLOSE UP. LAWRENCE, frozen in place, numbed by the unexpected eruption of violence.

TAFAS' gun falls to the ground with a clatter, and very slowly he sags at the knees and crumples into a heap beside it. LAWRENCE

runs over to the body.

CLOSE SHOT. LAWRENCE stands looking down at the dead man, ; and then raises his eyes to the mud flat.

and mounts his camel.

CLOSE UP. LAWRENCE goes down on his haunches by TAFAS, keeping his eyes on ALI.

MED. SHOT. LAWRENCE stands with his back to CAMERA in

the foreground of picture. In the background the STRANGER rides slowly towards him and finally comes to a halt on the other side of the dead man. After a glance to make sure that TAFAS is dead he thrusts his rifle into the saddle holster, unwinds his headcloth, and leaps gracefully to the ground. He is a handsome young manof | about LAWRENCE's age; an impressive figure in both bearing and © costume. He picks up the pistol. He examines it.

So ALI stuffs it complacently into his own waistband and approaches the well followed by his camel. He picks up the tin mug which is lying on the wall of the trough.

eens ee my ais

106 Continued

a compliment) Then I will use it.

He scoops a little water from the trough and does so, LAWRENCE turns TAF AS onto his back.

LAWRENCE leaves TAFAS and approaches ALI.

You are welcome.

They look at one another. Neither of them frightened but in mutual incomprehension. a

. LAWRENCE Then why kill him?

more thoughtful) I have heard of you.

MO nee atta te ete ee

ic

106 Continued

-LAWRENCE He was my friend.

. ALI (looks at TAFAS) That? . (looks at LAWRENCE)

ALI raises his fine eyebrows, but politely refrains from comment.

LAWRENCE finds himself defending his humanitarian position, which makes him the more angry.

ALI raises his head in salute and turns his camel back on.to the mud flat.

mh Oe Somes enageme tv ates

107 CLOSE UP. LAWRENCE, emphasizing every word.

ALI rides out of picture, leaving the screen filled with blue sky. Music begins. The CAMERA pans downwards revealing a different location - a barren desert landscape, across which LAWRENCE is-

riding, leading TAFAS' empty camel behind him. DISSOLVE TO

entered an area of spectacular and magnificent scenery. High red cliffs tower above sparkling white sand and give the landscape an atmosphere of incredible grandeur and beauty.

109 MED. SHOT. The CAMERA pans down a great face of rock, following the echo, and comes to rest on a CLOSE SHOT of a MAN

dressed in the uniform of a British Colonel. He is sitting on a boulder, watching. His camel grazes a few yards behind.

camels from the COLONEL's viewpoint. .

111 CLOSE SHOT.. LAWRENCE hears a parade-ground voice shouting his name. He halts his camel and looks around. From the shadow

of the rocks in the far back ground, the figure of the COLONEL, now mounted on a camel, comes out into the sunlight.

DISSOLVE TO

112 MED. SHOT. The CAMERA pans with the COLONEL as he trots his camel over to join LAWRENCE. He isvery military, but. intelligent and hard-bitten. When he speaks it is rapidly, as a man who knows his own mind and has something on it. His name is BRIGHTON. He rides up alongside LAWRENCE into a TWOSHOT.

. LAWRENCE (surprised) Did you know I was coming?

OO.”

a

ct ge ee = eos

112 Continued

(with real distaste, gloomy) Bloody savages ...

BRIGHTON

Yes, they're over there.

(indicating with a jerk of the head an evident declivity into which we cannot see. Then, as LAWRENCE is eagerly about to move © forward, he checks him flatly)

Just one moment, Lawrence. (irritably curious; his sense of professional etiquette is outraged)

Now - who sent you?

112 Continued

The parody of the Public School subaltern does not go unnoticed.

his relief that LAWRENCE is

in such a weak position as that) And what are you to do for the Arab Bureau?

(a thousand Mess Room jokes

are his authority for this

attitude of patronizing

amusement)

BRIGHTON looks at him cautiously, but LAWRENCE's face is studiously innocent.

That won't be difficult, the situation's . bloody awful.

(he digs irritably in the

sand with a bit of stick) Their morale - if they ever had any morale, which I doubt - the Turks knocked it out of them in front of Medina,

_ (the irritation is replaced

by abrooding sadness) with howitzers. They're fading away by dozens every night. And what I want to say to you is this:

(he recites with considerable

dignity his simple creed) Wherever you are, and whoever you are "with" you are a British Serving Officer. And here's anorder. When we get into that camp, you'll keep your mouth - shut. D'you understand

what I'm saying?

omeimceinn:coe ih ee

112 Continued

And then, crouched springily on his heels, he freezes and breaks off and the vitality drains from his face. The organ note of low flying aircraft approaches and his eyes are haunted as he utters the trench- soldier's prayer.

The noise gathers, two explosions set the cliffs thundering. BRIGHTON and LAWRENCE rush to control their peme* -stricken animals and look up as: .

cliff, climbing steeply. The CAMERA pans with it as it roars overhead and banks into a sharp turn.

114 CLOSE UP. BRIGHTON and LAWRENCE turn around as they hear the sound of a second engine.

116 CLOSE SHOT. The camels buck and rear. BRIGHTON gets his under control, then LAWRENCE, who is looking up at:

shallow dive. The CAMERA pans with it until it disappears behind

the cliff.

118 CLOSE TRACKING SHOT. LAWRENCE and BRIGHTON riding for the camp. BRIGHTON is talking vehemently - to himself rather than LAWRENCE - and glaring straight ahead.

anddust. As it clears, a large Bedouin camp of some one hundred black tents is disclosed - now a scene of absolute pandemonium and chaos. Amidthe casualties, MEN struggle to recapture loose animals and WOMEN search for their children, while chickens, goats

©

ware taeeme nar

©

~ [27

and donkeys stampede among the tents. There is the sound of the second plane screaming down ina dive. The HUMANS freeze where they stand, and look up.

MED. SHOT. BEDOUINS scatter to left and right - out of the way of the bombing run.

MED. SHOT. The plane swoops overhead. A bomb plummets

downwards. MED. SHOT. A tent disappears in:the flash of an explosion.

MED. SHOT. The plane sweeps away over a dune. Its shadow races up to meet it on the crest and it vanishes over the top.

MED. SHOT. Frightened BEDOUINS stagger against a curtain of drifting black smoke. As it begins to clear, a prophet-like

FIGURE mounted on a white horse comes riding out from the darkness.

This is FEISAL. He rides towards CAMERA against the stream of MEN and animals, wheeling his horse in an effort to calm the panic. He shouts as he rides.

| FEISAL Stand and fight!

The CAMERA tracks with him as he shakes his rifle at the sky.

MED. SHOT. The first plane, now very low, comes diving in over the dune. CLOSE SHOT. FEISAL raises his rifle.

MED. SHOT. A flash of the plane as its machine-gun opens fire.

CLOSE SHOT. FEISAL shoots vainly at the sky as the noise of the

engine deafens him, a line of bullets lash the sand behind him, and the black shadow of the plane sweeps over and leaves him before he can turn to shoot again.

its machine gun firing among the panicked BEDOUINS, who run in

every direction.

©

131 CLOSE SHOT. FEISAL, his pale face contorted with rage, shakes his rifle at the retreating plane in an impotent gesture of defiance. The approaching drone of the second plane makes himturn. The machine gun opens fire. His horse rears.

132 MED. SHOT. A flash of the plane, its gun blazing.

133 MED.SHOT.. The shadow of the plane sweeps across the sand.

FEISAL beats his mare into a gallop and, flat out, his white robes streaming behind him, he chases the dark shadow in a mad and hopeless race. As the plane rapidly draws away he pulls up his

horse.

134 CLOSE SHOT. Surrounded by swirling dust, FEISAL is a noble and tragic figure as he sits bolt upright on his trembling foam-flecked

mare staring after the plane.

136 CLOSE SHOT. As the drone of the planes dies away, so FEISAL droops in the saddle. In the background the shattered camp stirs to life. MEN and WOMEN run to and fro, swiftly loading their belong- ings onto pack-camels. FEISAL is absorbed in his own despair, gazing down at the ground. After a few moments he braces himself as one who prepares to shoulder once again an intolerable burden. He throws back his head and assumes a public face, but at once his

gaze is arrested.

137 CLOSE SHOT.. LAWRENCE looks down at him from a blank blue

frame, with compassion certainly but more, with devouring interest.

138 CLOSE SHOT. FEISAL looks up at him; his head slightly tilts, enquiringly.

Who are you?

139 CLOSE SHOT. BRIGHTON ina blue frame.

140 CLOSE SHOT. FEISAL looking up at BRIGHTON. He interrupts with the savagery of his self-reproach.

ie

“nf

©

eaten.

140 Continued

he says) — We must take some thought for the wounded ...

141 CLOSE SHOT. LAWRENCE as before. On SOUND TRACK

BRIGHTON says:

142 CLOSE SHOT. FEISAL looking up as before.

’,.. Lieutenant - ?

143 CLOSE SHOT. LAWRENCE as before.

144 MED. SHOT. THE THREE

. FEISAL You understand Lieutenant Lawrence my people are ... unused to explosives

and... machines... (he gazes about)

First the guns ... now this...

He is suddenly choked with emotion, turns on his heels and goes An ARAB takes his horse

towards the scattered tents, walking. which he has forgotten, and leads it after him.

—

cy , 3

Bf

145 CLOSE SHOT. LAWRENCE and BRIGHTON. LAWRENCE looking after FEISAL: BRIGHTON looks at LAWRENCE, uneasily, and

frowns. DISSOLVE TO

their flocks and herds, winds out from the high cliffs and rocks into

the open desert. DISSOLVE TO

bleak and featureless terrain.

148 MED. TRACKING SHOT. BRIGHTON AND CORPORAL JENKINS, his orderly, are riding several yards in front of LAWRENCE, who, with a map case on his knee, is noting the course of the caravan. Surrounding the three EUROPEANS is a moving mass of goats, sheep, camels, WOMEN on foot and in howdahs, CHILDREN, WARRIORS, and baggage camels - a Biblical scene of Exodus.

149 CLOSE UP. LAWRENCE raises the compass to his eyes and looks through it.

150 MED. SHOT. As seen through the markings of the compass the CAMERA tracks behind the upright figure of FEISAL mounted on his white mare and flanked by his two negro SLAVES anda STANDARD BEARER.

151 CLOSE UP. LAWRENCE lowers the compass and marks a position on the map. Hearing a sudden burst of shouting and laughter he

looks up.

152 MED. TRACKING SHOT. From behind a forest of marching camel

legs an infuriated GOATHERD is shouting at two BOYS in the fore- ground of picture. One of the BOYS is trying to ride a bucking and protesting ram, while the other, roaring with laughter, is trying to keep himon. The ram eventually throws the RIDER on to the ground just as the GOATHERD springs out and proceeds to lay about them both with his stick. The BOYS escape among the camels only to be met by another series of blows from the RIDERS. The CAMERA tracks with them down the line until they finally reach a peaceful haven beside LAWRENCE. For a few paces they march in silence rubbing their tender backs, then, with a winning smile, DAUD, the tougher of the two, looks up at LAWRENCE.

152 Continued

Sorry. (he spreads his hands. Then returns to his map)

DAUD. looks up, interested, but the other imp, FARRAJ , nudges him and points to the two RIDERS ahead. They run forward out of the

picture.

153 MED. TRACKING SHOT. BRIGHTON and JENKINS. The two BOYS ‘appear on either side of JENKINS' camel.

_ DAUD Cigarette, your. excellency?

FARRAJ looks up at the CORPORAL with his soft swimming eyes, and raises his hands in a gesture of prayer.

The CORPORAL relents and throws down a cigarette packet. The BOYS leap on it, only to find that itis empty. The CORPORAL

- laughs. There is an exchange of looks between the two BOYS, and the CAMERA drops back with them as they take up a position immediately behind the CORPORAL's camel. With the deftness of long practice, FARRAJ daintily lifts the camel's tail and DAUD rams his stick home. The camel roars and takes off.

154 CLOSE SHOT. BRIGHTON, shouting after the CORPORAL.

155 CLOSE SHOT. JENKINS falls to the ground with a thud.

156 CLOSE SHOT. DAUD and FARRAJ walking along with studied ‘innocence. They hear someone laughing and turn.

157 CLOSE UP. LAWRENCE sees the two imps looking at him, and checks his laughter.

158 MED. SHOT. Taking advantage of his appreciation, the two BOYS fall in beside LAWRENCE's camel.

| | 42 C) 158 Continued

| DAUD a ' Aurens ?

| LAWRENCE © Aurens.

- LAWRENCE 2 I don't need an orderly.

wy) | It will be very nice for you.

c This is unanswerable. The BOYS grimace sympathetically and LAWRENCE urges his camel forward out of picture. We stay on the two BOYS looking about for fresh worlds to conquer.

DISSOLVE TO ?

protecting ring of smooth rocks and high banks of sand at the edge of

a remote plateau. The.smoke of the fires rises straight into the air, ; . and.one by one, lights appear in the largest and most central of the, © Bedouin tents. On the heights above the camp, the tiny figures of : 7 SENTRIES are silhouetted against the soft glow of the sunset. Itisa i , scene of great tranquility after the noise and bustle of the previous i sequences. ;

on; 161 MED. SHOT. INT. FEISAL's tent. Though large, it is a plain

Ne, black tent like the others, very sparsely "furnished", though a carpet is essential. Present are FEISAL, BRIGHTON, LAWRENCE and the RECITER, to whom they are listening, BRIGHTON with a gentlemanly self-control which shrieks impatience, FEISAL head back, eyes closed, LAWRENCE head down, face hidden.

161 Continued

be easy to you. God knoweth that there

be some among you sick while others travel through the earth and others do battle in His cause. Recite therefore as much as may be easy. And seek ye forgiveness of God. Verily God is forgiving, merciful.

- During this recital (which can of course be lengthened or shortened as

necessary) ALI enters back to CAMERA seen by FEISAL whose eyes

- flick open, unseen by LAWRENCE or BRIGHTON, who face FEISAL.

When the recital is finished.

_ FEISAL Greetings, Ali.

LAWRENCE and BRIGHTON turn surprised, LAWRENCE's expression

changes. With him, we recognize ALI.

ALI salaams silently to BRIGHTON. His hostile eyes return to LAWRENCE. FEISAL claps his hands. ALI sits, not taking his eyes

from LAWRENCE.

©

161 Continued

displeased.

BRIGHTON exhibits impatience when the RECITER recommences. FEISAL, seeing this, smiles gently, lays a hand on the RECITER's

wrist and finishes for him:

to thee and thou be satisfied.

162 REACTION SHOT. BRIGHTON surprised, FEISAL surprised and

pleased.

So?

163 REACTION SHOT. ALI's eyes flick suspiciously from FEISAL to LAWRENCE, they smiling at one another. FEISAL takes in ALI, rampant Bedouin, BRIGHTON, European couchant. He sighs.

- BRIGHTON I want a decision, sir.

Colonel.

We can't supply you here sir!

‘ nt EI, :

ne

eee

tr

— 163 Continued

(angry) © | Oh well if you can get hold of Akaba sir

of course we can supply you. But you can't!

| BRIGHTON - (incredulous) You mean the Navy? The Turks have twelve inch guns at Akaba sir - can you

co) _ imagine what that means?

o BRIGHTON

) (more gently) Put that out of your mind sir; the Navy's

|

t

| | got other things to do. | |

surely?

™~, and the same.

ALllaughs sharply. BRIGHTON is disgusted. |

an |

O

~~ ST

163 Continued

No: Guns !' Artillery! Guns like the

Turkish guns at Medina‘

: BRIGHTON Your men need training far more than guns sir. ,

LAWRENCE makes an involuntary movement, suppresses ‘it, but FEISAL:

FEISAL and ALI react to this. So does BRIGHTON, alarmed.

os,

ad

with interest) Have you been in Damascus, Mr. Lawrence?

Neither ALI nor BRIGHTON likes this rapport. ALI sits up, against a pole; this STRANGER must be watched. BRIGHTON says, quietly

but compellingly:

BRIGHTON

That'll do, Lawrence. (sternly, to FEISAL)

Dreaming won't get you to Damascus, sir. (kindly, persuasively) But discipline will.

While BRIGHTON goes on, cut to ALI and LAWRENCE in silent con- frontation, cutting back to BRIGHTON only for the last two beats:

them great.

a Tee ite ee

Se ee

res ee ee

an ae a

O

7 eg = = gg Nghe a

163 Continued

LAWRENCE opens his mouth. BRIGHTON jumps down it.

_FEISAL looks to him again. At once the storm breaks.

BRIGHTON

Lawrence that'll do! (quick, before FEISAL

can speak) | Lieutenant Lawrence is not your Military Advisor sir! —

man!

| FEISAL remains absolutely unmoved, maintaining towards LAWRENC?: | an attitude of polite attention, LAWRENCE knows he is crossing the )

'

Rubicon.

. LAWRENCE . My lord ... I think ... I think your Book is right. (he points to the Koran. FEISAL cocks his head enquiringly)

"The desert is an ocean in which no oar

is dipped". And on this ocean the Bedu

go where they please and strike where

they please ... This is the way the Bedu

has always fought ... You are famed -

throughout the world for fighting in this

way. And this is the way you should

fight now. |

ALI agrees with every word of this and is rendered trebly suspicious. BRIGHTON can barely comprehend such atrocious insubordination.

©

CO 163 Continued

Fe Ne egg re a Y

_ BRIGHTON | (disgusted, as one |

| who gives up) = Well I don't know...

©

LAWRENCE

po I'm sorry sir - but you're wrong!

; (he turns to FEISAL)

Me) Fall back on Yenbo sir and the Arab . Rising becomes one poor unit in the :

British Army.

| , ALI . | b . (wild with jealousy { (© | and suspicion) | ; What is this to you?

|

‘BRIGHTON Lawrence, do you know that you're a : traitor?

; BRIGHTON . (curtly) Very well, sir, when shall we move? The sooner the better sir, you'll lose another fifty men tonight.

2 It is the dismissal. Allrise. BRIGHTON salutes. ALI salaams. C a BRIGHTON politely ushers ALI out before himself, but himself

) precedes LAWRENCE. Just as LAWRENCE is following, FEISAL makes him a discreet signal to remain. Outside in the dark, BRIGHTON and ALI regard the tent flap, expecting LAWRENCE.

Ng gg ie ne,

(> 163 Continued

it dawns on them that he has been detained for a private audience. They stare at one another. They turn, and make their separate

ways between the tents.

: Inside the tent FEISAL and LAWRENCE both stand.

fa)

Me ee

2 ee > ge

) ‘And I must do it, for the Turks have. ne) ‘European guns. But I fear to do it upon . my soulI do. The English have a great: : hunger for desolate places, Lieutenant I

fear they hunger for Arabia. i

SOQ ‘LAWRENCE Then you must deny it to them.

' ; You are an Englishman. Are you not _ loyal to England? i

t LAWRENCE (hesitates, smiles a smile of intellectual, not - emotive humour) ; To England and to other things. So . i

But FEISAL will not play the intellectual game, though amply . intellectual- for him the question is practical, and his expression is serious as he draws up to LAWRENCE and says thoughtfully: ;

te | | FEISAL To England and Arabia both? Andis

that possible ...? | (he approaches LAWRENCE closely and considers him. He nods) I think you are another of these desert- loving Englishmen - (he walks away) Doughty, Stanhope, Gordon of Khartoum.

[ ~) 163 Continued

a village!

aw, | FEISAL

(dryly) Nine centuries ago.

‘ | (mildly)

p | LAWRENCE Time to be great again my Lord.

FEISAL : (stiffly) Which is why my father made this war upon the Turks - my father, Mr. Lawrence, not the English! (he is suddenly overcome by melancholy) O But my father is old and I - I long for the vanished Gardens of Cordova ... (sighs) However, before the gardens must come the fighting.

Ls He indicates graciously the tent flap. They move over to it, and | FEISAL courteously holds it apart.

163 Continued |

LAWRENCE

- (gently) Or ...?

, FEISAL (looking out over the silence encampment) What no man can provide, Lieutenant. We need a miracle.

FEISAL nods a polite goodnight, and LAWRENCE leaves.

164 CLOSE SHOT. Outside, LAWRENCE comes to a slow halt a few _yards from the tent. As he stands looking down at the ground in deep thought, a slow dynamo-like theme begins on the SOUND TRACK. An irritation crosses his mind, the music stops, and he looks up.

165 MED. SHOT. BRIGHTON's brightly lit army tent glowing out among its neighbours.

166 CLOSE SHOT. LAWRENCE's eyes return to the ground and the music begins again, then, very slowly, he walks off in the opposite direction.

167 MED. SHOT. FEISAL is sitting alone inside his tent. He looks up ‘towards the tent flap trying to collect his curiously conflicting thoughts about the young man outside.

168 CLOSE SHOT. A set of moonlit footprints in clean sand. The dynamo theme takes on an overtone of mysticism as the CAMERA pans upwards following the footprints, and we see the dark outline of LAWRENCE's back as he strolls slowly in deep thought towards the open desert.

On reaching the end of a promontory, they stop.

170 CLOSE UP. FARRAJ and DAUD squat into picture, looking downwards with curiosity.

below. He comes to a stop with his hands in his pockets.

172 CLOSE UP. The two IMPS look down, puzzled.

concentration, outlinedagainstthe brilliant white of the moonlit

desert. The dynamic theme increases in intensity, and LAWRENCE begins to wander off in another direction.

DISSOLVE TO

MEDIUM SHOT: A dawn sky. LAWRENCE is standing quite still,

oblivious of the two BOYS who squat down only a few yards above him.

CLOSE UP: The IMPS sit patiently watching LAWRENCE like two dogs watching their master. Then DAUD picks up a jagged stone of — some bright colour and suggests in pantomime that he throw it down towards LAWRENCE. FARRAJ shakes his head, but unable to restrain himself, DAUD gently lobs it out of picture.

MEDIUM SHOT: The stone lands at LAWRENCE's feet. At first he seems not to notice it, but then, without interrupting his concentra- tion, he aimlessly picks up the stone, bounces it up and down in the palm of his hand, and walks slowly away. The IMPS get up and run out of picture.

DISSOLVE

tree. One of the BOYS sits before him, the OTHER is busy behind

. him. Apart from this tiny group, the frame is completely empty,

above, below, and to either side.

MEDIUM SHOT: The SAME. FARRAJ is hanging an odd piece of cloth in the branches so that LAWRENCE's head is shaded. Three or four yards in front of LAWRENCE, with his back to camera, sits DAUD - also cross-legged ~ watching him as he continues playing with the stone. FARRAJ comes and sits down near to DAUD, so that

‘LAWRENCE is framed between the backs of the two BOYS. The

CAMERA starts to creep in towards LAWRENCE. The music, which has never stopped, builds up andup. LAWRENCE begins to hold the stone so tightly that his fist vibrates with the unconscious effort. He looks directly up at the two BOYS, but his eyes are focused on the distance and he is not really seeing them.

CLOSE UP: The IMPS stare back. They don't know why, but they are rather frightened.

CLOSE UP: LAWRENCE. The music stops. There is a pause. LAWRENCE | (quietly)

Akaba.

() 181 CLOSE UP: The two BOYS don't understand. 182-MEDIUM SHOT: LAWRENCE and the BOYS.

O He comes to and chucks the stone at the BOYS. DAUD catches it, , then looks up in surprise and points to LAWRENCE's hand. It is bleeding. LAWRENCE licks his palm mechanically, and above his hand we see his gaze is no longer inwards but outwards and actively Ie excited. He gets to his feet. Exciting, whirling music begins. The ; CAMERA PANS and TRACKS with LAWRENCE as he walks away from the three. The two BOYS follow close behind. LAWRENCE walks faster and faster until he is running - as a man runs who has a specific destination. The music builds. The camp appears in the -background and the run becomes a race. LAWRENCE disappears C among the tents, and the BOYS put on a spurt but DAUD trips over a root and goes sprawling, and MUSIC stops when: CUT TO as = 184 CLOSE SHOT ALI ALT You are mad. To come to Akaba by land we should have to cross the Nefud. h A LAWRENCE L That's right. ALIA The Nefud cannot be crossed. te LAWRENCE I'll cross it if you will. ALI C (surprised) You? It takes more than a compass, Englishman. (LAWRENCE does not flicker) ‘e The Nefud is the worst place God created! I@-

. LAWRENCE © Qh I can't answer for the place. Only for myself.

ALI begins to be fascinated. LAWRENCE drives on:

©

184 Continued

ALI

Good, yes... (bursts out) There are guns at Akaba.

side there are no guns at Akaba.

from the landward side!

He turns and points to the horizon.

186 CLOSE SHOT ALI

DISSOLVE TO

187 A ROCKY OUTCROP. Grey dawn. LAWRENCE burdened with pistol, bandolier and saddlebags is striding round the edge of it. In the background, at a distance, is the camp with smoke ascending from one or two early fires, but no other sign of life. Except, that is, when LAWRENCE looks over his shoulder to make

sure he has been been seen, and:

189 CLOSE SHOT. LAWRENCE does not look at all pleased or charmed, but he accepts the phenomenom as a sensible man accepts flies, that is without pleasure but also without flap; and

skirting the curve of the outcrop he sees:

preparations. Some of the camels are being loaded, some are already rearing to go; the atmosphere is as tense and technical as in a Grand Prix racing pit, except that there is no shouting - on the contrary all is done very quietly. LAWRENCE pauses to take in the scene and FEISAL steps out of the shelter of the rock.

FEISAL

Blasphemy. (he walks LAWRENCE into and through the RAIDING PARTY, knowing where LAWRENCE's camel is, CAMERA tracking) .

is a bad beginning to such a journey.

(it is a bit awkward. He shifts his bags from one hand to the other)

You are falling back, on Yenbo, sir.

these to you.

They have arrived at LAWRENCE's camel; ALI is by it, busy with his own. He looks at LAWRENCE but makes no greeting, defensive-

aggressive.

Before LAWRENCE can answer FEISAL holds up a hand and listens. Quietness falls all about. The distant Muezzin is heard from the camp and with a single wave-like rustling, all but LAWRENCE are kneeling towards Mecca. He looks about; we see what he sees; then he busies himself quietly with his bags. When the prayer is ended ALI is the first to rise, and again he and LAWRENCE exchange their defensive-aggressive stare. FEISAL rises last.

my lord. (he gets into the saddle)

Yet you did not tell Colonel Brighton.

No. (he gets into the saddle)

en

ree weer

e

wistfully.

192 CLOSE SHOT. LAWRENCE looks down into the CAMERA from his camel, which has risen, and behind we see ALI and OTHERS

similarly risen.

193 CLOSE SHOT. FEISAL

194 CUT SHARPLY, with MUSIC quite loud, to the head and shoulders of LAWRENCE, riding; broad day. His expression is that of an excited young man who nevertheless controls himself. As he rides he slightly turns his head from left to right, trying to see what is behind him without overtly turning round. The MUSIC gathers yet more force. Finally he is unable to overcome the temptation and

twists right round in the saddle.

195 MED. SHOT. What he sees: (And with a crash the theme fills to full pitch) The RAIDING PARTY strung out four abreast behind him.

196 CLOSE UP TRACKING. ALI and LAWRENCE. LAWRENCE turns to the front again, his eyes blazing. He straightens himself in the saddle and erects his head. His face is stiffened with disciplined — ecstasy. ALI has been watching him: he smiles sardonically.

197 CLOSE TRACKING SHOT. The CAMERA now starts to move down the line of RIDERS, introducing each in turn as they pass through the shot trotting a little faster than the CAMERA. First come ALI's two NEGRO SLAVES, magnificent in their red-tipped costumes. Then banners, followed by exotic faces, fiercely and seriously con- centrated ahead. Last of all come the baggage camels, laden with food and rolled-up tents. We see, individually, GASIM, a shifty, cheerful, undersized and impoverished Bedouin, the ELDER HARITH, a middle-aged and well-equipped warrior with a calm strong face, and MAJID a willowy young Ageyli with splendid clothes, made-up eyes. and an elegant manner, but a dashing rider and most seriously

armed.

PARTY as awhole. The CAMERA follows it for quite some time as it weaves its way through the multi-coloured sands and rocks. ALI raises his camel stick pointing out a change of direction away from CAMERA. The MUSIC grows fainter and fainter as the RAIDERS draw away leaving a cloud of dust behind them.

MED. SHOT. Round the corner of a hillock we have just passed, a single and rather mangy camel appears with two RIDERS. As the animal is brought to a halt we recognise FARRAJ and DAUD. DAUD is in front with FARRAJ mounted pillion-fashion behind him, his hands clasped around DAUD's waist. The two IMPS furtively watch the desert ahead.

of dust sent up by the RAIDING PARTY.

CLOSE SHOT. DAUD and FARRAJ. They wait for a few seconds, then DAUD gives their camel a smart whack and CAMERA pans with them as they trot off across the desert plain.

DISSOLVE

CLOSE SHOT. DAUD and FARRAJ, hidden behind a fold in the

ground. Late afternoon. On their bellies, they munch some unappetizing and crumbly food. By their sides we see their water can ~ not a proper one, but improvised from an old tin - empty. They are looking off screen, yearningly. On SOUND TRACK we hear distant cheerful voices and the roar of a camel. DAUD essays another mouthful of the dry stuff; chewing mechanically and half-heartedly, crumbs falling heedless from his lips, he gazes off fascinated, at:

MEDIUM SHOT. The glittering water of a palm-fringed oasis. The Raiders (their voices now suddenly loud on SOUND TRACK) are preparing for the night in high good humour, the sadness of parting over and the hard part of the journey not yet begun. The water

occupies most of the screen, the men merely a human fringe at its

periphery. They drink, call to one another, drink, pour water on their heads, splash, dabble their hands, or merely smile at their own reflections. A fire is kindled food is in the offing. But above all there is water.

CLOSE SHOT. DAUD and FARRAJ as before, looking off (the

‘voices distant again). They look at one another hesitantly. Look

off again. With determination DAUD seizes the can. They slither down the reverse slope.

CLOSE SHOT. Inthe oasis LAWRENCE is wringing out a spare army singlet, crouching, watched by ALI who lounges at a little distance from him. LAWRENCE is qware of ALI's regard. On

SOUND TRACK, raised voices. LAWRENCE looks up, merely asmiona ATT alart.

CLOSE MOVING SHOT. GASIM is coming through the palm trees with DAUD and FARRAJ. He has DAUD by a handful of his thick

hair and FARRAJ by the ear. GASIM is delighted to be the centre

of attention and gives DAUD a rough shake now and then, and DAUD plays up with clowning and affected fear. But FARRAJ is in pain and his dignity offended and has set his face disobligingly. The Raiders

‘laugh and applaud. These are known characters evidently.

LAWRENCE and ALI. LAWRENCE as before but ALI is standing. GASIM comes on frame and throws down his captives. the others have followed.

us. They were here. (with an ingratiating - nod to LAWRENCE)

I caught them.

ALI picks up his camel whip.

He pushes FARRAJ with his foot.

DAUD, having improved the moment by surreptitiously snatching a handful of water, nods cheerfully at LAWRENCE. ALI looks at LAWRENCE-sardonically. LAWRENCE is attracted to the boys but senses that the situation holds trouble for him.. He will have no part of them, and looks away as one bored or one who will have no

concern in something no concern of his., \

GASIM ~ (anxious to be indispensable) That is true, Aurens. They do wish it.

He turns for confirmation to the others, but LAWRENCE again looks away, unconcerned, and doesn’t even seem to hear what follows.

ALI

You have been tracking us. (he looks uneasily over the horizon. He twitches his whip)

You were told to stay!

One or two of |

tt

» ( -} 207 Continued _ DAUD |

(solemnly) She led us here to be Lord Auren's servants.

, - (looking at LAWRENCE) It is the will of Allah. )

© ALI (technically, not angrily)

»

U

' Blasphemy. : He brings the whip down hard on DAUD's shoulders. LAWRENCE looks up.

——_—-_ w+

At once

Immediate silence. He rises. He is hesitating. GASIM steps in to

‘0 save him from a social blunder. GASIM Oh these are not servants Aurens - these , are... outcasts, parentless ... ; ~ . (he shrugs, not expressing ‘pity but on the contrary apologising for such creatures)

. , ALI oy - . (shortly) .

« Be warned. They are not suitable. ! LAWRENCE

They sound very suitable ... You.can

ride with the baggage. They are at his feet, touching head and heart. ALI stalks away 4s disgustedly, turning only to say:

208 CLOSE-SHOT. LAWRENCE trades look for look.. On SOUND TRACK.

U | DAUD Aurens, 209 CLOSE SHOT. The boys are still kneeling. The other Raiders have drifted away, but GASIM stands over them quite proprietorial, as Cc. though this were what he had intended all along. We only see his oat bottom half as we are looking down on the boys POV LAWRENCE. oO ) DAUD is holding up one finger. . we DAUD One shilling every week?

© _. GASIM (judicial) That is fair.

209 Continued DAUD

(a quick glance at FARRAJ) Each? GASIM ~ (scandalised) No that is too much! — LAWRENCE All right. With a nod and rather awkward smile, he moves away. GASIM looks after him and calls (if possible from an empty uncluttered screen, so that he has "'significance"'.). GASIM They will be lucky for you! (with the dreadful piety of a thorough-going sinner:) _ Allah favours the compassionate! . CUT

210-The singing wires of the telegraph above the railway. ais DISSOLVE TO

216 MED. LONG SHOT. A CRESTED DUNE. LAWRENCE and ALI appear, halt and.look towards us. The MAIN PARTY appears and does the samr.

217 CLOSE SHOT. LAWRENCE and ALI

219 CLOSE SHOT. LAWRENCE and ALI. . ALI (sardonically polite as he triumphs over. LAWRENCE who stares ahead of him)

You see? LAWRENCE (equally polite) Yes. There's no time to waste then, is there? (and he moves forward) .

220 MED. SHOT. From among the RAIDERS we follow LAWRENCE down the slope; he crosses the line ahead of us and rides into the

dacart._

oe

| | es Cy - 221 LOW GROUND SHOT. Along the line. The camels of the RAIDERS fe CU cross, some close, others more distant seen between their moving

ic legs. DISSOLVE TO

| 222 FIRST AERIAL SHOT. THE RAIDERS, not in precise formation, but still quite well gathered, ina disjointed column, move over the plain. Shot starts at the rear, moving forward and continues on into the plain.

lO DISSOLVE TO

RAIDERS are spread out in no particular order, plodding on under a high sun. ‘©

224 MED. SHOT. MEN and beasts are exhausted. The RIDERS jerk up and down like sacks.

225 MED. SHOT. Another angle. 226 MED. SHOT. Still another angle - building a sense of. monotony.

227 CLOSE TRACKING SHOT. ALI, followed by his ‘TWO SERVANTS. The SERVANTS tired, ALI alert. He looks over at:

228 CLOSE TRACKING SHOT. LAWRENCE followed by FARRAJ and DAUD. LAWRENCE's eyes are fixed dreamily on:

229 MED. SHOT TRACKING. A DUST DEVIL twisting and turning across the desert floor.

230 CLOSE UP TRACKING: LAWRENCE bobbing monotonously up and down. His half-closed eyes follow the dust devil downwards.

231 CLOSE SHOT. The foot of the dust devil sucking the ground ina giddy spiral.

232 CLOSE UP TRACKING: LAWRENCE. He pulls himself together and looks away from the dust devil to his own shadow.

| 233 CLOSE TRACKING SHOT. His shadow jerking and flitting, lo expanding and contracting on the desert floor. 234.CLOSE UP TRACKING. LAWRENCE. His head jerks sleepily. He is about to fall off. He.-jerks himself upright, but again his head nods forward. ALI comes up alongside, smiles with grini . Satisfaction, and pokes LAWRENCE with his stick. LAWRENCE CO immediately opens his eyes, straightens. f = LAWRENCE “— (defensive)

T was thinking.

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| 240 Oo 241

Cc 243

234 Continued

. LAWRENCE |

Yes. (his face is steely, his voice rustling and

dry) It will not happen again.

- ALI (as before) Be warned, you were drifting.

; . LAWRENCE It will not happen again!

-DISSOLVE TO

A DIFFERENT TYPE OF "FEATURELESS" LANDSCAPE. (But

‘absence of feature, absence of colour must be common to all these

Trek sequences.} Another HELICOPTER shot, but not aerial: we are speeding over the flat ground towards the RAIDERS who are now in much more open order, each MAN absorbed. in his own

suffering.

MED. TRACKING SHOTS. The ELDER HARITH unmoved, MAJID ennobled, GASIM actively sorry for himself and hating his camel.

CLOSE TRACKING SHOT LAWRENCE. He is looking away towards his right, his sun-scorched face set in an artificial mask of indiffer-

ence,

‘LONG SHOT. A MIRAGE CF SPARKLING WATER. It wavers and comes nearer.

CLOSE TRACKING SHOT. LAWRENCE. He turns his head slowly away to the left.

CLOSE TRACKING SHOT. LAWRENCE. He turns his head and looks ahead.

is just a short run away.

‘MED. TRACKING SHOT LAWRENCE and ALI. ALI looks at

©

LAWRENCE, sarcastically amused. LAWRENCE turns away his head with a rather weary frown, as one who is bothered by an impertinently curious child. ALI's face darkens.

DISSOLVE TO

MED. SHOT. A BIVOUAC. SUNSET. ALI "in bed’. In background all the OTHERS the same, except for LAWRENCE, who is shaving out

a spoonful of water in a tin lid. ALI From now on we must travel by night.

And rest while it is too hot to travel.

A few hours each day. (he watches the effect

of this)

ALI

No, no. (sweetly) We still rest now; three hours.

DISSOLVE TO

MED. LONG SHOT. NOON. At a distance from us the RAIDING . PARTY. We cannot see the MEN, merely the kneeling camels which

are scattered, inthrees and fours and individually. We begin to approac:

then CUT TO

MED. SHOT THE SAME. In the tiny shadow afforded by each camel cowers a motionless and shrouded MAN.

CLOSE SHOTS. THE CAMELS' HEADS AND FACES. Some of them. have gummy foam about their lips.

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CLOSE SHOT. ALI uncovers his head He looks up at the sun. He rises. He rouses ELDER HARITH, who rouses LAWRENCE, who looks round for ALI who is looking back at him. In the background

the OTHERS begin to stir. DISSOLVE TO

CLOSE TRACKING SHOT. Acamel's feet, slipping on a surface of broken stones. CAMERA lifts to ALI. He rides looking down.

His camel stumbles, stumbles again.

MED. LONG SHOT Other's of the RAIDER S, looking down anxious}:

at their stumbling camel's feet.

DISSOLVE TO

MED. AERIAL SHOT. The RAIDERS pick their way across a

_ wilderness of broken stones.

SHARP CUT TO

EXTREME CLOSE SHOT. In brilliant clarity a camel goes over sideways in a tumbling rush as though pole-axed, its RIDER only glimpsed as he is flung from his saddle.

CUT TO

MED. SHOT LAWRENCE, ELDER HARITH, GASIM, stunned into immobility stand and look at the fallen beast, one leg of which is kicking mechanically, but apart from that inert, and the bundle of rag which is a MIDDLE-AGED ARAB. MAJID hobbles over to this, straightens up, looks off at ALI, raising his hands a little.

MED. SHOT ALI turns and leads his beast on. MAJID follows suit. As he does so she groans, and slobbers, distressfully jerking

her lead. ALI looks round at this, and he and MAJID exchange a seric.

glance.

MED. SHOT DAUD and FARRAJ, in the rear, look.back.

DISSOLVE TO

fringed by black boulders and rocks. The RAIDERS are dismounted anyhow. One or two of the camels now on their sides instead of kneeling. We see three BEDOUINS rubbing water on the tongue of

a camel which is at its last gasp. The last of them, two on a beast, —

1) 257 ) | ) , iC ) roy

ic

|e 262 ~ 263 |

Continued .

are coming in. Their camel flounders to her knees. ELDER HARITH and ALI, watching this, are joined by LAWRENCE, who swills in the bottom of a mug a few spoonsful of water.

. LAWRENCE (on sound track) How much of that is there?

CLOSE SHOT: MAJID

strike out across it from the encircling rocks. This should be the biggest and bleakest eye-ful to date.

DISSOLVE TO

or less orderly line. The CAMERA begins to pan with them.

MED. TRACKING SHOT. LAWRENCE followed by FARRAJ and DAUD:

CLOSE TRACKING SHOT: FARRAJ is nodding in the saddle.

O

scones

ATS

‘ 68

CLOSE TRACKING SHQT. ALI at the head of the column. He is awake and alert and his rifle rests across his saddle.

MED. TRACKING SHOT. THE BAGGAGE CAMELS. some of the RIDERS have wedged themselves among the baggage and are asleep.

CLOSE UP TRACKING LAWRENCE. He shifts in the saddle taking up anew position. He looks farward to:

CLOSE SHOT TRACKING . ALI'S back. Upright and erect.

CLOSE UP TRACKING. LAWRENCE... With half an eye on ALI he raises his arm to read his watch. This done he replaces it. A yawn overtakes him.

CLOSE SHOT TRACKING ALI's back. He turns looking around the GROUP, and turns back again.

DISSOLVE TO

casting long shadows.

CLOSE SHOT TRACKING The shadows bobbing up and down between the camels legs. The shot is held for several seconds -then there is a cry, and a BODY falls among the shadows..

CLOSE UP. The Fallen RIDER is FARRAJ. He sits up, shakes his head, and gets up.

MED. SHOT LAWRENCE and DAUD have come to a halt. They wait as FARRAJ runs forward to his camel and brings it to its knees. Other camels pass on through the picture. °

CLOSE UP ALI. Hetoo has come toahalt. He stares hard and

disapprovingly at what has happened, wheels about again and continues.

MED. SHOT. LAWRENCE and DAUD wait until Fonked remounts. They move off together.

‘LONG SHOT TRACKING. The RAIDERS plod on.

DISSOLVE TO

ween ee ee =

approaching the sandy shore on the far side of the mud flat.

CLOSE TRACKING SHOT. LAWRENCE and ALI, and ELDER HARITH

all looking down.

CLOSE TRACKING SHOT. Their camels' feet leave hard mud for gravel.

CLOSE TRACKING SHOT. LAWRENCE, ALJ, ELDER HARITH All are slumped, but look :relieved.

_ DAUD rides up besidethem. He is worried and apprehensive.

He points with his camel stick. MEDIUM SHOT. A RIDERLESS CAMEL, saddled.

CLOSE SHOT. ALI and LAWRENCE stationary watched anxiously by DAUD.

He considers this, then impatiently urges his camel forward. LAWRENCE follows, and the CAMERA TRACKS with them.

CLOSE TRACKING SHOT ALI and LAWRENCE

LAWRENCE stops his camel. ALI instantly stops too.

(pointing to the boys) Take these.

LAWRENCE wheels his mount but ALI blocks his way. ALI

If you go back you kill yourself is all.. Gasim you have killed already.

oS)

LAWRENCE ©

(quietly) Get out of my way.

Gasim's time is come Aurens. (pointing to GASIM's camel)

It is written.

LAWRENCE: (his voice and manner crammed with occidental impatience and contempt) Nothing is "written. '

He bursts between them. ALI goes alongside, not attempting any longer to detain him, but incoherent with venom.

- ALI , Go back! English! Blasphemer! What then --- what? What did you bring us here for --~ with your blasphemous conceit? Eh --- English blasphemer? Akaba? Was it Akaba? You will not be at Akaba, English! Go back, blasphemer, but you will not be at.

“Akaba!

This absolute loss of control yelled into LAWRENCE's face affords

him the most exquisite satisfaction --- It is victory. To drive the point home, he turns his most amused, most donnish expression

upon his hated friend and says pleasantly:

ALI stops and looks after him trembling; he casts about for the worst

word he can think of.

‘ 72

/ 284 MEDIUM SHOT. ALI's viewpoint of LAWRENCE and his camel going back across the flat.

285 CLOSE UP: FARRAJ and paUP anxiously looking back at the retreating figure of LAWRENCE

286 MED. SHOT ALI and his camel in foreground of picture with LAWRENC; in the background. ALI turns his animal around and shouts towards FARRAJ and DAUD as he angrily urges the beast forward.

. ALI Get on! Get on!

riderless camel. In thebackground FARRAJ and DAUD turn their animals round and follow the RAIDERS onwards, ALI trots up to the camel in foreground of picture and gives it a vicious lash with

' his whip. The animal bounds forward and the CAMERA remains on a shot of the sky. The sun has still not risen. The sounds of the retreating raiders grow fainter and fainter. Silence.

_ , 288 EXTREME LONG SHOT. GASIM, atiny figure, in the middle of the — mud flat. He is walking slowly but upright and steadily.

289 PRE-SUNRISE. The empty mud flat - theredglow of pre-dawn. FOOTSTEPS. FEET enter and GASIM appears walking away from

camera l-r.

290 FULL FIGURE TRACKING SHOT. GASIM looks fearfully to his left - on the second look - cut to:

291 HIS EYELINE of the brightening sky.

walk. Hold for several seconds. CUT TO: x

293 THE TIP OF THE RISING SUN appears over the horizon.

294 CLOSE TRACKING SHOT: (waist figure) GASIM. He does not see the sun. After afewseconds the sunlight flicks his face. He sees it and

then after a moment's hesitation, walks even faster.

294A TWOSHOT. GASIM and the SUN. (Half way up over the horizon - in r.b.g.) GASIM hesitates in his walk, then subconsciously alters

his direction away fromthe sum and towards camera.

aol 294B CLOSE SHOT. GASIM'S BACK. He hurries away from camera -

turns and looks over his shoulder at the sun. HIS SHADOW is beginning to appear on the mud flat.

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a oe a

294C 294D

294E

294F

CLOSE SHOT ‘THE SUN BREAKING CLEAR of the horizon.

run. LONG SHADOWS ahead of him now quite definite. As he reaches EXTREME LONG SHOT he slows down.

CLOSE SHOT. Sadness overtakes GASIM. He stops and turns to look at the sun humbly.

stands looking at it. He turns and continues. .

spread out over a bleak country away from the mud flat. The baggage camels pass close by CAMERA. Some of the men are still .tucked up asleep. Some are doubled up. Behind them comes a single camel mounted by FARRAJ.

CLOSE TRACKING SHOT. FARRAJ He is frightened. He glances forward to the raiding party, but mostly his looks are directed towards

the rear.

camel picks its way off ‘the shore on the flat, them comes to a halt.

CLOSE SHOT. DAUD. He too is frightened. He looks back towards the Raiding Party, and then forward.

CLOSE UP DAUD. He settles down to wait. The drums.

CLOSE UP... GASIM. Weeping and nearly blind he half. raises his hands in supplication. He gives in.

CLOSE SHOT. The small figure of GASIM sinks to the ground.

CLOSE SHOT. A trough of clear ‘water with camels drinking.

MED. SHOT. The trough is beside a well around which some of the RAIDERS are grouped, filling their bottles. In the background the baggz::

camels are still coming in.

CLOSE SHOT ALI, .FARRAJ, and one or two other ARABS around the well.

we I

. 308

FARRAJ takes a short drink and then turns away and the CAMERA

- PANS with him on to a shot of his back. He comes to a halt looking

out over the desert. The drums again.

back to CAMERA. The mud flat shining like an infermal lake.

CLOSE UP. DAUD. He looks around him, and then up at the sun. Fear is beginning to mount, but he controls himself.

' DISSOLVE

MED. SHOT. The BOY and the CAMEL are casting a shadow again.

There is a pause of several seconds, then DAUD stiffens in ‘his saddle. Subconsciously he budges the animal forward a few paces.

CLOSE UP. He comes to a halt staring ahead.

above the horizon. The drum falters.

CLOSE SHOT. DAUD. Hardly daring, he urgesthe: camel into a walk The CAMERATRACKS with him as he sits bolt upright peering ahead. .

by underneath withthe distant pinpoint of black above the horizon.

CLOSE TRACKING SHOT. DAUD. peony he brings the camel to a trot.

faster. The distant pintpoint is now merging with the flat and becoming distinguishable as anelongated and moving objett.

CLOSE TRACKING SHOT. DAUD A painful grin spreads over his face. He beats the camel into a gallop. Music begins to well up on the SOUND TRACK.

figure now a mounted camel --- but ridden by one or two men we

cannot see.

CLOSE TRACKING SHOT. DAUD. His excitement mounts into a shriek of delight as he recognizes .

CLOSE TRACKING SHOT LAWRENCE His camel is jolting along at a slow trot. Behind him sits GASIM, hanging on as best he can. LAWRENCE'S face is dreadfully blackened and he peers ahead through bloodshot eyes.

-LONG SHOT TRACKING LAWRENCE's viewpoint. The approaching

outline of DAUD's galloping camel. CLOSE UP TRACKING. DAUD another shriek. CLOSE UP TRACKING. “L.AWRENCE. A tortured half smile.

EXTREME LONG SHOL. The TWOCAMELS. One trotting and one galloping, converging from either side of the screen. The MUSIC builds. The TWO CAMELS: meet, and DAUD whebls his animal around to fall in beside LAWRENCE. The music stops.

DISSOLVE

CLOSE SHOT LATE AFTERNOON FARRAJ is sitting on a crest with a water skin looking over the desert. He blinks back his tears. Behind and belowhimthe RAIDING PARTY have set up a few tents around the well. Fires are barning.

CLOSE SHOT. ALI is seated cross- legged on the ground in front of one of the tents. He moodily draws patterns in thé ground with his

camel stick. After a moment he looks upwards.

against the reddtning sky, waiting.

CLOSE UP. ALI. He looks away and whacks the ground with his stick. There is a sudden cry from FARRAJ.

ALI looks up.

CLOSE SHOT. ALI.

MED. SHOT. FARRAJ is plunging down the side of a dune yelling as he goes. The CAMERA PANS with’ him into a LONG SHOT. We see LAWRENCE and DAUD's camels below as FARRAJ falls over himself, his water bottle flying.

In the background the RAIDERS rise to their

feet and start walking towards the desert. ALI's face is incred-

ulous, hopeful, and a little apprehensive.

MED. SHOT. DAUD and LAWRENCE, with GASIM mounted behind him, coming in off the desert.

CLOSE TRACKING SHOT. FARRAJ running, yelling across the desert.

CLOSE UP. “DAUD. Recognising his companion he starts yelling HOO, and stirs his camel forward,

CLOSE TRACKING SHOT. ALI. Surrounded by hurrying men he reaches the sand.

CLOSE UP. LAWRENCE looking out ahead.

to make contact.

CLOSE TRACKING SHOT, FARRAJ and DAUD. FARRAJ holds

up the watter: bottle.

DAUD smiles down wearily.

CLOSE TRACKING SHOT. ALI. After afew steps he comes to a standstill.

MED. SHOT. The two camels, surrounded by the RAIDING PARTY. They come to a halt and the camels kneel to the ground.

CLOSE SHOT. LAWRENCE and GASIM. MEN pull the exhausted GASIM from the camel. LAWRENCE remains slumped in the saddle. He looks towards ALI. .

CLOSE SHOT. ALI. He walks forward with a half smile that admits happy defeat.

CLOSE SHOT. FARRAJ and DAUD embracing.

Cc

343/6

CLOSE SHOT, ALI walks into picture beside LAWRENCE and hands him a bottle. LAWRENCE is about to drink, but he takes the water from his lips and raises his heal.

As he drinks we hear a shocked, amused, admiring, murmur:

Aurens, Aurens, Aurens.

He slithers from the saddle and places his feet gingerly on the ground.

He looks about. MED. SHOT. Several of the RAIDERS have spread their saddle-

cloths on the ground. Now he is eagerly invited by two or three

to confer the honour upon them.

LAWRENCE smiles and goes over to the nearest. He looks at it. It calls. But he painfully takes off his shirt and calls, without looking, as though for help.

FARRAJ comes.

Then he looks down at the brightly patterned saddlecloth and like a light going out he releases the body from the mind's control and almost collapses into sleep. (It must not be a faint though) Instantly, FARRAJ begins to unlace his boots, and a shadow is thrown over LAWRENCE as a cloth shelter is erected over him.

DISSOLVE

f ) 347

‘@)

CLOSE SHOT, LAWRENCE. His eyes have opened and gleam in the light. | ALL (calls softly) Farraj!

FARRAJ comes with a prepared dish of food, which he lays by LAWRENCE. LAWRENCE raises himself on one elbow, considers

' it and begins to spoon it carefully into his mouth, watched by ALI.

ws

. ALI (quietly) | El Aurens... Truly, for some men nothing is written unless they write it. (it is capitulation) —

Your father too: Just Mr. Lawrence?

7) _ 347 Continued LAWRENCE No. ALI O (sympathetic) Ah. You have an elder brother. , (a common complaint among I aristocrats like himself) © LAWRENCE No. ALI But then... . (another point strikes him). ) I do not understand this - Your father's name is Chapman - LAWRENCE ; . Ali. My father isn't really my father. Oi He didn't marry my mother. ; OS (the words ‘father' and 'mother' ; come out on a barely perceptible effort of breath) _ ALI c (gravely) , I see. (he is disturbed. He must : think this out. Silence.) Ay LAWRENCE I'm sorry. — (and this is not bitter but a humble though dignified apology for a fault.) ~ ALI (after further thought; quietly) It seems to me that you are free to choose your own name then. OL : LAWRENCE oy (he keeps his eyes tightly shut) oe, Yes, I suppose I am.

O) (> . © p © Cc

ALI | (with a quick smile ~ and this is an act of real moral generosity) "El Aurens" is best.

He feigns sleep. ALI covers him and goes over to the fire.

DAUD and FARRAJ are there, now asleep. By FARRAJ are neatly piled LAWRENCE's shirt, shorts, socks, with the webbing belt on top.. ALI takes them up.. FARRAJ wakes. ALI throws the clothes one by one on the fire. FARRAJ looks from them to him with his mouth open in horrified enquiry. .

CLOSE SHOT. BROAD DAY. LAWRENCE, hand on dagger in Arab robes.

MED. SHOT. ALI, ELDER HARITH, MAJID, and others regard him.

- MAJID (courteous) The honour is tous. Salaams Sherif,

O)

349 Continued

He strides a hestitant pace or two and smiles bashfully.. For once it is he who is waiting for a lead.

Yes. (he turns and picks up his camel saddle, turns back to them. Strongly. )

Great honour’

As he goes we hear the murmur rise to a shout: "Aurens’"

CUT TO

350 CLOSE TRACKING SHOT. LAWRENCE (head and shoulders) riding. MUSIC. . .

351 REVERSE LONG SHOT, LAWRENCE galloping towards CAMERA. The RAIDERS, distant, are watching. When he approaches CAMERA, LAWRENCE reins in and turns to look at the RAIDERS.

352 MED. SHOT. The RAIDERS raise their hands.

353 MED. SHOT. LAWRENCE raises his hand to them and urges his camel off at a right angle. CAMERA (situated as in REVERSE

from view by the bank of the Wadi, which LAWRENCE is entering. When the RAIDERS are quite cut off from view:

354 CLOSE SHOT. He dismounts. He stands erect; his face is stern but his eyes are smiling, like a man listening to music.

lan Saat 355 b \O ) i b OS

i © ’ 357 |

‘O

MED. TRACKING SHOT. He walks a swinging pace or two. He draws his dagger and with an expression of extreme nobility threatens with it ~- who? Himself perhaps. His eyes fall

upon the dagger as though it were someone else who held it and

his face relaxes in self-mockery, though he does not exactly smile.

‘In any case he is for the moment happy enough to tolerate himself.

He slams the dagger into its sheath and sets off briskly. He turns suddenly, causing the robes tofly. And soon, the music rising. Though the actions are histrionic his expression is manly and attentive, almost cautious, and we can see that this is more than play acting.

As he goes, striding, stopping and turning, with slow graceful movement:

of the arms, CAMERA FOLLOWS closely.

particular direction. CAMERA PANNING slightly, but he is progressing diagonally across the screen. A MAN on a STATIONARY HORSE thus enters the opposite corner of the screen, unseen by

. LAWRENCE until they are almost nose to nose.’

MED. SHOT. THEY regard one another.

CLOSE SHOT. The manis AUDA. The complete deSert Bedouin. His face is haggard, fierce, dignified and childish. His eyebrows are raised in amused enquiry. MUSIC stops.

basin, carelessly) Are you alone?

AUDA takes out his pistol and fires a single shot in the air, before thrusting it back into his belt.

ES ager eaaercere ttt igggneente nent itd lt pe a

zon 358

Sr we 0 ee

O

AUDA

I am Auda Ibu Tayi. (he expects this to have an effect)

_ LAWRENCE (as one who notes a mild coin-

cidence) Ah. Ihave heard of another man of that

name.

‘What other?

summon help -- (indicating the pistol) to look after his wells..

other man. (he jerks his head)

Here is my "help".

An impressive and dignified BOY of about ten years, on a miniature Arab pony tears down the side of the dune and joins them. He and

LAWRENCE exchange glances.

AUDA > (leans down from his horse and flicks LAWRENCE's garments with his whip) Son, what fashion is this?

362A 362B

362C 362D

. Continued

a. AUDA And what manner of Harith?

AUDA nods sardonically and wheels his horse to go. | AUDA

Son, they are stealing our water. Tell them we are coming.

_ The BOY drags out an enormous pistol and holds it upwards. Looks at

AUDA inquiringly, his eyes sparkling.

CLOSE SHOT. The BOY fires. The two bound out of frame.

MED. SHOT. From LAWRENCE's point of view, they tear away to the end of the Wadi and wheel, in a spurt of sand, towards the well, so disappearing from view. Asthey go, their passage brings LAWRENCE's camel uneasily to its feet, where it stands hesitant. MED. SHOT. LAWRENCE races through the sand towards it.

GASIM: . .

MED. SHOT .. . AUDA with water bottle moving forward from GASIM .. OR |

AUDA still - holding the bottle up.

REACTION SHOT ... RAIDING PARTY.

CLOSE SHOT ... AUDA empties bottle and throws it left.

©

-

363A

364A

Q 366

368 |

369A

“372

MEDIUM SHOT. AUDA throws bottle at GASIM’s feet and circles well

intercut may be with

AUDA's SON watching.

LAWRENCE gallops up to beside AUDA’s SON.

AUDA's SON pulls gun.

DAUD and FARRAJ reacting.

LAWRENCE hand raised - he smiles. -

AUDA'SSON ... smiles - cocks. gun and loses smile

AUDA as well ~ dialogue 'You empty that'

ALI steps in f.g. ‘do not!

(not yet shot) AUDA: ‘It is Auda of the Howeitat who speaks... '

ALI ‘It is Ali of the Harith who answers'... moves forward...

AUDA ‘sizes up ALI (to be shot) and moves forward.

AUDA and ALI meet in TWO SHOT and continue as script

Does your father still steal?

Auda!

CLOSE SHOT.

memory, politely to recollect

an obscure name, thoughtfully) Harith ... Ali. {his face clears; with exaggerated

delicacy)

. (AUDA turns)

LAWRENCE from AUDA's viewpoint.

you down?

MED. SHOT,

OC

©

VA?

Continued, |

WIDER ANGLE MED, SHOT LAWRENCE, AUDA, the BOY, ALI.

‘AUDA

(testily, and as one who repeats a lesson to a backward pupil)

No, no, boy -- this honours the unworthy. (the BOY holsters the gun, and as LAWRENCE rides up to him he continues, mock-apologetic)

I have only just begun to teach him.

|

374 Continued

_ ALI (shortly) We do desire it.

CuT TO

375 LONG SHOF. Angling down. WADRIRHUMM. This scene is epi- in scale, Biblical inform. The floor of the Wadi is beneath us, yet its walls tower above us. AUDA'‘s camp comprises some hundreds ci black tents, one of particular magnificence having a clear space aroun: it. There are pools of water with small] trees giving shade, flocks of black sheep, a herd of horses. Smoke ascends from scores of cooking fires at which the women work, though here and there a woman makes her way between the tents.on an ass, followed by her children. One o” two groups of men are mounted on trotting horses, but most of the horses are tethered and the general effect is of leisure, or the very mildest sort of activity. The CAMERA PANS over this scene.

° 88

between the cliffs. There is one second of inactivity, and then women and children appear from almost all of the tents, looking up and about them. Men appear similarly and run to their horses.

MED. SHOT. AUDA, ALI, LAWRENCE. AUDA looks down as before,

he is no longer concerned to show off even slightly. He is deeply proud of what he sees and also alert to see that it is done correctly. He fires another shot, and leads the way forward and down.

AUDA's second shot still flying; more and more mounted men all making in one direction; women snatching children away from the horses into the shelter of the tents.

MED. SHOT. By the big tent AUDA's standard. A flying horseman plucks it from the ground. On SOUND TRACK a gathering noise of welcon:

MED. TRACKING SHOT. THE RAIDERS, MAJID with the banner

prominent in the background. AUDA smiles.

which AUDA's HORSEMEN are speeding to meet us, joy-shooting.

MED. SHOT. CAMERA PANS along the RAIDERS. They look defiant. Backs are straightened. Their dusty, crumpled, sometimes torn garments rearranged. They pack more closely together as the first of the horsemen arrive.

circle about them, shouting AUDA's name and firing into the air.

MED. TRACKING SHOT. AUDA, LAWRENCE, and ALI.

MED. SHOT. From their viewpoint; CAMERA PANS swiftly with a group of encircling HOWEITAT.

MED. TRACKING SHOT. ELDER HARITH, MAJID, and other RAIDERS

. face ahead but look convertly sideways.

MED. SHOT. AUDA spursa little ahead.

MED. SHOT. From his viewpoint. The whirling wall of horsemen breaks before him, wheeling away (not too neatly; it is not a circus) to disclose the tents. Shooting stops.

MED. TRACKING SHOT. The RAIDERS ride between the tents. There is now no noise and the HOWEITAT have formed themselves into a huge and threatening escort, riding alongside.

Their clothes are good, in some cases splendid; their weapons are clean their mounts fresh and well-groomed.

CLOSE TRACKING SHOT. MAJID. He turns his head and looks balefully at:

CLOSE TRACKING SHOT. HOWEITAT STANDARD BEARER. He returns the look.

CLOSE TRACKING SHOT. GASIM.. The HOWEITAT are now crowding the RAIDERS; he is nervous but does his best.

CLOSE TRACKING SHOT. A splendid HOWEITAT eyes him up and down. .

CLOSE TRACKING SHOT. ELDER HARITH, being crowded. Without looking, he crowds back.

MED. TRACKING SHOT. From the RAIDERS' viewpoint, the moving sea of HOWEITAT look towards us, poker-faced among the tents.

MED. TRACKING SHOT. From behind, we PAN over the heads of the HOWEITAT along the camel-borne RAIDERS, ending on the leaders. The whole cavalcade comes to a stop, except for AUDA, ALI and LAWRENCE who ride on, watched by the others, into a clear space.

MED. TRACKING SHOT. These THREE ride towards us, others in the background. AUDA dismounts. He salutes his guests, and gestures,

CLOSE SHOT. AUDA'S TENT. It is a woven palace.

MED. SHOT. Ata signal from the ELDER HARITH, the camels of the RAIDERS sink down to their knees among the horsemen, so seeming to be swallowed up.

DISSOLVE

INSIDE AUDA'S TENT. NIGHT. It is brilliantly lit within. The black

night without is ringed with fires. The remains of a splendid meal

is before them. Slaves attend with coffee. AUDA reclines backwards and belches politely. He is satiated but his little eyes are wickedly alive. He has much on his mind,

AUDA © (reflectively) This thing you work against Akaba. What profit do you hope from it?

y C) 400

al

ra) -

Oo } Oo i i] | q@>

O

LAWRENCE leans forward and takes a morsel from the plate. Carefully.

LAWRENCE

| (quietly) You permit the Turks to stay in Akaba.

' AUDA (short) Yes. It is my pleasure.

No? For the English then?

LAWRENCE laughs, AUDA looks pleased, but:

And AUDA goes gray at the insult.

: 400

ifs

Well they are nothing tome. My tribe is the Howeitat!

ALI

Who work only for profit.

LAWRENCE

And Auda's pleasure is to serve the Turks.

' AUDA (deeply dangerous, between . incredulity and rage) Serve? I, serve?

- LAWRENCE It is the servant who takes money.

AUDA leaps to his feet and backs away from this moral threat as another man might from a physical one.

He goes to the edge of the tent and bawls into the darkness:

Does Auda ‘serve? Does Auda Ibu Tayi serve?

He faces his persecutors and goes into a furious litany:

I carry twenty-three great wounds all got

in battle! Seventy-five men I have killed . with my own hands, in battle! I scatter, I burn my enemies‘ tents! I take away their flocks and herds. The Turks pay me a golden treasure. Yet Iam poor! ... BecauseIlama river to my people! Is that service?

[ aiiiaetniimemammntemantateteaied A+ eee oe ee

AUDA sees his admiration is genuine.

Pie

ALI, MAJID, and others are dumbfounded, but:

CO 400 Continued |

He approaches.

AUDA

It is well you say it in my tent. Thou tulip.

ALI

Yet this is a tulip the Turks could not buy.

_ AUDA Why should they wish to? (to LAWRENCE)

Now I will tell you what they pay me. And

you will tell me if this is a servant's wages. (impressive)

They pay me, month by 3 month .

golden guineas.

. one hundred

LAWRENCE

A hundred and fifty, Auda.

AUDA

- And a long tongue between them.

He sits.

~~ . CO 400

I 402

You trouble me! Like women!

LAWRENCE laughs delightedly.

-- nor to drive the Turks away. He will come because it is his pleasure.

DISSOLVE

is assembled in reverse order, i.e. with the leaders, their stand-

ards and bodyguards at the rear.

MED. SHOT. AUDA mounts.

ee

o~ i a i: ee

The leaders mount and move off between the TRIBESMEN.

country dance, behind them. A tremendous amount of ‘showing-off

takes place in the matter of horsemanship.

EXTREME LONG AERIAL SHOT. The HOWEITAT,. arit- -like, crawl away from the cliffs of Rhumm across a limitless landscape.

DISSOLVE

of lunar mountains, to where the lights of a town twinkle, and the sea. In foreground LAWRENCE and ALI look towards this. ALI © looks to LAWRENCE, smiles at his expression and says:

CLOSE SHOT. LAWRENCE rolls over happily and slithers down, the slope a little. He looks down contentedly at:

MED. LONG SHOT. Pp, O. V. LAWRENCE. In the wadi below, the column. There are no fires or shelters, but the beasts gathered

in clumps and the men mostly lie or sit, in groups. The low mur- —

mur of their voices ascends. CLOSE SHOT. ALI slithers down to join LAWRENCE.

- 413

LAWRENCE opens his mouth to reply but from the Wadi a single shot cannons out. He looks to ALI, but after a single split beat’ ALI is gone from the frame with a celerity which indicates that some specific, serious thing has happened.

MED. LONG SHOT P.O. V. LAWRENCE. In the Wadi, the BEDOUIN are on their feet, converging on a point where there is a swirling knot of men, and shouting.

MED. TRACKING SHOT. ALI descending ina rush. Just as he is leaving the foot of the frame, LAWRENCE appears at the head of it, following more slowly.

MED. SHOT. In the Wadi a sort of huge rugby scrum has formed |

round something we cannot see, of mixed Harith and Howeitat.

This dark mass, which emits a roaring as of giant bees, gyrates, Struggling, swings sideways to reveal in a patch of moonlight, ALI, AUDA, MAJID and two senior HOWEITAT in altercation at the foot of the Wadi wall. LAWRENCE drops into view behind them. | :

CLOSE SHOT. This group. AUDA says flatly into ALI's face,

‘not as one who seeks to convince but as one who states an unalter- able fact:

At this the two HOWEITAT murmur approval, while ALI and MAJID can only fall silent, and AUDA breaks away, (as LAWRENCE joins the group), followed by his two, from one of whom he seizes a rifle, and thrusts his way into. the scrum which falls almost silent, opening for him. ALI (to LAWRENCE) - This is the end of Akaba.

He goes and stands with his face to the rock wall, leaving LAWRENCE

looking in consternation at MAJID who says immediately:

LAWRENCE , ? (knows the full significance of this. He is furious. ‘He groans) Oh... why? MAJID (shrugs) Theft... blood feud... It makes no matter why.

LAWRENCE spins about.

ALI, his back to LAWRENCE, shakes his head dumbly. He walks away, LAWRENCE staring after him,. to where:

MED. SHOT. P.O.V. LAWRENCE. The Harith are gathering, coming up with their rifles, winding headclothes about their faces, grimly facing:

QUICK CLOSE SHOT. LAWRENCE looks the other way, to:

MED. SHOT. P.O. V. LAWRENCE. The Howeitat gathered round AUDA and the culprit. |

CLOSE SHOT. AUDA, LAWRENCE, the surrounding HOWEITAT. The VICTIM, below frame and surrounded.

‘422

LAWRENCE thrusts from him.

MED.SHOT. Looking down on the scene.. LAWRENCE stands be- tween the two groups.

Harith? ALI (calls, eagerly, cutting off a dubious murmur from his men) Yes! LAWRENCE Then I will execute the Law! I have no tribe ---!

LAWRENCE moves towards the open ring of HOWEITAT and immed- | iately we CUT violently from this grave and almost ritualistic scene to:

CLOSE SHOT. THE FUGITIVE, held, face down, kneeling by three or four HOWEITAT. He is struggling and weeping, and his captors are breathing hard. LAWRENCE's feet enter frame: and | stop. FUGITIVE looks up.

EXTREME CLOSE SHOT. The tear stained face of GASIM. He has not been manhandled. (no blood stains - this is tribal law, not mob violence)

EXTREME CLOSE SHOT. LAWRENCE, his eyes widen in horror.

(D

—_

©

CLOSE SHOT. Widening toinclude LAWRENCE. A wild hope spreads over GASIM's face; he nods vigorously, gulping and snuffling, a ridiculous smile of apology on his features. —

GASIM's smile becomes puzzled. Either LAWRENCE is for him or against him he thinks. Then again he nods, his expression enquiring. LAWRENCE raises his pistol, GASIM flings himself

away and sideways from his captors, who skip nimbly out of line

of fire, and at the top of the screen we see the feet of the HOWEITAT scatter. It is ugly, scrambling, without dignity.

CLOSE SHOT. LAWRENCE. His face wooden, half averted, he — fires. He takes fresh aim and fires again, and again. It is clear :

_ that GASIM is still alive and flinging himself about on the Ere

LAWRENCE ‘s face is desperate.

MED. PANNING SHOT. Men are walking away from the execution which we cannot see, all radiating away from it as more shots

- sound out, their faces stony and calm, some passing close past

CAMERA.

CLOSE SHOT. LAWRENCE. He turns away and walks, CAMERA TRACKING BACKWARDS from him. His face is in the last degree shocked, not merely with the shock of a horrible experience, but of:a man who has just heard horrible news.

away from him (from the execution, actually, but it looks as though from him). One faces him and waits. It is AUDA. As LAWRENCE draws

up with him, he nods and says softly and on a note of approval, of

quiet congratulation,

CLOSE TRACKING SHOT. LAWRENCE walks straight past him, not swerving an inch, clearly prepared to hurl AUDA from his path if AUDA does not stand aside --~ which he does, and:

} of) 430 ) O Oo

| |

(2

CLOSE SHOT AUDA. He looks not offended, but absolutely puzzled and withal curious. He has simply no comprehension of the source of LAWRENCE's distress. ALI joins AUDA in frame, looking off

after his friend.

Better to have left

ALI leaves the frame after LAWRENCE.

LAWRENCE. ALI joins him in frame and falls into step, in silence,

for a little; his eye lights on the pistol still in LAWRENCE's hand. CLOSE SHOT. The pistol. ALI speaks on SOUND TRACK. ALI (on SOUND TRACK)

(gently) It was execution, Aurens. No shame in _ that... Besides, it was necessary.

CLOSE SHOT. ALI and LAWRENCE, who appears not to have heard.

LAWRENCE looks at him in horror and fear. Looks at the pistol.

Sends it spinning away from him.

FLASH SHOT. The pistol cuts a glittering arc in the moonlight.

MED. SHOT. A group of HOWEITAT, RUALLA, and HARITH, rush for it, excited and quarrelsome, innocent as schoolboys. On SOUND TRACK, beneath their clamour, a rumble rises, becomes a thunder and:

CUT

‘s)

MEDIUM SHOT. The Raiders thunder towards us in line abreast, stretching from side to side of Wadi Akaba. The thunder is deafening, the hooves are flying, they are invincible. We have just time to glimpse AUDA in the van when with a crescendo of noise they sweep past us, CAMERA PANNING swiftly to follow them as they leave

us under a curtain of dust. In this curtain we can make out LAWRENCE following(with the other camel-riders) in the wake of

the tidal wave he has raised but cannot lead. As.they leave us of course the thunder dies away, but not to silence, and:

the faint sound of the charge. A queue of men with enamel plates

is served by cooks with ladies in foreground. PANNING, middle- ground is occupied by those already served seated on benches at tables under awning. . Then, in background a platoon of riflemen (the New Guard for the day no doubt) is inspected by an OFFICER. The noise of the charge growing we PAN back at once and see MEN ~ at the tables raise their heads curiously. Then, in the queue MEN stare off incredulously. One man's food slides from his plate, and:

thunder increasing steadily but without a break.

at the tables run aimlessly. In background we see the RIFLEMEN . more purposefully taking cover (thunder of hooves growing steadily) and: ,

The OFFICER frantically works a field telephone, but he turns into CAMERA instinctively cringingasthe thunder becomes overwhelming and: :

The charge, on top of CAMERA engulfs us. Thunder fortissimo.

As though swept up in it, MOVING SHOT, P.O.V. the charging Arabs. Turks scatter before us, throw up their arms, go down. Thunder fortissimo.

Thunder continuing but dimminuendo. In a line across the Wadi are four sandbagged Machine Gun pits. We shoot along the line and at

the far side of the Wadi are many neat tents. .The same at this”

side of the Wadi, therefore in foreground. In the Pits TURKS struggle grimly, without panic, valiantly, to rip the covers from the heavy guns, to lug them to the reverse side of the position, to loadthem.. The thunder is growing; we almost want them to succeed. One team does loose off a brief hesitant burst but the charge bursts on screen, thunder fortissimo, and with hoarse cries they are shot down, sabred, overrun in a twinkling. In the rear of the charge a horseman deftly severs the guys of the foreground tent, like a circus turn, and flies off again and

O

©

. 445/

we just have time to see the tents on the far side going down with the artificial neatness of a conjuring trick. These destroyers have been left by the main charge which we hear receding and:

the popping rifles, the distant cries, the distant thunder as the charge, still in perfect line, rolls up the last Turkish defences,

the camp behind it in-chaos, and only now at this discreet distance

do we see the strewn dead among the wreckage, in sufficient numbers to indicate total victory. We PAN to follow the charge, ending when the helpless BIG GUNS loom on frame in foreground, with in the distance Akaba Town, its beach and seashore.

ROSTRUM SHOT-PANNING. Across wall and disclosing LONG SHOT LAWRENCE and camel going down to the sea. As it turns along the surf.

MEDIUM SHOT. PANNING with LAWRENCE and camel walking through surf and coming to a halt.

CLOSE SHOT. LAWRENCE. He looks around him, head raised. in the manner of a conquerer. (Enough footage for trumpets and orchestra to develop.) He glances towards the town, lowers

his head, puts his rifle away and wipes his hand on his clothing.

He sits, his head againraised, looking out to sea. After a moment or two the FLOWERS fall past his face, he looks downwards.

INTERCUT. INSERT of the FLOWERS floating on the -water.

RESUME CLOSE SHOT. LAWRENCE - he turns in his saddle and

‘sees:

CLOSE SHOT. ALI (who is just behind)

CLOSE SHOT. LAWRENCE:

o)

497/

He turns and looks down at the water again.

CLOSE SHOT. The FLOWERS. They are drifting backwards and forwards in the water.

MEDIUM SHOT. LAWRENCE and ALI. LAWRENCE jumps from his camel and CAMERA PANS with him into CLOSE SHOT as he chases the FLOWERS and finally picks them up.

CLOSE SHOT. ALI.

MEDIUM SHOT. LAWRENCE in foreground - ALI in background. »

There is a soft explosion off. LAWRENCE looks towards the town.

CLOSE SHOT. ALI - he turns looking towards the town.

CLOSE SHOT. LAWRENCE. His eyebrows are raised; he is privately shaking with inner laughter at the scene.

a 500 a ©

id 503 ay, c

Behind him a breathless Howeitat crashes in. He glances round nervously at the threatening tableau, salaams to LAWRENCE with’ nervous haste and says to AUDA excitedly:

He gestures invitingly towards the door, and LAWRENCE stands aside as AUDA and his HOWEITAT, noisy again, pour through it.

LAWRENCE and ALI go ‘Swittly to the wireless set and after a single glance:

CLOSE SHOT. Angling up. ALI looks at LAWRENCE, anxiously, and LAWRENCE after a moment's scrutiny:

MEDIUM SHOT. LAWRENCE walks away and stops. Picks up a Dispatch Case. He thinks. He radiates electric energy and confidence. . LAWRENCE Ali, get a message down the coast to Yenbo. Tell Feisal to find boats -- any boats -- and

bring the Arab Army here to Akaba. Quickly. | ALI | And you? LAWRENCE

I'm going to tell the Generals. (with inner relish) In Cairo!

Anticipating opposition, LAWRENCE is deliberately insouciant; he

continues to be occupied with the Dispatch Case.

Yes, ‘cross Sinai.

CLOSE SHOT. At this FARRAJ and DAUD are alert and wildly hope-

ful. On SOUND TRACK, ALI says:

ALI

With these?

) { . } 504 b OQ © | IO a> 505

He says this with a little reproving laugh in his voice, as though Sinai were the local park and ALI's anxiety comical. ‘But seeing ALI's face he reaches out, takes ALl by one of his cross straps and adds: LAWRENCE Look Ali. ' {he shakes him gently, smiling)

If any of your Bedouin arrived in Cairo and

told them that we've taken Akaba, the Generals

would laugh!

ALI —

(quietly, but with the bitterness

of frustrated love) . Isee. In Cairo you will put off these funny clothes; you will wear trousers and tell stories of our quaintness and barbarity . And then they will believe you. ©

During this, the smile fades from LAWRENCE's features and by its end he has a face of stone. He pauses, then says softly into ALI's face: LAWRENCE You're an ignorant man.

CLOSE SHOT. In an ancient strong room with a small barred window, two HOWEITAT proffer a metal chest to AUDA. He flings from it

a final handful of grubby paper currency, which hangs in the air and litters the floor like snow, and roars:

_ AUDA Paper!

MEDIUM SHOT. He leaves the strong room, which brings him

into the tunnel through which LAWRENCE must leave the courtyard.

He stops as he sees LAWRENCE, preparing his mount, ALI by him,

DAUD and FARRAJ behind. AUDA

There is no gold in Akaba. No gold! No

"oreat box!"

CLOSE SHOT. LAWRENCE glances past AUDA but sees that the tunnel is filled with AUDA's men. He relaxes in his saddle and says loudly and with a touch of mild contempt:

| 5

it

| Continued

MED. SHOT. FARRAJ and DAUD each slams a round into the breach of his rifle, with that particular unmistakeable noise:

MED. SHOT. AUDA and his men suddenly stop lounging and are alert. AUDA peers past LAWRENCE and laughs.

He opens the Despatch Case and takes from it a sheaf of papers, on: the back of one of which he writes with a pencil, also from the Despatch Case, saying loudly as he does so: ,

"The Crown of England promises to pay 5,000 golden guineas to Auda Ibuy Tayi." (still scribbling he adds for his own amusement) Signed in His Majesty's absence by... (a flourishing signature) ... me. CLOSE SHOT. P.O. V. LAWRENCE, AUDA moves alongside his camel and holds up his hand rather suspiciously for the paper.

LAWRENCE leans down into the frame and hands it to him, saying as he does so:

CLOSE SHOT. LAWRENCE

He straightens in the saddle and adds ringingly for the benefit of

all those now assembled: ' LAWRENCE

With gold, with guns! With everything!

CLOSE SHOT. AUDA as before, unimpressed.

And he urges his beast past AUDA and into the tunnel. CLOSE SHOT. FARRAJ and DAUD pass AUDA following LAWRENCE.

CLOSE SHOT. AUDA, calling after:

LAWRENCE 's figure is already dim. His voice sails clearly back to AUDA,

He glowers at the paper in his hand and fires a parting shot through the now empty tunnel beyond which only emptiness can be seen.

AUDA turns. His face is neither angry nor taken aback, but perfectly still and very, very thoughtful. He says to ALI, as one who ponders calmly but with apprehension a tiny piece of vital evidence:

And he makes perfection sound a reasonable, indeed necessary, requirement in a man.

in a red dawn. The CAMERA PANS across the desolate beauty of

it into a MED. SHOT of LAWRENCE, FARRAJ and DAUD riding abreast. Since they are riding westwards they are lit from behind by red light. LAWRENCE reins in and the others follow suit. They look back enquiringly.

sunrise.

. LAWRENCE (off) A pillar of fire.

520 -

CLOSE SHOT. LAWRENCE and the TWO BOYS. DAUD looks back at LAWRENCE uncomprehendingly.

- LAWRENCE laughs and rides forward.

DISSOLVE

light, pale sky, pale sand. The impression of heat less overwhelm- ing than on the mud flats but the droughtiness absolute. Three, four, five dust devils at varying distances, veer and waver incon- stantly over the plain. (we want here, not geographical fact, but

- metaphysical atmosphere) One of these columns bears down on the

THREE TINY FIGURES.

MED. SHOT. The THREE RIDERS enveloped in the whirling dust, heads down, suffering it. It is suddenly gone. They are too tired to comment, only moving forward again. De

CLOSE TRACKING SHOT. FARRAJ and DAUD try to spit but have no spittle. LAWRENCE shakes his clothes.

CLOSE SHOT. A bright object falls silently on the sand. _ The camels feet move on as the CAMERA MOVES IN on the object. Itis LAWRENCE's compass.

DISSOLVE

The THREE RIDERS come to a stop.

CLOSE SHOT. LAWRENCE feels his robes for his compass, fails to find it and looks back. The TWO BOYS follow his gaze not

understanding.

Their fatigued faces look at him, alarmed. LAWRENCE No matter. If we ride West, we must strike the Canal. Due West.

DISSOLVE

MED. SHOT. The THREE RIDERS receding from CAMERA straight into the sunset. The sun has gone. It is nearly dark.

CLOSE SHOT TRACKING. The TWO BOYS look aged with fatigue as they plod forward.

-

They plod forwards.

They look at him but are too miserable to answer. |

LAWRENCE

Farraj?

(FARRAJ nods) Daud?

(DAUD nods) With sheets? Tomorrow night, the finest sheets, in the finest room, in the finest hotel in Cairo.

DAUD can just manage a smile and a dubious angling of the head.

It is almost dark. DISSOLVE

dunes. As LAWRENCE and FARRAJ, now on foot, drag their grumbling camels down the side of a large dune, the small figures of DAUD and his camel appear on the crest above them some hundred

| -_ ~~ A 526 © Q 527

D

on 530 wT

' | 109

yards away. He stands looking down at LAWRENCE and FARRAJ wondering whether to make the effort to join them or go straight down. LAWRENCE and FARRAJ reach the bottom of the dune and stop in CLOSE SHOT. We now see that their lips are badly cracked and that their faces are masked by grey dust. They stand still for. a moment, breathing hard, then LAWRENCE turns; wearily and impatiently he signals DAUD to go down. DAUD half raises his hand in reply as LAWRENCE beckons to FARRAJ and they move on.

CLOSE SHOT.. DAUD. He takes the reins of his camel and pulls it over the crest, down the slope. The CAMERA PANS with them © as they gather momentum and plunge downwards.

CLOSE SHOT. They run into a basin of soft sand at the bottom of the dune. They are knee deep in it.

CLOSE UP. DAUD's camel. It lets out a frightened grunt and. jerks back its head.

MED. SHOT. The reins fly out of DAUD's hand as the frightened animal backs away from him. He shouts at the camel, but not

until he tries to move does he realise the extent to which his legs have sunk into the sand. He look out towards LAWRENCE and FARRAJ.

on oblivious to what has happened.

CLOSE SHOT. DAUD. The sand is now up to his thighs. He looks around desperately with fear in his eyes.

‘CLOSE SHOT. His camel, standing still, its dangling reins just

out of reach.

CLOSE SHOT. DAUD. He makes a great effort to move but his hands sink in the sand as he tries to press himself up. He yells above the wind:

CLOSE SHOT. FARRAJ. He is unaware of his friend's plight as he staggers on threugh a particularly difficult patch. He just manages to wave an arm in an exchange of greeting.

©

- 540

CLOSE SHOT. DAUD. For the last time he controls his panic. He twists round to face his camel and forces himself to speak winningly.

CLOSE SHOT. The camel. She lowers her head, puzzled.

CLOSE SHOT. DAUD andthe camel. DAUD reaches for the reins. They are still too far.

CLOSE SHOT. DAUD. He is up to his chest.

CLOSE SHOT. DAUD and the CAMEL. She edges forward. In one moment DAUD grabs the reins and her forefeet sink in the sand.

CLOSE SHOT. Angling up from DAUD's viewpoint.. The CAMEL makes a tearing leap sideways and away, loudly bellowing as she does so.

away up the slope. They turn. They run floundering towards us. As they come, DAUD's camel dashes from behind CAMERA and = towards them, monstrous because of our low angle.

FLASH SHOT. The face of FARRAJ, running. FLASH SHOT. The face of LAWRENCE, running.

QUICK LOW ANGLE SHOT. The camels of FARRAJ and LAWRENCE. They spin out of screen.

QUICK CLOSE SHOT. DAUD. He screams.

MED. SHOT. The three camels tear up to the crest of the rise. Two of them disappear over it. ,

MED. SHOT. DAUD's head and shoulders in foreground, with LAWRENCE and FARRAJ struggling towards him in background. His

. mouth quivers with fright as he repeats:

lil |

CLOSE TRACKING SHOT. LAWRENCE and FARRAJ lurching

forward through the sand gasping for breath.

CLOSE UP. DAUD. He makes a desperate effort to sustain his | level by stretching out his arms, but he continues to sink and the blowing sand begins to lap round his shoulders. |

MED. SHOT. FARRAJ and LAWRENCE. FARRAJ makes a last | frantic rush forward, but within three or four yards of his friend | he too sinks in above the Inees. LAWRENCE flings himself forward } on his belly and barely manages to pull him back to safety.

CLOSE UP. DAUD. The sand around his neck. — 7

CLOSE SHOT. LAWRENCE. He rips cff his headcloth, unwinds it, and flings the free end towards DAUD. |

CLOSE UP. DAUD. His chin is beginning to sink as the end of the head cloth falls into picture. He just manages. to get hold of it ; with both hands.

CLOSE UP. LAWRENCE. Taking the strain on the taut cloth. The vibration showing how much strength he is exercising.

CLOSE UP. DAUD. The same vibration is repeated, we see at i once. that his strength will be insufficient. He begins to whimper. ; His hands slip on the cloth and slip again. The sand mounts towards i his mouth and he begins to choke.

CLOSE SHOT. FARRAJ dashes forward. LAWRENCE trips him,

throws him to the ground and holds him down. FARRAJd suddenly relaxes, his face turned away from LAWRENCE, whose face has gone old and bitter. The CAMERA begins to move back and upwards. More and more sand comes into picture. In a futile gesture of atonement, LAWRENCE brushes sand from FARRAJ's back.

the rise, the single camel.

DISSOLVE

MED. TRACKING SHOT. The screen is full of whirling white powder. . Between the gusts we can dimly make out the camel moving forward, with FARRAJ mounted and LAWRENCE walking. They emerge from it, with their faces like plaster casts.

CLOSE SHOT. FARRAJ looking down. He takes a decision and taps the camel to kneel. —

[rete

C) 561 oO ro | 562 1 563

MED. SHOT. The camel kneeling. LAWRENCE ea at FARRAJ as though for instructions, but unseeing.

(the note of fear brings some

return of awareness into

LAWRENCE's face. Eagerly,

indicating LAWRENCE 's feet) Why, Lord? It serves no purpose --~ there is room for both.

LAWRENCE nods and even smiles a little, as one taking a well made point. He moves to ride with FARRAJ. ~

DISSOLVE

A bank of dust sweeping away from us. It discloses LAWRENCE

and FARRAJ on their camel, riding towards us. Above the drumming we hear the clear voice of the boy and see him point.

CLOSE TRACKING SHOT. After a glance at LAWRENCE, FARRAJ

takes it upon himself to kick the camel into a trot. At once LAWRENCE

accepts it, controlling the camel properly and conscientiously, but | his face does not change.

MED. SHOT. CAMERA PANS with the CAMEL, as, at a broken trot,

it rides in among the buildings and halts.

a 566 ) ) 567 } © 568 | ) 'S 569

} ‘Cc i 571

a 573 | 574 c )

CLOSE SHOT. But with quick tact he compromises and slips to the ground without waiting for the camel to kneel.

MED. SHOT. CAMERA PANS with FARRAJ as he runs to the principal building.

CLOSE SHOT. He goes in. The door swings behind him. It bears a wooden notice, now split and so faded as to be barely readable except for one word, in red (now pink) "WARNING". Under this, in black (now gray) "These buildings are Army Property. It is

an offence..." (Here the wording becomes perfectly illegible)

CLOSE SHOT. THE NOTICE.

CLOSE SHOr. LAWRENCE regarding the notice on the swinging

door, which we hear banging, as also the slapping of the halyard . and the moan of the wind. ' CLOSE SHOT. (from his angle) The swinging door. J

CLOSE SHOT. LAWRENCE, as before, his expESea+on tranced

but with inward concentration, not dreamy.

CLOSE SHOT. (from his angle) The swinging door. — '

CLOSE SHOT. LAWRENCE, as before.

FARRAJ (on SOUND TRACK) 4

Aurens! Aurens!

FARRAJ causes LAWRENCE's camel to kneel. return of fear, he repeats:

Urgent and with a

FARRAJ dashes some of the water into LAWRENCE's face. We expect to see LAWRENCE jerk out of his trance but instead he merely Says quite calmly:

MED. LONG TRACKING SHOT. He allows FARRAJ, who smiles uncertainly into his face, to lead him up to and through the swinging

. Canal stretching away into the distance, marvellous in its extent

door. (no dotting of "i's" here; he pays it no attention).

| | MED.SHOT. INSIDE THE HUT, dark after the sunlight. Doors lead off a dusty central corridor. In the offices we glimpse ; remnants of office furniture and curled up dehydrated notices. In some places the curled sheets of corrugated iron have fallen inwards, revealing the sky, so that he passes from shadow to light and into shadow again. FARRAJ runs ahead and flings open the far door. | |

FARRAJ dragging him by the hand towards a sandbank in the fore- ground of the picture. As they climb the bank the CAMERA CRANES BACK and UPWARDS until they come to a halt in CLOSE SHOT against the blue sky. LAWRENCE stares. From the very faint expression of his face we perhaps can just ascertain that what he see is a solution to a problem, and the commencement to another.

(from the African Bank) on to the small figures of LAWRENCE and FARRAJ on the far side. After a moment's pause the CAMERA PANS OFF the TWO FIGURES into a LONG SHOT disclosing the

and its humanity. There is the sound of a motorcycle and we see_ a trail of dust fast approaching along the roadway now in the fore- ground of picture.

CLOSE SHOT. FARRAJ and LAWRENCE. FARRAJ leaps up and down waving his arms and calling:

MOTORCYCLIST approaching along the nas bank. He begins to throttle down.

CLOSE SHOT. The MOTORCYCLIST comes toa halt. He is so goggled and mufflered as to be anonymous. He wears no helmet

and wears the uniform of a British N.C. O. with individual variations which make him as like as possible the anonymous figure of LAWRENCE as we first saw him. He peers across the Canal, then switches off the engine, pulls the muffler from his mouth, becoming partially human.

©

oO

small figures of LAWRENCE and FARRAJ across the water. FARRAJ looks at LAWRENCE who does not reply. FARRAJ then waves his arms in silence.

CLOSE SHOT. THE MOTORCYLIST. He calls again.

" MOTORCYCLIST | Who are you‘? Who are you? |

side. The voice of the MOTORCYCLIST echves between the em- bankments. Who are you? Who are you? | DISSOLVE

MED. SHOT. A TRAMCAR rattles its way through a crowded

“noisy street in CAIRO. As it passes across the picture it discloses

an ARMY TRUCK followed by a MOTORCYCLIST who is again goggled and mufflered in anonymity.

CLOSE SHOT. in the back of the truck are LAWRENCE and. FARRAJ. The boy is asleep with his mouth open and LAWRENCE steadies him against the sway of the truck. Both have had some sort of a wash and the dust has been removed from their sun-baked faces. LAWRENCE idly raises his eyes towards the rear of the truck.

CLOSE SHOT. Through the narrow gap in the flapping awning at the truck, a CAIRO street, with MOTOR BIKE following.

CLOSE SHOT. LAWRENCE and FARRAJ. The truck swerves to the side, and LAWRENCE holds the sagging boy upright.

CLOSE SHOT. LAWRENCE and FARRAJ in foreground of picture. The truck has halted and thrcugh the awning in background, we catch. a glimpse of a portico belonging to a very big building. As the SHOT begins the DRIVER throws down the tailboard with a crash. FARRAJ struggles out of sleep with a cry of desperate warning.

LAWRENCE looks as though struck. FARRAJ, hearing the mental echo of his own cry, looks up sharply and apprehensively at him.

CLOSE SHOT. THE MOTORCYCLIST,. stationary, from behind. He twists his head (goggles now pushed up to reveal, after all, an ordinary English face) to see what his strange charges are doing now. .

CLOSE SHOT. LAWRENCE and FARRAJ have dismounted, and address themselves to the steps. LAWRENCE keeps one hand on FARRAJ as though this were the one duty he were sure of.

‘CLOSE SHOT. DRIVER, puzzled, touched, amused, but "keeping

well out if it, '' saunters towards his cab, with one eye on FARRAJ and LAWRENCE (off screen).

MED. SHOT. LAWRENCE and FARRAJ. LAWRENCE slows his pace but does not stop.

CLOSE SHOT. The DRIVER, this not being his problem, nods and swings himself into the cab.

MED. SHOT. We hear the truck start up. The CAMERA PANS

AND TRACKS with LAWRENCE and FARRAJ as they climb the last

few steps, cross a long open corridor running the length of the

building, and pass through a large doorway opening out into a patio.

PART of the patio is roped off and by an opening in the center a | PROVOST SERGEANT is seated at a desk. Near him are two M. P. , CORPORALS on duty. TWO MAJORS pass the CORPORALS on their | way out. The CORPORALS salute.

MED. SHOT. LAWRENCE and FARRAJ wander past the two CORPORALS. They are surprised, but one recovers before the other.

- CORPORAL ; Here!

FARRAJ glances backwards but LAWRENCE, holding him by the hand,

. «?

leads him on past the PROVOST SERGEANT who looks up from his desk.

LAWRENCE and FARRAJ obediently turn at the PROVOST SERGEANT's shout. His indignation is softened by amusement at this bizarre and evidently harmless intrusion.

MED. SHOT. LAWRENCE a vaguely towards one of the corridors leading off the patic. He is not "mickey taking. "

The PROVOST SERGEANT approaches, staring hard. His expression changes. He speaks gently.

LAWRENCE turns and goes, propelling FARRAJ before him. The PROVOST SERGEANT is shocked and calls after him:

FARRAJ tiaené round again but LAWRENCE does not appear to have heard anything.

() 600

‘OC )

© | © | on : cp

u 7.)

' falls, for they look completely Arab. Nobody moves..

' to his situation. The response is venomous anger.

MED.SHOT. The PROVOST SERGEANT and CORPORALS stare after them. All are astonished and shocked, but a certain pleasure begins to dawn within the PROVOST SERGEANT, who can anticipate:

at tables, the bar itself vacant. The OFFICERS are conversing quietly. Among others we see the CLUB SECRETARY from the billiards sequence. In background LAWRENCE and FARRAJ enter and make towards the bar. .

One by one the OFFICERS see them and absolute incredulous silénce The CAMERA PANS with LAWRENCE and FARRAJ into a CLOSE SHOT as they come to a standstill in front of the har. The Arab BARTENDER

is flung into instantaneous alarm and embarrassment partly on his own, and partly on LAWRENCE's behalf, who regards him blankly.

Go, Effendi, go!

He glances nervously at the thunderstruck OFFICERS and raises his voice athiciousiy.

| BARTENDER Get out! You must get out! Get out!

CLOSE SHOT. LAWRENCE and FARRAJ over the BARTENDER's shoulder with the OFFICERS in the background. The BARTENDER makes a move across picture in order to round the bar, but suddenly LAWRENCE grips him and turns him back into his first position. LAWRENCE's face hegins to show some sort of response He speaks very clear and Oxford in this silence.

en

There is a clatter from the background as the SECRETARY gets up from his chair.

He comes up to LAWRENCE and FARRAJ. Are you off your head!

LAWRENCE looks about him at the decent, puzzled English faces, uncomprehending and therefore beginning to be indignant. Hatred begins to shine in his eyes. The CAMERA begins to track in.

LAWRENCE > No, oddly enough I'm. not.

One or two more OFFICERS have risento their feet. They are not enraged but displeased and spontaneously disapproving. The | little oddity with his self regard and cryptic utterances has really gone too far with this latest escapade. Tolerance must be with- drawn. One of them calls out and others join in, overlapping.

THE OTHERS

_ Yes, goon, clear out! (in a no-nonsense voice). Get. that boy out of here, Lawrence! (peremptory) Oh go away, Lawrence. (wearily)

The SE CRETARY places a firm grasp on FARRAJ's upper arm, Says,

‘tight-lipped:

LAWRENCE tears the SECRETARY's hand from FARRAJ and flings it away. The physical act triggers a more violent vocal reaction

_ from the OFFICERS.

f }- 602 Continued

BRIGHTON walks in and stops, frowning and displeased.

os 603/ MED.SHOT. LAWRENCE, FARRAJ and SECRETARY in the

ATT 4 foreground at the bar. BRIGHTON and the OFFICERS in the back-

ground. The overlapping babble ceases and there is an awkward Silence as BRIGHTON walks foward to the bar. The SECRETARY steps back, making way for BRIGHTON as he passes him.

f) SECRETARY -(murmuring with a nice blend of discreet indignation) ‘ It's Lawrence, sir. ‘

im BRIGHTON stares and stares at LAWRENCE, who turns deliberately ~ away and addresses the BARTENDER. ~

The BARTENDER jerks into action. BRIGHTON goes up to LAWRENCE and barks:

ft ) . The BARTENDER passes two glasses of lemonade before LAWRENCE, ~ LAWRENCE passes one to FARRAJ, then turns to BRIGHTON, taking a breath deliberately.

{) 603/ Continued LAWRENCE We've taken Akaha. BRIGHTON gives an irritable interrogative grunt. The precise Oo meaning of the words is too outlandish for him to take in. - BRIGHTON

Hm ?.

Several OFFICERS have gathered round at a discreet distance. o) There is a complete silence all round save for the considerable noise of FARRAJ drinking.

a LAWRENCE (to BARTENDER) oO He likes your lemonade. —

The content of LAWRENCE's words is still too unexpected to be taken in. BRIGHTON wrinkles his brow. Heis trying to find out what LAWRENCE can really be meaning for he is sufficiently

2 sensitive to see that he means something and something serious. BRIGHTON Taken Akaba? Who has? | LAWRENCE «© We have ... Our side in the war has. The

wogs have. We have.

605/ CLOSE SHOT. BRIGHTON looks at LAWRENCE, hard and intelli- 7 gently, trying to differentiate fact and fantasy.

( 3 _ LAWRENCE (off) 7 --No, that's not true - we killed some of them - too many really - manage it better © next time.

PLA 608 CLOSE UP. LAWRENCE and BRIGHTON

BRIGHTON's stare is still appraising.

© 609 CLOSE SHOT.. LAWRENCE, BRIGHTON and the OFFICERS.

. LAWRENCE oO . Yes itis. I did it.

There is apause. BRIGHTON finds all the OFFICERS looking at him.

LAWRENCE |

Me (unwillingly interested, not flippant)

Well, that's a step in the right direction.

He places his glass on the bar. His hand is shaking violently.

- LAWRENCE

But first I want a room. With a bed. With sheets.

BRIGHTON regards him with some sympathy, and perhaps the begin- nings of admiration.

—~ -., 609 ‘fe © : ©

) <q. ‘© C: i 5 611 2)

BRIGHTON hesitates, glances at FARRAJ.

Taking the initiative, heleads the way from the bar.

CLOSE. TRACKING SHOT. The CAMERA TRACKS with LAWRENCE, BRIGHTON and FARRAJ as they ‘make their way through the OFFICERS and tables.

See Allenby first, though. Will he see me?

BRIGHTON

Yes. (smiles)

And you'd better get into some trousers.

BRIGHTON nods, smiling at LAWRENCE's rig, expecting him to enjoy the preposterousness of it, but LAWRENCE looks at him

unfathomably. His smile fades. He cocks his head and frowns enquiringly. MED. SHOT. A GROUP OF OFFICERS, standing quite still, staring.

Hold for a moment on the OFFICERS.

©

( 3} 615

INTERIOR. GENERAL ALLENBY'S OFFICE

CLOSE SHOT. ALLENBY. He is seated at his desk in the office previously occupied by MURRAY. Most of the furniture has been changed together with pictures and other ornamentatian. On the wall behind him hangs a calendar depicting month by month a bucolic England whichis no longer, and probably never was. The office now has an airy atmosphere with everything in apple-pie order. ALLENBY is a footballer, burly and fit; a gentleman, erect and self-respecting; a General Officer who has thoroughly assimi- lated power, shrewd, commanding, daring, and humble. He is reading with quiet concentration a personal dossier. His tone is flat, with no trace of comment, as if it might be a shopping list

he is checking.

. ALLENBY . undisciplined, unpunctual, untidy.

The CAMERA TRACKS and :PANS very slowly off ALLENBY towards the opposite side of his desk. In the background we can see seated DRYDEN (nearest CAMERA) and BRIGHTON.

. several languages ... knowledge of music... literature... (he browses)

The CAMERA comes.to rest on a CLOSE SHOT OF LAWRENCE, still in Arab clothes. He looks across the desk at ALLENBY cautiously. On the otherwise vacant desk we see three photo- graphs. These are a rubgy team, an English gentlewoman with a discreet dependent face and a single link of pearls, and a bonny

child on a New Forest pony in front of a country house.

Knowledge of ... knowledge of ..._

CLOSE SHOT. ALLENBY. He looks up and it is impossible to tell from his expression or his voice whether he is satirical.

CLOSE SHOT. DRYDEN and BRIGHTON. BRIGHTON gives a quick glance at DRYDEN. DRYDEN feels the look but does not respond.

CLOSE SHOT. ALLENBY and LAWRENCE. ALLENBY closes the dossier and puts it on the desk. Then he speaks, not hectoringly, not even sharply, but very much in the tone of a good barrister

| 125

cy ? 615 Continued

eliciting facts.

He says this after a pause and rather quietly, without a shade of ‘personal indignation, not insisting on his own rights but gently indicating that the courtesies are to be observed. It shows a concern not for his own privileges but as it were a fatherly concern lest LAWRENCE should by his behaviour let himself down.

LAWRENCE

ALLENBY now turns sideways to LAWRENCE and commences a ; dispassionate. Now the pace goes ding-dong between them.

I know. But we've gone forward to Gaza.

a ALLENBY be? . So? :

(0

616 |

— 618

And it will be further behind your right when you go for Jerusalem.

ALLENBY considers this for a second or two quite immobile, and it seems that he might be angry.

CLOSE SHOT. BRIGHTON and DRYDEN. DRYDEN glances at BRIGHTON, who is too pent-up with his own thoughts to notice.

CLOSE SHOT. ALLENBY over LAWRENCE. . After a moment's consideration ALLENBY smiles gently and quickly, and then dis- missing the smile, faces LAWRENCE, and leaning forward looks

at him full of keen interest.

- LAWRENCE It threatened El Arish and Suez.

ALLENBY _ Anything else?

CLOSE UP. LAWRENCE

| LAWRENCE Yes. Akaba's linked with Medina.

. LAWRENCE No. I think we should leave them there.

| (y 619 CLOSE UP. ALLENBY. He looks at LAWRENCE for a second or © two, then relaxes, swivels his chair, and adopts the tone of a

mere equal.

620 CLOSE SHOT. LAWRENCE AND ALLENBY. LAWRENCE smiles.

: LAWRENCE © - . Yes, I know.

} - ALLENBY Already ?

"y . LAWRENCE i Yes.

. ALLENBY (suddenly brisk) I'm promoting you Major...

; - ALLENBY Cp - I didn't ask you. I want you to go back and (deliberately searches for the most banal phrase) -~ carry on the good work.

os LAWRENCE aan No thank you, sir.

I> 621 CLOSE SHOT. LAWRENCE over ALLENBY. Now we see LAWRENCE we utterly in the grip of his contradictions. His face works and he twists LA slowly about in his chair as he gropes for words.

621 Continued

And now it comes with a convulsive rush.

I mean two Arabs. One was a boy -- this was ; a (in a tone of surprise) yesterday ... I led him into a quicksand

. the other was a man -- that was, oh let me see -- before Akaba anyway -- I had to execute him with my pistol... there was something about it I didn't like.

-_ (staring into ALLENBY's face) No. Something else.

622 CLOSE UP. ALLENBY

623 CLOSE UP. LAWRENCE. He is looking at ALLENBY almost hungrily. His hands are beginning to shake.

624 CLOSE UP. ALLENBY's face is aged and gloomy. He comprehends. Glances at LAWRENCE, and with an almost physical effort slaps a mask of conventional ignorance and dishelief on his features.

CLOSE UP. LAWRENCE. He drops his eyes and tries to control his hands which are now shaking violently. He suddenly becomes aware of the presence of:

CLOSE UP. DRYDEN AND BRIGHTON. DRYDEN is watching LAWRENCE with a deep look of pity and admiration. BRIGHTON's face is frozen in horror and astonishment.

LAWRENCE. He now stands up. .

LAWRENCE has thrown himself back in his chair, very upright

- under this onslaught of calculated vulgarity, has retreated right

back into the fastness of his glacial nature. His eyes flash con- temptuously.

He takes the kafia and argyl, examining them with apparent interest.

Fascinating gear they wear. How d'you think I'd look in this, Harry?

. BRIGHTON (stiffly) Damn ridiculous, sir.

rf,

130 »

627 Continued

| ALLENBY (briskly)

Really? What do you think, Dryden?

DRYDEN's praise is evidently of no great value to LAWRENCE.

BRIGHTON | (standing to attention to emphasise that he speaks officially) I think you should recommend a decoration, sir. I don't think it matters what his motives were. ‘Twas a brilliant bit of soldiering.

628 BIG CLOSEUP. LAWRENCE. MUSIC, English theme, softly

commences. The effect of BRIGHTON's words upon LAWRENCE is almost of a declaration of love.

629 BIG CLOSE UP. ALLENBY. He watches LAWRENCE covertly for a moment or two, then raises his eyes towards the door.

630 LONGSHOT. There is an immediate answering roar from without.

C)

C 631

DRYDEN and . BRIGHTON are surprised --- this rugger tough act is not usual --- but they catch on.

The door flies open. A.veteran REGIMENTAL SERGEANT MAJOR Stands to attention. THE MUSIC is gathering strength.

R.8:M. Yes, Sir!

Well done sir.

LAWRENCE smiles helplessly, and swallows.

DRYDEN and BRIGHTON take their cue. CLOSE SHOT: MUSIC CUTS ABRUPTLY. LAWRENCE and ALLENBY.

LAWRENCE, though ne knows he is lost, must register his protest, then slowly -- rises from his chair.

| | | ) © a }

eS

( )

MUSIC RISING AGAIN. THE CAMERA PANS with ALLEN BY, as he leads the way to the door and flings it open.

MED. SHOT: INT< OUTER OFFICE. THE CAMERA PAN: S with ALLENBY and LAWRENCE as they cross the OUTER OFFICE. An A.D.C. hurries over from a desk and falls in behind BRIGHTON and DRYDEN. The CAMERA comes to rest on a close up of the beaming R.S.M., his hand quivering at the salute as LAWRENCE and ALLENBY pass by. He lowers his hand and grins after them.

CLOSE SHOT. GALLERY CORRIDOR. The CAMERAS ‘is shooting

on ALLENBY as he leads the GROUP out on to a gallery corridor

on the first floor overlooking the gardens. The CAMERA PANS

with them and TRACKS behind, following on their backs. ALLENBY is deliberately informal (e.g. he is careful that they shall individually

. stroll, not march in step) Wecannot hear what is being said but we

can see that it is LAWRENCE who talks -- with some gesticulation

--- and ALLENBY who listens. They pass a PAIR OF OFFICERS

who salute the G.O.C. The CAMERA CENTRES ON THEM as they pass, PANNING into a shot of their receding figures as they stand looking

after the GROUP in amazement.

REVERSE CLOSE TRACKING SHOT. ALLENBY and his PARTY

a: (835

D

Gi)

CLOSE TRACKING SHOT. An ELDERLY COLONEL comes out of an office as the CAMERA APPROACHES him. He salutes hastily towards CAMERA as it PANS with him into &ACLOSE TRACKING SHOT OF ALLENBY and LAWRENCE as they pass him by.

During the following dialogue we see him speak to the A. D.C.

in dumb show enquiring the meaning of the outlandish apparition by the GENERAL's side.

| LAWRENCE Do you know a better?

They both laugh.

CLOSE TRACKING SHOT. GALLERY LANDING ON TOP OF STAIRS. The CAMERA is approaching a group of half a dozen soldiers in charge of an N.C.O. who have just reached the top of a flight of stairs leading 6n to the gallery. The N.C O. calls them noisily

to attention as the CAMERA STOPS TRACKING and ALLENBY.

and LAWRENCE enter picture. ALLENBY salutes and leads the

way between the soldiers to the stairs, the men staring after him.

CLOSE SHOT TOP FLIGHT OF STAIRS ALLENBY and

-LAWRENCE briskly descending the stairs.

. ALLENBY Well, if I fight. like Clausewitz and you fight like Saxe ---

. LAWRENCE. We should do very well, shouldn't we?

They laugh again as they move on out of bottom of picture and DRYDEN and BRIGHTON step in behind. DRYDEN raises his eye- brows, amused not so much by the pleasantry as by the Old Man's whole-hearted adoption of his avuncular role.

MED. SHOT. The MUSIC RISKS to full pitch as ALLENBY and LAWRENCE walk on down the stairs. A PAIR OF JUNIOR OFFICERS flatten against the wall in awe and amazement as they approach.

cw

CLOSE SHOT ALLENBY and LAWRENCE as they pass the TWO OFFICERS. LAWRENCE's eves slide over towards them to register the effect. of his passing in such company, and ALLENBY'S eyes slide over to register him doing so. ANOTHER OFFICER flattens against the wall as LAWRENCE looks upwards.

CLOSE SHOT GROUP OF MEN at the top of the stairs looking down- wards as others join them from behind.

' the LAST FLIGHT OF STAIRS. SMALL GROUPS of MEN in the hall-

way and the OFFICERS on the stairs stand like statues as the GROUP passes on out of the picture.

MED. SHOT. ALLENBY and LAWRENCE swing on to the ground floor gallery and make for the entrance hall. MEN in GROUPS, MEN walking and MEN coming up the steps slam to attention as the

G.O.C. approaches. »

ENTRANCE HALL.

The CAMERA PANS with the GROUP as ALLENBY leads the way into the hall. The PROVOST SERGEANT leaps up from behind his desk and bellows the CORPORALS to attention..

CLOSE SHOT. The PROVOST SERGEANT and the CORPORALS as the GROUP passes in front of them, their faces a study. .

CLOSE TRACKING SHOT. ALLENBY and LAWRENCE. LAWRENCE!'s

expression is of course excited, but not over-excited, rather it is deeply happy, as of a young man who relaxes properly in the merited approval of a respected father.

‘THE OFFICERS' BAR

The OFFICERS, taken aback by ALLENBY's presence, leap to their feet. , ,

He takesoff his Sam Browne as they hesitatingly sit. (Or some of them do)

ALLENBY to CAPTAIN, pleasantly:

ava 646 re) © ©

‘ Co ©

TRACY moves to the bar and orders drinks ina murmur. ALLENBY smiles round convivially, seemingly unaware of the thunderstruck silence.

He nods a little as though to say that the invitation of such a well

known and popular character will of course make everything acceptable. There is a beattifully calculated emphasis on "Major" and the effect

of the speech is to deepen the thunderstruck silence.

CLOSE SHOT Satisfied, ALLENBY turns to LAWRENCE, apparently having just noticed the view through the windows enclosing the sunlit patio.

The CAMERA PANS as ALLENBY leads his party out through the French windows towards an informal group of chairs by the side of . a small fountain and pool with goldfish.

The OFFICERS crowd after them lining the windows to look out. The A.D.C. appears behind them with a tray anda passage is made for him.

CLOSE SHOT. The CAMERA is shooting from the patio through the window on to the OFFICERS' faces. They are joined by the CLUB SECRETARY, who has missed the foregoing proceedings andis at aloss to understand the commotion until he edges into CLOSE UP and sees, to his astonishment:

CLOSE SHOT. ALLENBY and HIS GROUP seated by the fish pond. Throughout what follows LAWRENCE is absorbed. ALLENBY

an 649 of O }O © | 650

appears to be, BRIGHTON looks uneasy, DRYDEN smiles a little, the A.D.C. is out of his depth, and looks carefully non-committal.

In the background the OFFICERS at the windows surrounding the patio begin to break up but throughout the following scene they come and go, and every face we see looks out.

. LAWRENCE Yes.

CLOSE UP. LAWRENCE. He commences with enthusiasm and ends fanatically, leaning forward almost as if it were ALLENBY he were threatening. :

7 _ railways and while he’s mending them Ill smash them somewhere else.

CLOSE SHOT. ALLENBY

ALLENBY replies with deliberate. mildness, as one clearing up a small point of information.

MED SHOT: .LAWRENCE is given a moment's blank pause. Then he laughs, and runs over ALLENBY with equivocal self-mocking charm.

There is no response. ALLENBY and DRYDEN drink. ILAWRENCE-

‘Empire. If he gets out now he knows he'll

never get back again.

looks from one to the other.

He throws a small piece of potato-crisp ‘into the fountain.

. they think, and that's why they're fighting.

ALLENBY | (deadpan in the silence) Oh surely.

swim for it. LAWRENCE looks down into his drink.

They've only one suspicion; that we'll let them move the Turks out and then move in ourselves. I've told them that that's false, that we have no ambitions in Arabia.

‘(suddenly he looks ub. at ALLENBY

- with great penetration) Have we?

I'm not a politician, thank God. Have we ambitions in Arabia Dryden?

The fish

, { ) 652 Continued

: DRYDEN _ (flickers a little) ) Difficult question, sir. i ALLENBY smiles very charmingly at LAWRENCE and spreads his © hands, inviting him to sympathise with the simple soldier in the ' hands of the diplomats. But LAWRENCE won't have it.

653 CLOSE UP. LAWRENCE

| © . 654 CLOSE UP. Cormered, ALLENBY hesitates only fractionally before he does his duty. He plonks down his glass. ALLENBY ; Certainly. po cw, | . 655 MED PANNING SHOT. The OFFICERS gathered along the windows © of the club, . staring.

656 CLOSE SHOT. The SECRETARY, glancing to his right and left,

; realises the indecorum of it. He leaves the window; but is drawn.

a Nor is his frown the product of disapproval, but of simple mental effort. If it's all right by ALLEN BY, it's all right by him. He is

trying to understand.

657 CLOSE SHOT ALLENBY and LAWRENCE lean forward as they bargain. BRIGHTON and A.D.C. watch fascinated. . Bkepen studies his fingers.

ic LAWRENCE

: Two thousand small arms not enough. I need five. ALLENBY © . Right. Cy LAWRENCE

Money. It'll have to be sovereigns. They don't like paper.

i 657 Continued

ic | | ALLENBY (a little more cautiously) Right.

| LAWRENCE yO . More money.

- ALLENBY How much more?

© : LAWRENCE

(thinks) . Twenty-five thousand now. Alot more later. ,

Ht ALLENBY | o Dryden? b }

(after a hesitation) He a | Right. ,

| | | LAWRENCE : . and Field Artillery.

© . ALLENBY . (pauses) Right!

ALLENBY springs to his feet as he says it so that the word is ambiguous te. in intention. DRYDEN, BRIGHTON and the A.D.C. rise with him.

_ LAWRENCE too, but more slowly ALLENBY, buckling slowly on his Sam Pe Browne, moves away from LAWRENCE towards the bar and deliberately od _ Yaising his voice to be heard through the open French windows, says:

He walks briskly through the French windows calling to the OFFICERS as he does so:

He goes, followed by BRIGHTON, DRYDEN and the A.D. C..

MED. CLOSE SHOT. LAWRENCE stands by the fountain looking after

‘them, .Smiling, . ‘His eye is caught hy:

MED. CLOSE SHOT The YOUNG OFFICERS are now openly crowding round the windows of the bar looking at him. The MUSIC begins'to well ‘up again.

CLOSE UP: LAWRENCE. His smile fades to an apprehensive stillness.

CLOSE UP. A GROUP OF FACES péering at LAWRENCE through

- the glass.

REVERSE SHOT. Through a foreground of heads we see LAWRENCE _ in LONG SHOT through the glass. He stands regarding his onlookers with the same mocking, hopeless and stoical expression which we saw at the beginning of the film. He fingers his Arab garments, then,

with a quick flip, he twirls the end of his abaya around his right hand --- as he did in the robing scene --- and walks towards the French windows.. The CAMERA PANS and TRACKS across the heads and backs of the OFFICERS as they change position to watch him coming; we cannot yet gauge their attitude, for they stand back leaving a distance between’ themselves and LAWRENCE as he comes through the windows and enters the bar.

CLOSE UP. LAWRENCE as he comes to a standstill. He raises his hand to adjust his argyl.

REVERSE SHOT. LAWRENCE's head in the foreground with the

OFFICERS in the background. (to be grouped and arranged to

recall as closely as possible the shot in which ALI presented the

robes surrounded by the smiling RAIDING PARTY). One or two of

the OFFICERS essay a smile. They begin to come forward underneath the MUSIC. One or two rather sheepishly and tentatively raise their

OY) 664

glasses to him. THE CAMERA STARTS TO CRANE UP AND BACK. Then, suddenly they come forward quickly, smiling and congratulatory. As the CAMERA LIFTS AWAY, we see LAWRENCE begin patted on

the back, congratulated, his hand shaken, a drink offered --- and refused. He shrinks away from them as best he can, fending them off with a smile which is so superficial, so withdrawn, so almost spinster- ish as to be a repellent, not a real smile at all. They continue to surge about him and the music continues very loudly, until suddenly:

CLOSE TRACKING SHOT: ALLENBY, DRYDEN and BRIGHTON. They are walking back along one of the silent corridors. This time they walk briskly and in step. Their steps echo and they do not look at one another.

DRYDEN

| Are you really going to give them artillery sir?) BRIGHTON

I was wondering that, sir. Might be deuced difficult to get it back again.

i {) 666 © } | 7 © j ‘ j ) ] | ©

MED. SHOT Shooting on their backs as they enter picture and walk

off into EXTREME LONG SHOT down the corridor.

END OF PART ONE

INTERMISSION

- 142

CLOSE SHOT BENTLEY

He is sitting in the stern of a long boat, leaving in the distance a small and rusty coastal steamer with one or two dilapidated lighters about it. At his feet are a pair of leather travelling bags. Jerking awkwardly to the motion of the beat (it is a rowing boat; we hear the oars) festooned with camera cases, dressed in a light suit and trilby hat, he is an incongruous, even absurd figure. But he makes no | attempt to be less so. He has been in unlikelier situations before and will again. Clutching the gunwhale with one hand he examines the approaching shore steadily. His tough, alert and cynically humorous face is alive with curiosity. This shot lasts no longer than is needed to take it in, whereupon:

MEDIUM SHOT THE BOAT GROUNDS.

The Arab ROWERS skip from it and haul it up the beach a little. BENTLEY superintends the landing of his scanty baggage. His attitude to the Arab is that of neither the sahib nor the humanitarian, but simply of a rather graceless man who wants his bags. The two cases are shouldered by TWO ARABS and he sets off after them up the beach..

FOREGROUND .

We see the seaward fringe of the village-town of Akaba among its scruffy palm trees. The same dilapidated buildings as before and among them a few indolent MEN and donkeys and unoccupied CHILDREN. But coming down the beach in the contrary direction is a file of ragged STEVEDORES, bearing handsomely woven camel bags, inlaid boxes, and rolled carpets. BENTLEY'S BEARERS pause. At the end of the file comes SELIM (the RECITER). Without ceremony, - Bentley’ s bags are dumped and his MEN rush to help quarrelsomely in the stowing of the camel bags, etc. in the boat. BENTLEY is unruffled by the insult to himself, but sharply curious. He accosts SELIM, raising his hat.

sm

at

uw

II-2

BENTLEY grunts. A thought strikes him. A knowing smile.

7 BENTLEY You're not Prince Feisal by any chance?

SELIM is not shocked but is interested by such ample ignorance.

BENTLEY nods comprehendingly and lugs a business card from a pocket. In the act of offering it he pauses and with dreadful tact:

SELIM flickers him a look of mild surprise. Then, having read the card, he beckons silently and starts away up the beach, BENTLEY

- following.

CUT

Almost stripped of furnishings. In the foreground, FEISAL is examining BENTLEY's card. In background, BODYGUARDS carry out some more camel bags. A SERVANT places a metal coffee set conveniently to hand by a window embrasure with a seat in it. FEISAL hands back the card. BENTLEY says, wagging the card before putting it away. —

4 Continued

II-3

He gestures and they both sit in the embrasure. The window over-

looks the courtyard. FEISAL smiles:

FEISAL , (the smile going) Is that what you have come for?

BENTLEY stares. Last week they were near El Ghira.

Buldulla. Avoid Malaal - the Turks are there.

| 1-4 () 4 Continued

. BENTLEY In Malaal now? They move fast.

FEISAL feels it is now BENTLEY's turn, and keeps silent. BENTLEY amplifies his last word.

I understand that you've been given no G - artillery.

© BENTLEY ad You're handicapped.

There can be no mistaking this. FEISAL addresses him very C) directiy:

FEISAL doesn't even pretend to consider this as a serious motive.

II-5

a moment) "Slim customer"; very good.

(to BENTLEY) I shall certainly ''watch out for" him.

(he considers, then says:) You are being very ... sympathetic, Mr. Bentley.

insincerity of the news-

hawk on the job) Your Highness, we Americans were once a Colonial people. We naturally sympathize with any people anywhere who are struggling for their freedom.

pulsive laugh of sheer

amusement and

appreciation) Also, my interests are the same as yours, sir. You want your story told. I badly want a story to tell.

Ah. Now you are "talking turkey" are you not?

are

©)

II-6

And now they are both amused, and surprised to find how well they are getting on together, each in his own way being a shrewd man and liking shrewdness in others. FEISAL rises swiftly from his chair - and walks about a little, cheerful.

FEISAL

Well, Mr. Bentley, I will give youa guide. Anda letter. And before I leave here ...

(he breaks off and

consults a fine gold

watch, pursing his lips) .»+« Ah which must be presently ... I will have some facts and figures put on paper for you. You will find that we have done many things, small but many. You know of course that we are destroying the Turkish railways ...

(he goes to the window and looks out) And rightly. In this country, Mr. Bentley, the man who gives victory in battle is prized... (sadly) | beyond every other man... (he is silent for a moment and then murmurs, mindless of the repetition)

Yes.

I-77

BENTLEY is scribbling this down but does a horrified double take.

You remark the disproportion between our dead and wounded.

You mean...?

ra)

Ti-8

. FEISAL Our own prisoners, Mr. Bentley, are taken care of, until the British can relieve us of them, according tothe Code. I should like you to notice that.

This time FEISAL's eyes snap with a direct anger and jealousy.

FEISAL

That is exactly so. With Major Lawrence, mercy is a passion. With me it is merely good manners. You may judge which | motive is the more reliable.

(he half pulls out the

watch again) . And now perhaps...

BENTLEY, a bit rebuffed, nods smiling and goes to the doorway where he is arrested by:

S)

CS

Nee

II-9

| FEISAL

BENTLEY turns. You will tell me truly the nature of your interest in my people, and in

Major Lawrence.

FEISAL is serious, but BENTLEY grins disarmingly, like a boy caught out.

Indeed? You do not seem a romantic man?

BENTLEY

Oh no. | .

(again the "sincerity") But certain influential men back home believe the time has come for America to add her weight to the ... the patriotic struggle against Germany ... and Turkey. Now, I have been sent to find material which will show our people that this war is...

(he hesitates)

FEISAL is looking out of the window again. He interrupts flatly. FEISAL

You are looking for a figure who will draw your country towards war?

Oo TT os

I-10

Continued |

CUT

1ST CLOSE SHOT: LAWRENCE and FARRAJ waiting by the plunger. Train whistle over. (Carry through to pressing plunger and

reacting to explosion).

2ND (SHOT) LONG SHOT: THE TRAIN chugging along the line. IST CLOSE SHOT: LAWRENCE'S HANDS pressing the plunger.

2ND EXPLOSION goes up in front of train.

2ND CLOSE SHOT. THESKY ... THE DEBRIS from the explosion

flying upwards.

2ND MEDIUM SHOT: THE TRAIN leaving the rails and plunging over

the embankment. IST CLOSE SHOT: AUDA reacting.

2ND CLOSE SHOT: THE ENGINE slithers towards camera and obscures it with dust. —

IST CLOSE UP. ACAMERA. THE SHUTTER CLICKS, the camera is lowered disclosing BENTLEY.

2ND MEDIUM SHOT: A LINE OF ARAB FACES appearing over the top of dune.

2ND MEDIUM SHOT: ONE OF THE CARRIAGES looms up above the engine as steam starts to fill the screen.

1ST CLOSE SHOT: BRIGHTON and ALI. They are on the turret of an ARMOURED CAR in foreground of picture. In the background

is the second ARMOURED CAR and a group of CAMELS and HORSES.

There is a whistling noise and debris starts to fall.

oo‘ QO oO.

CO

al

I-11

IST EXTREME LONG SHOT: Disclosing the geography of the whole scene. ARABS lining the dune inforeground. The TRAIN in its last movements in the background DEBRIS falling on the dune. A LEWIS GUNNER opens fire.

2ND CLOSE SHOT: A line of ARAB LEWIS GUNNERS open fire.

2ND CLOSE SHOT: A TURKISH MACHINE GUNNEST at the rear of

the train replying.

2ND CLOSE SHOT. firing continuously.

ANOTHER LINE of ARAB. LEWIS GUNNERS

2ND MEDIUM SHOT: THE TRAIN shuddering undér the impact of —

the bullets.

AST CLOSE UP: BENTLEY, he takes another picture.

2ND CLOSE UP. AN ARAB LEWIS GUNNER firing and panning.

2ND CLOSE SHOT.

A LINE OF BULLETS splash clouds of yellow

chips from the planking on the side of a carriage. A TURKISH OFFICER fires a pistol from one of the windows.

IST.CLOSE SHOT: AUDA he pushes an Arab Lewis gunner out of the way, takes over the gun himself and fires.

2ND CLOSE SHOT: A BODY falls through picture across a carriage window reflecting sky. The WINDOW shatters the reflection gone we now catch a glimpse of a bloody head slumping back inside the

carriage.

IST CLOSE SHOT: LAWRENCE and BENTLEY. LAWRENCE watched closely by BENTLEY, reacts dead pan to the killing. LAWRENCE glances towards the Lewis gunners.

IST CLOSE SHOT: A LINE OF ARAB LEWIS GUNNERS (roughly from LAWRENCES P.O.V.) their faces tranced with slaughter.

IST CLOSE SHOT: LAWRENCE AND BENTLEY (SAME AS 13)

"STOP".

The racket continues, he rises up out of picture.

IST LONG SHOT: LAWRENCE frightfully exposed, steps up over

the rim of the dune.

He fires a VEREY PISTOL along the ridge.

©

32 -

' 40

I-12

1ST CLOSE SHOT: THE BEDOUIN LEWIS GUNNERS exactly as before.

2ND CLOSE SHOT: THE REAR MACHINE GUN NEST on the train. The DEAD bodies of the TURKISH GUNNERS sprawled over the ’

sandbags which are being spattered by bullets.

IST CLOSE SHOT: LAWRENCE. He crams another cartridge into his VEREY PISTOL and fires again.

IST CLOSE SHOT: BENTLEY watching him as the firing continues.

IST LONG SHOT: LAWRENCE dashes down the dune in front of the Lewis gunners, between the train and his own men, just one or two of whom are sufficiently arrested by the sight to cease fire. HE FIRES ANOTHER VEREY LIGHT at a low angle almost into their faces.

IST CLOSE SHOT: LAWRENCE. HE shouts his words lost in the still continuing racket.

IST CLOSE SHOT: A GROUP OF LEWIS GUNNERS around AUDA.

Raggedly they cease fire, some rising to their feet.

CLOSE SHOT: LAWRENCE. The racket dies away.

He starts to move towards the train.

down the slope overtaking LAWRENCE towards the train.

CLOSE PANNING SHOT: LAWRENCE. THE BEDOUIN rushing past him on either side. He walks after them as BENTLEY runs into picture following him with interest.

BEDOUIN reach the train and swarm over it anyhow.

MEDIUM TRACKING SHOT: LAWRENCE and BENTLEY. LAWRENCE seemingly unaware of BENTLEYS presence, walks through the wreckage around the engine. DEAD and DYING can be seen in the background as the CAMERA TRACKS into a position

—_ 43

©

©

H-13

disclosing the other side of the train. (Possibly introduce the TURKISH OFFICER and DEAD SOLDIERS).

CLOSE TRACKING SHOT: LAWRENCE reacting to the destruction.

MEDIUM SHOT. INSIDE THE PULLMAN. A GROUP OF BEDOUIN IN THE DINING CAR. One is collecting an armful of FINE LINEN TABLE CLOTHS. Another CUTLERY and silver plated FLOWER HOLDERS. ‘The STEWARD lies unconscious, his boots are removed. TWO TURKISH OFFICERS lie huddled together as they died. A SWORD and CAVALRY COAT are removed from each of them. (Simultaneous looting to be worked out on the set).

MEDIUM SHOT: THE KITCHEN of the dining car; a CHEF doubled over unconscious. The “BEDOUIN collect a treasure trove of shining copper pans, tureens, spirit kettles, flambeaux, hot plates, ladles and a splendid tea urn.

‘tour of inspection along the train. ARABS gone quite mad, are

rushing about at top speed.. Some are shinning up into the compart- ments through the windows, some beating in the already smashed doors, some already in are throwing trunks, valises, suitcases, from the windows. Passengers, some incongruously dressed in city clothes tumble out onto the track and run aimlessly away. AUDA draws

level with the Pullman and almost immediately becomes entangled in

a shower of white tablecloths thrown down from above, he looks towards:

CLOSE SHOT: AUDA. |

The cry is taken up but not yet like a full adulation or chanting. ©

CLOSE SHOT: LAWRENCE against the blue sky; reacting to the ovation.

MEDIUM SHOT: (the yelling more distant continues on the sound track) The Turkish Officer by the train on all fours the screen dark. He looks with shaking venom at:

Tl-14

MEDIUM SHOT: THE TURKISH OFFICER in the foreground of the picture. LAWRENCE on top of the train in the background. . LAWRENCE is white and gold against the blue sky, the incarnation of ; youth and success. The ruined OFFICER shakily raises his pistol.

CLOSE SHOT: THE SCREEN DARK. THE OFFICER takes aim and fires.

CLOSE SHOT. BRIGHT. LAWRENCE is pitched from his feet and rolls off the carriage away from the Bedouin.

CLOSE SHOT: AUDA reacting to Lawrences fall and hurrying out of picture towards the engine.

CLOSE SHOT: LAWRENCE in the last stages of his fall from the carriage roof. He comes to a standstill at the foot of embankment.

He gulps for breath and wrenches himself upright.

Half laughing, as one who takes a rough joke in good part, he clambers up the embankment to the side of the carriage from which he fell. There is the sound of a SHOT.

CLOSE SHOT: LAWRENCE. A BULLET SPLINTERS the side of the carriage next to him. He stops, staring gravely towards ;

MEDIUM SHOT: (LAWRENCES P.O.V.) DARK. The TURKISH OFFICER (the distance about 40 yards) shakily raises his pistol again, his expression one of desperate longing, his breath coming in sobs.

-CLOSE SHOT: LAWRENCE. He stands motionless regarding the

TURKISH OFFICER. There is the sound of a third shot as it. ricochets past him, |

CLOSE UP: THE TURKISH OFFICER staring at LAWRENCE. He prepares himself for another shot and fires again.

CLOSE UP. LAWRENCE. ASOUND of splintering glass. LAWRENCE will not move.

AUDA comes round the locomotive in the background. He approaches the TURKISH OFFICER unseen. The TURKISH OFFICER fires again.

1D

,

© 44 (

O

©

I-15

BIG CLOSE UP: LAWRENCE. It is not part of the bargain he has made with himself to warn his poor enemy in danger.

BIG CLOSE UP: THE TURKISH OFFICER now weeping, holds up the pistol, gripping his wrist with the other hand. A shadow falls upon

him, he turns slowly.

QUICK EXTREME CLOSE SHOT - ANGLING UP POV TURKISH OFFICER. AUDA swings his sword down into the CAMERA:

CLOSE SHOT - BENTLEY peeps round the side of the carriage where LAWRENCE is, staring, off.

before!

' Why don't you take a picture?

' The BEDOUIN looters have meanwhile moved past them both towards

the returning AUDA, who now appears thrusting between them, wiping his sword on the skirt of his robe, the BEDOUIN murmuring and jJaughing. AUDA grins with pleasure as he sees LAWRENCE on his

feet, and:

But before LAWRENCE can answer AUDA points furiously (off) and roars:

. No!

BENTLEY looks up from his camera startled, and AUDA steps up te -him and with one huge hand snatches it from his grasp.

Auda...

I-16

AUDA shatters the camera against the carriage buffer, and then dismissing BENTLEY from his mind as though he were a small by- standing boy whose manners he has corrected, he says to LAWRENCE, lowering a hand on his shoulder, with a blend of affection, admiration

and reproof:

And goes, amidst approval and laughter. The noise of looting rising again.

LAWRENCE

Auda? He's a bit old-fashioned. (he taps BENTLEY's other camera)

He thinks these things will steal his virtue. (he is mounting the wreck- age again, helped by BENTLEY, who is not a bit put out as LAWRENCE adds, looking down)

He thinks you're a sort of thief.

ae 45

Il-17

LAWRENCE commences to walk swiftly along the length of the wreck and the CAMERA TRACKS his swiftly pacing sandalled feet, which is all we see of him, as he does so.

MEDIUM TRACKING SHOT - along the length of the train. We see the BEDOUIN at work. But as LAWRENCE (i.e. his feet) approaches them they break off, look up and herald him so that as he moves . swiftly along the wreck (lightly leaping the gaps between the coupled carriages) a mounting roar of acclamation rolls along with him. We thus glimpse: well dressed PASSENGERS, including a pair of

- CHILDREN with their PARENTS quickly disrobing themselves of

coats and shoes. A trio of CAVALRY OFFICERS must part with their breeches, one already in his shirt-tails; let these three preserve their dignity, the one in shirt-tails indeed calmly smoking acheroot; let there be a minimum of comic surprise and outraged importance - other countries other customs. The BEDOUIN stand by and eagerly collect the loot. TWO TURKISH STAFF OFFICERS sit behind riddled windows as they died, upright. A BEDOUIN with a bundle of clothing under one arm reaches up and removes their cavalry coats from the rack over their heads. TRACKING PAST the Third Class compartment we see clearly though fleetingly, the dead or wounded. All the PASSENGERS, without exception, living and dead, are relieved of any items of clothing and baggage which is of any value. Luggage compartments have been broken open and

‘plain wooden crates are being tipped from them. All along the

train, BEDOUIN hold up and shake rifles or items cf loot, triumphantly as LAWRENCE passes and they join inthe adulation. They have such items as: small cane chairs, coils of new white rope, lengths of silk

in billowing bundles and haberdashers' rolls, lengths of metal

piping, tennis rackets, kettles tied in clattering cocoons, blocks and tackles, oil lamps, a box of carpenter's tools, a phonograph, drums

of kerosene, boxes of tinned food, army blankets, a sewing machine, saddles, a card table with folded legs, water bottles, a papiermache fire screen inlaid with mother of pearl, etc. etc. The more incongru- ous the better. As the adulaticn reaches its climax we

CUT TO

|

ro 47

:

OQ

‘ oO

O 49

I-18

MEDIUM SHOT - BENTLEY on the far side of the train where there

are few ARABS. Calls urgently, his camera raised:

| BENTLEY Major Lawrence:

MEDIUM SHOT - LAWRENCE stops and looks down (this is the first shot we have seen of him since he started his walk) a magnificent natural pose ''caught'' in BENTLEY's camera.

The shutter operates.

MEDIUM SHOT - One of the armcured cars draws up by the train.

In the rear, FARRAJ. In front by the DRIVER an NCO who, holds up (like the BEDOUIN holding up their loot) an olive-green box with the white circle and red cross on it. LAWRENCE makes a little gesture of decent acknowledgment and prepares to descend.

MEDIUM ‘SHOT ~- On the other side of the train the BEDOUIN seeing their hero go, return their attention to the job in hand. And at that moment a double door is burst open from within - it is the luggage van - and a shower of passengers’ luggage (trunks, cases,

Gladstone bags) falls and is fallen upon.

CLOSE SHOT - on the crest of the dune BRIGHTON and ALI stand by the other armoured car, watching. BRIGHTON's face is dark.

Oo

TI~19

ALI |

They are not free to. BRIGHTON looks off angrily, in the direction of the LOOTERS.

is riding away towards the open desert.

CLOSE SHOT - The other armovred car drives up. LAWRENCE is looking after them, seriously. BRIGHTON flounders up and LAWRENCE quickly takes his gaze from the DESERTERS, but BRIGHTON says shortly:

They'll come back. ALI follows BRIGHTON.

BRIGHTON draws close and says, discreetly: BRIGHTON

Look, Lawrence, d'you know how many men you have left - less than two hundred!

©

\ } A

(

-20

I said they'll come back! He taps the DRIVER's shoulders. It is mere denial. BRIGHTON is helpless. Now a bit concerned.

The car roars away. The unresponding troubled faces of BRIGHTON and ALI are obscured in its dust.

CUT

It is a Turkish MAJOR who looks up fromthe writing and moves a pace to transfer the information to a large wall map of “Arabian

. railways. He moves deliberately; he is not in a state of excitement.

or rage. The wall map is behind him, before him is a big ornate desk and from the surface of this he takes a thick red crayon. Witha last confirmatory glance at the writing on the photograph he carefully makes a cross on one of the railways. We see that there are many such already. He turns and looks with calm curiosity to see the reactions of:

At a distance stand two Turkish COLONELS and a MAJOR-GENERAL, who has a benignand dignified face and cropped white hair. Of the two COLONELS, one is frontline one Admin. All are Jooking at the wall map when we first see them bui at once the frontline COLONEL shifts his weight irritably and glances sharply at the GENERAL.

The Admin COLONEL follows suit, a little apprehensively. It is very quiet in the fine white room. Becomingaware of the front line

iO” COLONEL's glance, the GENERAL returns him an inexpressive look and raises his shoulders in a faint, patrician shrug.

56 The MAJOR, still regarding them, opens without looking at it, a large flat drawer in the desk. He tosses the photograph in it, O still without looking.

po 56A.. EXTREME CLOSE SHOT. The drawer is already half full of other similar photographs depicting the results of Lawrence's campaign against the railways. The drawer slams shut.

© 57 MEDIUM SHOT - Inside a bivouac, made lean-to, against one of the

| armoured cars. The flap, heaving, spasmodically in the wind dis- closes glimpses of a dry Wadi, with many other shelters. Within, leaning against a wheel, BENTLEY regards a book curiously.

© 58 EXTREME CLOSE SHOT - it is a limp book, folded back; the print

is large and the page is headed: ''THE LITTLE CITIZEN. CHAPTER

| ‘TWO. OUR PARLIAMENT." The text begins: "Every Englishman has the vote. What does this mean? And how has it come about?"

os And so on. eS . BENTLEY looks up, finds ALI's stern but :slightly uncomfortable glance upon him. ALI © It is for children. I have set myself i to learn again. F | BENTLEY I What are you learning, from this? LQ | , ALI Politics.

He says this as one might say "Geometry", or "Latin". BENTLEY, at ease against the wheel, is interested; eyes him speculatively.

—. *.

BENTLEY throws back his head in admiration and Jaughs.

KD

re

T-22

CUT

In a smaller tent of unbleached yellow wool, LAWRENCE sits cross-legged in the attitude of a teacher. His head is back, his eyes focussed on anidea. At his feet is a map. He wears a vest and camel trousers, all very white. His wound is now a matter for lint

- and plaster merely. FARRAJ pops head and shouldexe through the

flap and says hastily:

FARRAJ goes, holding the flap for BENTLEY who enters and plumps himself down.

C])

q)

1-23

a side pocket and one of

many pencils from his

breast pocket) Before I return to the fleshpots, whichI - shall be very glad to do, may I put two questions to you, straight ?

BENTLEY chuckles. We should see that LAWRENCE has a sort of respect for BENTLEY's intelligence and absolute freedom from principle as BENTLEY is fascinated by LAWRENCE's destructive scrupulosity. Also, in this sequence, we should see that BENTLEY has not stood up at all well to the campaigning: his clothes have become greasy and frayed, his skin chapped, he needs both a haircut and a shave. Whatever LAWRENCE is wearing by contrast should be virginally clean.

BENTLEY looks at him cautiously. Freedom.

Unseen by BENTLEY, LAWRENCE "freezes" at this and looks at him vehemently.

At the superhuman egoism of this BENTLEY looks up between surprise and amusement, mouth open for a wise-crack, but he encounters.

TI-24

Continued . LAWRENCE's poisonous regard and shuts it again, flummoxed.

LAWRENCE looks the disreputable figure up and down with insulting deliberation and says:

BENTLEY lowers his gaze tc his own garments. He lays down his pad and pencil and when he looks up we expect him to be at least resentful. Instead, he says in a voice that is dispassionate and thoughtful: .

CUT

In the armoured car shelter. BRIGHTON is now there also. AUDA

enters, boisterously. He carries a station clock with swinging pen-

dulums. (we ought perhaps to have seen this item before, to identify it as loot) He holds it up.

as

6la 61b

6le

61d 6le 61f£ 61g

‘Continued

He spins the fingers happily. Then the movement stops.

W-25

The ex-

pression of pleasure goes from his face and is replaced by one of dark brooding. He tosses the clock from him.

AUDA (cont)

Trash.

He lies on his "bed".

I'must find something honourable.

BRIGHTON

Honourable!

AUDA raises his head and considers BRIGHTON carefully. Then he

lies back again. He explains.

AUDA .

Yes. The year is running out 'Righton.

I must find something honourable.

And his face has the mindless nobility of a hungry lion.

OPENING SHOT. Disclosing horses and panning with STALLION

into reverse angle.

foreground. (A slight sense of boredom amongst Machine Gunners-

Rig sun cover).

MEDIUM CLOSE SHOT. FRONT MACHINE GUN NEST on flat car in front of engine. (Try to arrange this shot on a curve so that the

train is visible in background).

RAILS coming towards low camera. test) EXPLOSION goes off ahead.

(Camera slightly higher than

REACTION OF machine gunners to explosion.

ENGINE DRIVER jamming on brakes. WHEELS LOCKING AND STARTING T

HORSES stumbling around.

O SKID.

\

LONGER SHOT OF LOCKED WHEELS with FRONT MACHINE GUN NEST in background. STEAM starts coming out of engine.

62a 62b

62c

63a

63b 63c 63d 63e

63f

63¢

64a 64b 64c

64d 64e

64f

II-26

PANICKING HORSES regaining their balance.

FRONT MACHINE GUNNERS in foreground of picture with EXPLOSION PIT nearing from background.

CLOSE SHOT. FRONT MACHINE GUNNERS watching crater and beginning to look round left and right - but not backwards.

in foreground of picture. The TRAIN stops, the ARMOURED CAR opens fire.

MEDIUM SHOT. HORSES reacting to gunfire with MACHINE GUNNERS leaping off train in background - or possibly in foreground.

CLOSE SHOT. ARMOURED CAR MACHINE GUN FIRING. CLOSE SHOT. FRONT MACHINE GUN NEST with WOOD splintering. CLOSE SHOT. HORSES PANICKING.

background. CAR stops firing. Top of turret opens

CLOSE SHOT. BRIGHTON emerges ineugn the turret - fires VEREY PISTOL.

MEDIUM SHOT. VEREY LIGHT exploding in the sky.

BIG CLOSE SHOT. AUDA with some stationary horsemen is in background looking up at the sky - he yells and moves out of picture.

appearing on dunes from all sides. Shadow of verey light on sand.

CLOSE SHOT. LAWRENCE and FARRAJ on ground collecting plunger etc - HORSES LEGS rushing past them on all sides. LAWRENCE looks up grinning.

CLOSE SHOT. BRIGHTON watching unimpressed. MEDIUM SHOT. HORSEMEN tearing down dunes.

CLOSE SHOT. LINE OF HORSES in train, whinnying and reacting to what they see.

CLOSE PANNING SHOT. AUDA galloping towards the train. HORSE- MEN BEHIND HIM.

ids

64g

65a

65b 65c 65d

66a 66b 66c

66d

66e 66f 66g 66h

67a

87b

67c

67d

67e

II-27

CLOSE SHOT. STALLION with other horses in background reacting. MEDIUM SHOT. FIRST ARMOURED CAR in foreground, train in background. The first of AUDA's men are reaching the train. FIRST ARMOURED CAR begins to move foreward. SECOND ARMOURED CAR appears behind dune.

MEDIUM SHOT. Looking down on the train - HORSEMEN gallop up from either side and start to undo ropes. .

CLOSE SHOT.. The side of the wagon falling down into picture, and disclosing line of horses' legs.

CLOSE SHOT. AUDA... watching. |

CLOSE SHOT. Horses jumping from the train.

CLOSE SHOT AUDA watching. (Closer than 66b)

CLOSE SHOT. HORSES jumping from train.

BIG CLOSE SHOT AUDA

CLOSE SHOT. HORSES

BIG CLOSE SHOT. AUDA laughing and moving out of picture.

semi-circle of AUDA's horses encircling them.

CLOSE PANNING SHOT, AUDA with the screen completely filled with HORSES as he rides through them and takes the STALLION by the lead rope and turns him back.

CLOSE SHOT. ARMOURED CARS drawing to a standstill.

CLOSE SHOT. LAWRENCE and FARRAJ on back of second armoured | car.

CLOSE SHOT. BRIGHTON still in turret of first ARMOURED CAR. ALI at the back.

MEDIUM SHOT. CAMERA PANS with AUDA as he leads his STALLION up to the ARMOURED CARS with the TRAIN in the background.

7 AUDA Now you may blow up my train.

69 MEDIUM SHOT - He is standing by one of the armoured cars, in or - on which are BRIGHTON, ALI, FARRAJ and LAWRENCE whom AUDA O . is addressing. Behind AUDA is his chaotic booty, drawing away along gy the train. At AUDA's words, LAWRENCE merely smiles a little 7 and looks down at his feet. From this point on, his attention isfixed wistfully but keenly and without self pity upon AUDA. He takes no part in the discussion knowing that AUDA and BRIGHTON are each me) too fixed in their own modes to understand one another; his attention remains on AUDA

iw) 7, . again breathing deep with

satisfaction)

They will carry my toys!

(he roars with laughter)

. They will carry my toys, too, do you see...

‘ BRIGHTON rises to his feet. He will take AUDA to task with no more doubt and no more fear for his own safety than if he were a school prefect and AUDA an erring form mate.

ve | BRIGHTON

Me Major Lawrence will campaign this winter.

' - But you've got what you wanted, so you're ©

going home; is that it? AUDA begins to see that something is wrong, but is as yet puzzled, ©) not angry. AUDA Of course. | . (he pats LAWRENCE Your affectionately on the knee) i When Aurens has got what he wants, he - will go home! Hone | (encouragingly to BRIGHTON)

When you've got what you want you will go t. home!

)

I-29

-AUDA's face goes quite stiff,.he blinks and licks his lips. Then he

says very quitely:

CLOSE SHOT - BRIGHTON, head and shoulders. He is not comically outraged, but he is affronted. He look straight at AUDA, cold, hard, forbidding, and (in his desert gear- sheepskin perhaps) tough.

, AUDA I must go Aurens. Before I soil myself with a fool's blood.

And he goes towards his horse, quickly. BRIGHTON sits.

CLOSE SHOT - AUDA mounted. He looks after his booty which all this while has been driven away and away down the length of the train and out into the desert under a cloud of dust. He turns. He swells. All gloom forgotten.

He rides away, watched by the group in the armoured car.

1-30

CLOSE SHOT. THE GROUP. LAWRENCE looks steadily after AUDA. BRIGHTON nods to himself and speaks with the bitter satisfaction of one whose worst fears are realised.

LAWRENCE tears his attention from the vanishing AUDA. He begins to collect demolition gear from the car. He speaks quietly.

(scoffing despair) Allenby wanted the "Arab Army" behind Deraa!

LAWRENCE looks along the train where the remnants of his force linger.

He hands the demolition kit to FARRAJ, who nips eagerly from the car and waits for him. LAWRENCE following more slowly, adds:

. LAWRENCE | Tell Allenby to hurry up or I'll be in Deraa before he's in Jerusalem.

He puts a hand on FARRAJ, propélling him towards the engine, and says to him, for BRIGHTON to hear:

Won't we? DISSOLVE

through a dull grey landscape, dull grey clouds approaching from the horizon. A wind moaning, and in the wind the ‘melancholy rise and fall of an Arab pipe. Scattered haphazardly on and about the line, a GROUP OF BEDOUIN and their animals. They stand still, or move slowly

and without purpose.

MEDIUM SHOT. LAWRENCE and FARRAJ are busy on the line. Others watch, dispiritedly, or crouch against the wind, one blowing a little pipe, ‘titfully. .

. | C ) 15

©

bo ¢

’

- 82

CLOSE SHOT. IT IS FARRAJ who fixes the charge (a self-operating

charge of gun cotton secured with adhesive tape). LAWRENCE watches him but FARRAJ works confidently and has obviously done it hefore. MAJID, crouching, watches him with grudging admiration.

CLOSE SHOT. ALI looks straight down the line. He grunts softly. LAWRENCE joins him in frame. Neither shows apprehension nor even much excitement. It is routine.

SOUND TRACK, LAWRENCE says: "Train, Farraj!"

CLOSE SHOT. FARRAJ

He has finished taping the pilot brick to the rail, holds both ends of the tape which will be used to. secure the secondary bricks in one hand, and with the other inserts the plug. He looks about and sees what he wants.

CLOSE SHOT. A small red painted wooden box lies on a sleeper out of reach.

MEDIUM SHOT. MAJID steps over to it, picks it up and brings it back. Doing so his foot slips on the edge of a sleeper. Swiitly, FARRAJ is on his feet to secure not the man but the box; he does

so and for a second they are face to face, both holding it, startled; then they smile and the MAN let's go. FARRAJ takes from the box one of the half dozen gleaming detcnators, slides it carefully into

the plug to see that it fits, then with that blend of carelessness and dexterity which marks the explosives man, he slips it into his waist- band (EXTREME CLOSE SHOT of this, I think) ‘and goes on with his work.

MEDIUM SHOT. LAWRENCE joins them. He collects together a coil of fuse, roll of tape, a small waterprcof satchel of tools, the red box, and hands them to MAJID, saying:

MEDIUM SHOT. THE RAIDERS are wandering away and disappearing behind a hump very near to the line. ALI bringing up the rear glances at:

Te

h

oO 85

2 86

4)

_ MEDIUM SHOT. MAJID arrives behind the hump. This time, the

[I-32

no audible noise at its still great distance.

CLOSE SHOT. MAJID leaves FARRAJ and LAWRENCE to follow the others. We see that to do so he must plunge into a steep ditch into which he disappears before scaling the other side.

CLOSE SHOT. LAWRENCE, having taken over from FARRAJ, has finished taping the secondary bricks. Still no urgency.

LAWRENCE | Detonator.

FARRAJ slips his fingers into his waistband and feels for the detonator. He looks worried. LAWRENCE iurns, still.crouching, to look down the line, and back at FARRAJ, who smiles embarrassedly and searches further.

RAIDERS are not poised for an attack. There is tension, necessarily, but each man crouches in the lee of his mount. Only ALI is keeping watch. The PIPER continues, fitfully. ALI hisses him sharply to silence, and we hear for the first time the distant “puff, puff” of

the train.

CLOSE SHOT. LAWRENCE AND FARRAJ are searching the ballast for the detonator, FARRAJ the more urgent and less effective, as the more responsible for its loss. He rises to his feet and begins to search his waistband again, irritated, guilty. The TRAIN NOISE.

FARRAJ crosse S the line towards the hump and the ditch; he turns. ;

FARRAJ plunges awkwardly from sight, half falling, into the ditch. We hear - do we hear? - we are not sure - a bang, a thud, under the noise of the wind. But FARRAJ does not appear. All that LAW-

RENCE sees is the stony landscape between him and the hump where ' ALI watches. The wind blows. The train is nearer.

CY BT

© 88 {

® I-33

QUICK CLOSE SHOT. FARRAJ is on his back at the bottom of the ditch. His eye glare; his mouth opens wide.

QUICK CLOSE SHOT. LAWRENCE plunges down beside him; raises his stricken face as MAJID, ALI and TWO BEDOUIN hurl themselves into the ditch from the other side and are arrested by what they see.

TWOSHOT. ALI AND LAWRNECE

The train noise is much nearer. LAWRENCE turns swiftly to where:

MEDIUM CLOSE SHOT. MAJID and the TWO BEDOUIN obscure the fallen BOY. Mingling with the TRAIN NOISES we hear the SOUND OF TROOPS, singing. This penetrates. They turn their faces alarmed. ;

QUICK CLOSE SHOT. LAWRENCE AND ALI turn their heads, horrifed.

The singing nearer.

QUICK MEDIUM SHOT. THE TWO BEDOUIN scramble up the side of

_ the ditch and run. MAJID looks up from the BOY. _.

He lifts from the BOY's stomach the blood soaked garments which we see for the first time. LAWRENCE goes down beside him. He rises

as though hurled by a great blow in the face. ALI AND MAJID look towards him. WE HEAR THE TRAIN, now near, braking with a scream of metal and the singing dies out.

QUICK .CLOSE SHOT. The unprimed charge conspicuous on the line. The singing is replaced by shouts.

(>) 95

©

a _ 101 i

W-34 ©

MEDIUM SHOT. In the ditch. ALI AND MAJID look to LAWRENCE but he looks about wildly. It is the first time we have seen him at a loss.

CLOSE SHOT. LAWRENCE backs away and throws his pistol to MAJID.

CLOSE SHOT. MAJID looks at the pistol, smiles comprehendingly, shakes his head and rises away from FARRAJ.

FARRAJ's breathing begins to come more and more rapidly with a rising rhythm which must end in a scream.

CLOSE SHOT. LAWRENCE hurls himself on the pistol. MUSIC LOW.

CLOSE SHOT. LAWRENCE kneels by FARRAJ. Shouted orders from the TURKS. LAWRENCE stealthily brings the pistol towards FARRAJ's head. FARRAJ clutches his wrist instinctively. Then he smiles and lets go. .

He cannot do it. On SOUND TRACK the shouts draw closer.

He turns his head away but does not close his eyes.

MEDIUM SHOT. ALI AND MAJID wince away, turn, the pistol crashes out, they streak up the side of the ditch and run.

LAWRENCE scrambles from the ditch and runs after them, his face fragmented.

DISSOLVE

MEDIUM TRACKING SHOT. LAWRENCE and ALI ride ahead of the remaining BEDOUIN who lock morose. LAWRENCE leads FARRAJ's camel, which has a net bag cf soap among its load. The wind moans.

My a CO

I-35

ALI looks at LAWRENCE, is about to speak, thinks better of it. He looks at him again and says, with much sympathy, as one who has

a question which cannot brook postponement even under such circum- stances as these:

LAWRENCE clears his threat and answers flatly.

ALI jogs on in silence for a heat or two.

We must see that ALI is genuinely exercised in his mind as to whether there is any purpose in going on.

CLOSE SHOT. LAWRENCE's mask cracks. He turns to ALI and

shouts:

DISSOLVE

MEDIUM SHOT. Interior ALLENBY's private apartments in Cairo. A spacious room with, at the far end, a working desk and chair, and

nearer to the CAMERA a fireplace against which ALLENBY leans,

and a few upholstered chairs in one of which BRIGHTON is sitting. It is night time and cosy lamps are lit.. The fans are motionless (whereas before we have seen them spinning) and there is a fire in the grate. On the mantlepiece,by ALLENBY, the Country Life calendar proclaims December with an Olde English hunting scene. ALLENBY has a light plaid shawl thrown over his shoulders, and he swills a whisky and soda ina large tumbler. He is silently regarding BRIGHTON and though the professional maskis firmly in place he looks unusually thoughtful and a little triste. BRIGHTON, who has flung his Sam Browne on the back of his chair, and also has a glass” of whisky and soda at his elbow, is labouring through the last of a Sheaf of official reports. When he concludes, he hands them to ALLENBY, with a grave face.

an 103

O

pits .

. ALLENBY Then there is an "Arab North Army”.

ALLENBY

- Any idea why ?

- BRIGHTON (with a half smile) It's his army, I suppose.

_N-n-n-0 -0-0.

(with a flash of inspiration) He would if he could. (with a flash of self- . doubt) I think. (uncomfortably) Not my line of country this, sir.

He is puzzled by the mood of his CHIEF,

I-36

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Ch

II-37

you?

He turns briskly with the air of one who breaks off an improper indulgence. 7

Well, what about next year? Will they. come back to him?

. BRIGHTON | Shouldn't be surprised, sir. They think he's some kind of prophet.

He walks away to the working desk taking the paper with him, calling back as he goes:

They seem to think he's a kind of machine. Dryden had a letter from some old beggar behind Damascus; "Send us an Aurens and we will blow up trains with it". That's poetry, isn't it?

And again his voice has a harsh sounding crack in it. BRIGHTON (On SOUND TRACK)

(uneasy) I wouldn't know, sir.

G

aay ar — } 103 oy a 104

I-38

ALLENBY

And that's what these are. (he wags the papers before throwing them down)

Not lies, poems.

CLOSE SHOT. BRIGHTON, his care-worn, innocent face, creased with the effort ta be in time with his chief.

CLOSE SHOT. ALLENBY by the fire, and again we see the calendar.

CUT

and ON SOUND TRACK there is a shrieking wind. Moving through the snow, we gradually make out the silhouette of the ruins of El-Jamal.

It is nothing more than a grotesque hump of stone, but in some aperture a light flickers, at which:

So ey

I-39

EXTREME CLOSE SHOT - Interior. One of the bars of yellow soap is lying on a clean slabof stone. '

CLOSE SHOT ~- LAWRENCE, wrapped in a torn grey blanket for warmth, is arranging his newly washed white robes over a carefully improvised framework of sticks, to dry before a fire. He works witha controlled nervousness. Nervousness is revealed in the mere:. speed of his movements; control keeps them effective.

MEDIUM SHOT - ALI, also in undress, smoking a cheroot, watches him, his face shows a distinct anger tempered by caution and under- standing - in other words it shows a sober independence of LAWRENCE which we have before seen only incipient. LAWRENCE knows ALI is waiting for him. ALI looks about, patiently. Cracks in the walls have been stuffed with bits of rag, earth, grass in spite of which flurries

of snow spurt in .here and there. LAWRENCE straightens from his task, wiping his ‘hands on a cloth.

| ALI (quietly) Now may I speak?

LAWRENCE lr (cool) ; Yes. .

ALI is evidently repeating a point he has been trying to make before. He speaks patiently. ALI We are all tired. | LAWRENCE

(in a dead voice) - I'm not tired.

,All right, I'm tired... (attempts a sneer) it takes me differently.

&

- ignites from ALI's.

II-40

CLOSE SHOT- on this, LAWRENCE looks at him. ALI responds with the irritation of a man who finds his logical argument answered on the plane of emotion.

He jerks his head towards off screen.

- ALI nods, reasonably and taps ash from his cheroot, before continuing -with his patient argument:

LAWRENCE's own much more racking, because more personal distress, He nods affirmatively to the last phrase of ALI's speech.

That's ri

Unwittingly, ALI has challenged him at the mingled root of his strength and weakness and mustnow face LAWRENCE'S - ‘whole personality. up in arms.

Who are you to know what ean be done?

If we'd done what you thought could be done you'd be back in 'Yenbo now, and nowhere! Whatever I ask them to do, can be done, that's all. .they know that if you don't...!

He drops the cloth, backing from ALI towards a broken opening in the interior wall.

( 110 Ve

II-41

Before ALI can reply, he turns from himtowards the opening and calls in a voice ostensibly warm and confident with an unconscious undernote of fear:

My friends, who will walk on water with me?

But reaching the doorway and looking in he realises that the situation is more critical than he supposed. His expression changes. He becomes alert, cautious. He realises that to get his own way he must at any rate seem reasonable. .

MEDIUM SHOT - what he sees. A small room of the Fort with a charcoal . fire, the sodden robes of the BEDOUIN hanging on cords to dry. The BEDOUIN themselves seated in undress about the room among their :saddles and sheepskins. They look both wild and grim;- defeated veterans. All follow the ensuing debate most closely andimmobile | except that MAJID cleans his rifle throughout. LAWRENCE leans against the doorway in a deliberately leisurely fashion and repeats ~ his question in a quiet and reasonable tone.

This suggestion does not take them by surprise; evidently they have heard of his intention and discussed it.

| LAWRENCE _ I'll go by myself if I have to. MAJID Why ? LAWRENCE

Because I told the English Generals ... the Arab Revolt would be in Deraa when they would be in Jerusalem.

re)

oa =

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AL?

I-42

CLOSE SHOT - LAWRENCE looks round slowly. They avoid his eyes.

Or perhaps you are here for the English Generals?

‘ LAWRENCE is profoundly shocked. It seems that he willileave them.

But then, challenging:

They avoid his eyes. MAJID looks at ALI, ALI

(apologetic but troubled) Rumour.

_ LAWRENCE spits onto the ground.

peace 5

C) 112 QD

©

I-43

Continued, MAJID Aurens! Can you pass for an Arab in an Arab town ? LAWRENCE

(calling back) Yes, (he returns into the doorway and hisses atthem) | If one of you will lend me some dirty clothes!

cut

CLOSE SHOT - THE TURKISH BEY, motionless as an idol, is being driven in his open staff car swiftly through the streets of Deraa. Buildings flash by on either side, people respectfully salaaming.

He is an older man than LAWRENCE, but of very similar type. His face is ascetic, aloof, cultivated, and conscious.

CUT TO

_-A desert street in DERAA ~ LONG SHOT - ANGLING DOWN. The staff car turns a corner into it in the foreground and speeds away. We travel downthis street from the viewpoint of the BEY. Just before we reach the end of the street, TWO DISREPUTABLE FIGURES turn into it. One walks by the wall,the other arrogantly on the crown of

the: roadhas to leap for safety. They are ALI and LAWRENCE.

CLOSE SHOT - LAWRENCE grins.

A TURKISH SERGEANT and TWO ‘PRIVATES turn out of an alley and pass them.

THE CAMERA TRACKS backwards with LAWRENCE and ALI walking towards it, LAWRENCE slowly moving into it as they talk.

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I-44

' ALI (urgent) Do you not see how they look at you?

LAWRENCE walks on.

. At least come into the shadow!

| LAWRENCE : | Peace, Ali, I am invisible.

TURKISH SERGEANT. (ON SOUND TRACK)

Halt! LAWRENCE | Walk on. TURKISH SERGEANT (ON. SOUND TRACK) Halt! | | LAWRENCE | Walk on. | , : .

CLOSE SHOT - A hand is. placed upon his shoulder and he is spun about. |

MEDIUM: SHOT - behind him we see the SERGEANT coming up with : the other PRIVATE. |

And you! MEDIUM SHOT - ALI stops and turns.

TURKISH ‘SERGEANT (looks at ALI appraisingly. Then contemptuously) No-o-o, Imshi!

(CLOSE SHOT. THE THREE TURKISH SOLDIERS looking at LAWRENCE. Their grins harmless, knowing, very nearly friendly)

You.

cr maariranimmaci gp sy

CUT

C) 120

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©

©

© . 122 | lo 123

€ Oo 124

1-45

INTERIOR the working room of the BEY's apartment, lamps lit, a calmly beautiful sunset sky beyond the window. The BEY is sitting

-at'the window, with his face in his long and sensitive hands, motionless

in an attitude of despair. A number of COMMON SOLDIERS stand: about the room at attention; they might be some different species of creature from their immaculate commander. Facing the table are LAWRENCE, TWO SYRIAN RAGGAMUFFINS, absolutely from the depths and a SPECTACLED LEBANESE CLERK with the last remnants of respect- ability. At either side and behind them stand other TURKISH SOLDIEHS:

All wait.

CLOSE SHOT - The TURKS exchange sly grins over the motionless back of the BEY.

CLOSE SHOT - LAWRENCE observes this, meomprehending and fear- fully.

MEDIUM SHOT - Suddenly the BEY raises his melancholy face in which the eyes are burning, and from the way in which the SOLDIERS wipe:

the grins from their faces and stiffen to attention we see that he is no laughing matter to them. He rises and walks round the table to inspect .. the quartette.

-MEDIUM SHOT - The BEY inspects them. His attitude is not truculant,

nor even insulting, is indeed dignified and almost wistful, as though he had some distasteful duty to perform, which habit had not quite inured him to. He pauses fractionally before each man, and his. controlled features faintly register his response. The TWO FILTHY SYRIANS each evoke the sort of horrified disgust rone feels for hopelessly diseased animals, and he passes on, hardly pausing. _He considers the LEBANESE CLERK carefully. The CLERK assays a nervous smile and the BEY passes quickly on. He pauses before LAWRENCE and LAWRENCE microscopically flinches, frightened by the evil in the man, and the BEY turns away awkwardly. But half way back to his table he stops and turns.

Like light the other THREE are hustled from the room, leaving LAWRENCE and the BEY confronting one another where they stand AND FIVE TURKISH SOLDIERS, two behind LAWRENCE, three against the wall. The BEY walks up to LAWRENCE. The TWO behind him move a little closer.

©

11-46

LAWRENCE swallows and stares fascinated at the BEY.

(nodding) How old are you?

He assumes an ingratiating smile. He need not bother. To the BEY he is an object, not a man of any kind.

BEY — ‘You look older ... you have had a lot of

experience... ” (to TURKISH SERGEANT) It is an interesting face.

TURKISH SERGEANT stiffens his attention stupidly. The BEY turns to LAWRENCE. His tone is pleading, almost has a whine to it, but he is talking for himself alone, absorbed in some inner emotional

crisis of his own.

His face twitches minutely and is still again.

I have been in Deraa for three and a half. years now. If they posted me to the dark

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I-47

isolated.

(A faint dreamy smile) You haven't the least idea what I'm talking about, have you?

He has been too quick. For the first time the BEY looks him in the eyes, surprised. |

LAWRENCE does not reply. The, BEY's eyes film again. No, that... that would be too... lucky.

He has a quiet fit of coughing which he screens politely behind his gloved left fist. Before it is quite over he reaches out, and, very much aS @ man opening a parcel, rips LAWRENCE's garment from

the shoulder to : the waist. LAWRENCE starts back instinctively into the TWO TURKS who grasp his arms. The THREE OTHERS stand away from the wall a little, as men who will presently be needed.. The BEY unwraps his parcel, stripping LAWRENCE to the waist, and sees his

scar.

. LAWRENCE (grinning helplessly)

It is old, Effendi.

{in his confusion he says

this almost as if they

wanted to buy it)

ty 124 © ey a) { .

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He removes his right glove and taking LAWRENCE'S pectoral muscle ‘between thumb and finger begins to kneed it.

: BEY

Your skin is very fair. QUICK CLOSE SHOT - LAWRENCE. QUICK CLOSE SHOT’ - THE BEY. QUICK CLOSE SHOT - THE TURKS. . FLASH SHOT - LAWRENCE lashes out and kicks the BEY in the groin. FLASH SHOT - THE BEY flies onto his back. FLASH SHOT - THE SERGEANT dashes his fist into LAWRENCE's face. +

CLOSE SHOT - THE BEY getting to his feet; he is breathing hard and in pain, but his face is again controlled and introverted; he hesitates,

onthe verge of going, then says very clearly:

‘BEY Beat him.

He goes through a door near where he has landed, carefully leaving it ajar.

(ABOUT WHAT FOLLOWS: The material of the incident is violence; — there is a danger that it will be seen as nothing:else, that is, that it will not make its point. That is my reason for advocating a somewhat ritualistic as against a nerve-storming entry to the sequence. If it "goes over the top" so that the understanding of the audience is simply swamped we have failed. )

WIDE ANGLE MEDIUM SHOT from this doorway. The SOLDIERS draw a wooden bench from the wall’ to the centre of the room, while the SERGEANT picks up a plain cane from the BEY's desk. Their

©

‘CLOSE SHOT - the MAN .looks blankly at LAWRENCE and up again

Il-49

attitude is practical, not sinister; and throughout this sequence, friendly, everyday noises float through the window; a distant dog barking, and cart going past, a greeting called.

CLOSE SHOT - the SERGEANT shows the cane to LAWRENCE with a significant, querying half-smile, as much as to say - "And how do you like the prospect of that?"

CLOSE SHOT - LAWRENCE the specialist in pain, is relieved that

- unidentified evil has dwindled to such a little thing as this. He raises. his eyebrows and directs at the SERGEANT a look of cold contempt

and indifferenée,as though at some piece of very bad manners.

CLOSE SHOT - the SERGEANT is puzzled by a response which, in a: wide experience, he has not encountered before. He laoks at the cane as though there might be some flaw in it, hitherto. unnoticed by himself. Then:

MEDIUM SHOT - he looks again at LAWRENCE, now quite intrigued by him. One-handed he gently propels him at the end of it and presses

his shoulder, so that he sits astride it, gripping the edges with his

hands, his face expressing: a healthy resentment but complete’confidence. MEDIUM SHOT - the SERGEANT nods to the SOLDIERS. Four of them come and with technical skill and some violence - but no superfluous violénce - seize his wrists and ankles and ‘jerk him face downwards. CLOSE SHOT'- the.bench comes up to meet us.

MEDIUM SHOT - in profile. LAWRENCE is.on the bench. One SOLDIER has his two wrists and sits on the floor facing him, his

. feet braced against the legs of the bench pulling on LAWRENCE's

arm so that he and LAWRENCE are face to face.

CLOSE SHOT -.This SOLDIER, who has the wooden and rudimentary features of a domestic animal, grins briefly and significantly at LAWRENCE.

CLOSE SHOT - LAWRENCE raises his eyebrows again, very donnish,

deliberately putting several centuries of superiority and contempt between himself and the MAN.

at the SERGEANT with surprise, and almost with alarm.

: . II~50

‘CLOSE SHOT ANGLING UP FROM THIS MAN'S VIEWPOINT.

The SERGEANT shrugs, braces his legs and raises the cane.

EXTREME CLOSE SHOT UP INTO LAWRENCE'S FACE. The

cane whistles down. LAWRENCE's eyes darken a little and he slightly raises his head, but these are mere reflexes; his expression remains exactly as before.

CLOSE SHOT - the SOLDIER again. He looks at LAWRENCE again, puzzled, as a man willlook who draws a bucket from a well which he knows to be full and finds the bucket empty. He looks up again at the SERGEANT. _

CLOSE SHOT FROM HIS VIEWPOINT.. The SERGEANT settles ‘him- self seriously to the job at hand.

'. EXTREME CLOSE SHOT UP INTO LAWRENCE'S FACE. The

cane again. This time the reflexes are stronger and there isa hint of surprise and dawning alarm in LAWRENCE'S eyes.

-MEDIUM SHOT - the BEY has appeared in. the half open doorway.

He is leaning against the wall with a handkerchief to his mouth listening and waiting. We hear the cane again and heavy breathing.

CLOSE SHOT ~ exterior, dusky sunset. ALI in the street outside.

The open window of the. BEY's working room is an orange rectahgle

in the blue-white wall through which the sound. of LAWRENCE's torture comes clearly. Apart from a Turkish flag which flutters in the evening sky, it is a house like others in the narrow street, the rear perhaps. Opposite the doorway the street widens into a small yard with stables. ALI leans stoically against the wall with his arms folded. After two or three strokes he unfolds his arms restlessly, then clasps his hands determinedly. After two or three more he moves away down the street, CAMERA TRACKING before him, the sound diminishing.

But so soon as it is inaudible, he halts straining his ears, hesitates, walks back until he can hear it and:

MEDIUM SHOT - the door and window. Two more strokes and the

- noise stops... a pause... Now the noise of heavy boots... muttered

conversation ... a door Shutting. ... A single voice says one phrase.... silence. No "reaction" shot of ALI until:

CLOSE TRACKING SHOT - he is walking away again but now swiftly. His face is blank. (But NOT shocked, alarmed, outraged).

railway marshalling yard in a wasteland. In the sunset, the rails are dark on the glowing ground. In the middle distance a stationary shunt- ing engine sends up a softly hissing pillar of steam. Nothing else moves.

C) 152 +2 ® © 153 | 154 ‘© |

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CAMERA follows the steam up into the sky which changes from red to dark blue as the steam gives out and the soft hiss ceases.

Descending again to ALI we see that it is now fully night and the criss- cross lines now shine light, against the dark, a maze. in the moonlight

ALI moves back across them (CAMERA tracking him, the moon's reflection in the. interlacing lines travels with us, emphasizing ‘the

equivocation of their changeful directions) to:

opens throwing.a wedge of light in which four MEN stagger out with something heavy which they pitch into the stable yard and return.

MEDIUM CLOSE SHOT - LAWRENCE lies on the rubbish heap. Just before the door shuts after them we see, as his body slides

downwards, what they have done to him.

EXTREME CLOSE SHOT ~ his senseless hand dragging through the rubbish. Snow flakes settle. We hear soft running footsteps and:

CLOSE SHOT - ALI throws himself by his friend. He turns © LAWRENCE's face towards him, staring fiercely. LAWRENCE

slowly turns his head away. DISSOLVE

a snowy Jandscape.

MEDIUM SHOT - one of them is a shapeless:. bundle of clothing jerking passively to the motion of the beast. The other is ALI who has bestowed some of his clothing on his friend.

DISSOLVE

CLOSE SHOT - inside the fort. Night. LAWRENCE lies on his side, on a rough bed, staring into a little fire. ALI stands over him.

REVERSE SHOT - shodting over LAWRENCE (we see the top of his back, bandaged) at ALI. He repeats:

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CLOSE SHOT - LAWRENCE as before, eyes ‘wide open. | DISSOLVE

The same. Day. LAWRENCE is sitting, well wrapped; witha tin billy of rice and meat. He puts it down.

LAWRENCE frowns slightly, makes no other response: Anxious and exasperated, ALI crouches by him, picks up the billy.

ALI

Eat! (he hisses} You have a body, like other men.

‘For the first time, LAWRENCE responds properly; he attends to

ALI's words, takes the billy and begins to eat. ALI, mollified:

DISSOLVE

The same. Night. LAWRENCE is sitting up in the "bed" his weight supported on his arms behind his back, blinking; mildly.

He throws back the covers. ALI extends an arm. With admiring impatience:

I'm going, Ali.

~—-~— —

wt mene

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II-53

163 Continued

We see that this confirms a fear of ALI's, commences a struggle he has feared. He goes quite still. Then; sharply:

"Why?" Heavens... (he lets his voice trail

away expressively)

Why? _ . LAWRENCE (not off-hand; but quiet, . because he is trying to give

truthful answers) ‘I've come to the endof myself. I suppose.

And the end of the Arab Revolt.

I'm not the Arab Revolt, Ali. (with the first surface feeling)

I'm not even an Arab. _ ALI (immediate) - "A man can be whatever he wants. " You said.

: | LAWRENCE I'm sorry. I thought it was true.

- ALI You proved it!

LAWRENCE suddenly takes his own pectoral muscle between finger and thumb (SHOT to echo the BEY as nearly as may be) and speaks, still quietly, but rapidly, with total conviction:

ow, 163 iC

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is it? (he réleases the fold of

pure white flesh) . That's me; and there's nothing I can.

do. do about it.

He can. But.

(grimly) - He can't watt, what he wants.

(he touches his own

. flesh again):

This is the stuff that decides what he wants.

ALI stares at him. He gets a stage farther in dressing. Stops, braces himself, taking in the BEDOUIN who have filled the wall opening

and are watching and listening, and:

. LAWRENCE You may. as well know. I would have told them anything. JI would have told them who Iam. I would have told them where you are,

I tried to. ALI (gently) And so would any man.

man can do.

. LAWRENCE I'll make easy stages.

SE See ee

Nace

T-55

ALI knows he is going and can't or won't answer. LAWRENCE picks

up a huge sheepskin cape and hood.

.. LAWRENCE Can I takethis? ALI

(harsh, almost sneering:) It is not 'clean'. .

With his stiffened back he cannot get it on. ALI assists . him and we see them in CLOSE TWO SHOT, the BEDOUIN behind.

' ALI And these? Having led them here have you no care for them?

_ This touhhes LAWRENCE. But he is strong in his new understanding.

He calls, not looking at them:

And adds to ALI, drawing away, with more than a hint of beseeching, so that the last note of this scene is tender and expectant:

©

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~ CUT CLOSE UF: By way of answer the screen is filled with shining brass and brass music crashes onto the SOUND TRACK. The brassdraws away revealing itself as a TUBA, in full blast, blown by an ARMY BANDSMAN in undress uniform, and that this BANDSMAN is one of some DOZEN, all of whom are marching in step blowing lustily. They form the brass section of a MILITARY BAND at practice. °

and minarets of Jerusalem. The band, led by a DRUM MAJOR marches in the near foreground while iin the background a SMALL FIGURE

in British Officer's uniform makes its way across the open space. The DRUM MAJOR signals smartly with his ornamented baton and the band begins to counter-march. .

MEDIUM SHOT ~- TWO or THREE SOLDIERS in collarless shirts, braces and khaki trousers are playing with a football.. A goal post has been rigged up by hanging a rope between two pillars. The SOLDIERS on the parade ground are potting at the GOALKEEPER between the pillars. We now see that the figure in British Officer's

- uniform is LAWRENCE. | He walks easily through the scene, although

his shoulders are held awkwardly, and his features are more relaxed than we have ever seenthem. He smiles at the FOOTBALLERS as he passes them but they do not notice him. The band music continues.

_EXT. JERUSALEM HEADQUARTERS. (SEVILLE LOCATION)

MEDIUM SHOT. LAWRENCE ‘is walking away from CAMERA towards

-the main gateway :to ALLENBY'S H.Q. The gateway is guarded by

two BRITISH SENTRIES who spring to attention. As LAWRENCE is abou to return their salute the football bounces into picture and rolls after | LAWRENCE, coming to a stop by his side. He stops, and kicks it | back neatly in the direction from which it came.

MEDIUM SHOT - the FOOTBALLERS. The GOALKEEPER traps the _ ball under his foot, while the other 2 PLAYERS acknowledge LAWRENCE' gesture by a friendly wave of the hand.

eS \ | 169

‘looks at them, hot wistfully or pleadingly, but pleased to be among

TI-57

MEDIUM SHOT - LAWRENCE. He returns the waves and goes on through the gate saluting the two GRINNING SENTRIES as. he does so.

trees. Small groups of OFFICERS sit on the low wall among the greenery. One pair plays chess. And individual is absorbed in a

book. Another group vanishes indoors leaving behind it the sound of

laughter. In the centre of the courtyard through which LAWRENCE

is walking is a big Rolls Royce being polished and washed by two

N.C.O. 's in shirtsleeves. AS LAWRENCE passes these groups he

them, unaware that his uniform is a totally inadequate disguise for his inborn strangeness, that he is set apart at a glance. One of the CHESS PLAYERS - who are in the foreground of picture - looks

- up, recognises him and draws the attention of the other to him with

some excitement. Evidently he has a reputation. LAWRENCE

has seen the look and acknowledges it with a half smile. The band music has mutated to the English theme at its most nostalgic and pastoral. The CAMERA PANS with LAWRENCE and we see doors with notices proclaiming their secure and ordered occupants: "Signals. Forward area." "Transport' (Mechanized);' "Brigadier T. H. Smith, D.S.0O." A door opens releasing a clatter of typewriters. A SERGEANT with a pencil behind his ear is arrested in his walk by

a voice from within.

VOICE (off) And get me those P stroke fives, Bill.

He nearly bumps into LAWRENCE who essays a brief nod and

smile (quite dignified, not sychophantic) but the SERGEANT, in the manner of busy clerical men, is too preoccupied to respond as he makes of briskly towards the other side of the courtyard. We hear the incredible tones of the English upper-middle-class on the SOUND TRACK. LAWRENCE'S face lights up.

CLOSE SHOT - the SECRETARY and CAPTAIN, carrying papers, their faces correct, are entering a gateway leading to an inner courtyard. They turn as they see LAWRENCE who runs up to them eagerly from behind.

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SECRETARY

Oh! (smiling with straight-

forward courtesy) Honoured, sir.

The CAMERA TRACKS with the THREE as they walk across the inner courtyard: For a moment they walk in silence, LAWRENCE looking ahead and fidgeting with his uniform, the CAPTAIN casting sidelong

curious glances at him.

We heard youwere, sir. (pleasantly deferential)

What's doing out there?

It is a misconceived attempt to disassociate himself from his reputation, but it is taken for false modesty. The SECRETARY purses his lips.

_ LAWRENCE -Oh, erm... Arabia? : SECRETARY 3 (dryly) Well yes, sir. LAWRENCE

(looking away) .

Oh, nothing much. (he has made it worse, and

adds desperately) Wrong time of year...

The CAPTAINS exchange a glance, SECRETARY raising his eyebrows.

{.)

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II~59

171 Continued

What's doing here? .

The CAMERA PANS with them as they walk on into a MEDIUM SHOT at the other side of the inner courtyard. LAWRENCE thinks desperately

but can think of nothing to say until they reach an open archway with a notice pointing tpwards reading, "General Officer Commanding."

They come to a standstill, the CAPTAINS looking at LAWRENCE. He looks back at them defensively, and checks the buttons of his

uniform.

| LAWRENCE It's borrowed. Someone seems to have

pinched mine.

Bloody wogs.

For perhaps half. a second LAWRENCE's face goes stony. But he is starving for humble pie. He smiles painfully. .

The SECRETARY nods preparatory to leaving. LAWRENCE nods back. The CAPTAINS move off along the outer wall while LAWRENCE turns

inside.

REVERSE CLOSE SHOT - the CAMERA PANS with LAWRENCE as he leaves the archway. A few steps.bring him level with a window-like

© . 174 EOS

II~60

opening in the wall looking out over the courtyard. The two CAPTAINS are walking past on the other side.

LAWRENCE pauses looking after them as they disappear. The old familiar look of defensive contempt appears for a second, but almost as though it were something tahgible he plucks it from his face and walks on out of picture leaving a SHOT OF THE WINDOW with the

courtyard below.

MEDIUM SHOT ~ the CAMERA is shooting up a stone staircase. LAWRENCE climbs the last few steps to the top, turns the corner on to an upper landing, and disappears from view as BENTLEY enters

the foreground of picture and hurries up the steps two at a time.

MEDIUM: SHOT - LAWRENCE opens a glass doorway leading off an open corridor on the first floor. The CAMERA PANS with him

into a LONG SHOT of a stone-walled room. It is the outer ring of ALLENBY's defence works. Two or three CLERKS work at desks,

among them the R.S.M.

The R.S.M. looks up indifferently, sees who it is, and promptly rises smiling. Evidently LAWRENCE is a hero.

I'll believe you,. sir.

He opens a door at the far end.

Across it, walking at a fast pace, comes BENTLEY.

‘

+) 175 |

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I-61

MEDIUM SHOT - the penultimate room. BRIGHTON stands in foreground of picture, turns as LAWRENCE enters.

LAWRENCE passes swiftly through with a friendly wave. The CAMERA ~

CENTRES on BRIGHTON. From the sympathetic warmth of tone and the keenness with which he regards him we see that LAWRENCE's behavior has already aroused anxiety. He follows LAWRENCE with his

eyes. There is the SOUND of a door opening.

CLOSE SHOT - the door. (From inside ALLENBY's room) LAWRENCE enters. He stops short, his face blank. The English theme ends abruptly on a barbaric dissonance of cymbals.

MEDIUM SHOT -a figure in full Arab regalia is more or less silhouetted against an open archway letting out on to a sunny terrace over-looking a garden. As the:reverberations of the cymbals die away. this figure turns and we see it is FEISAL, and that ALLENBY and DRYDEN are also present. The CAMERA PANS with FEISAL as -

he walks towards LAWRENCE smiling courteously.

He joins LAWRENCE in CLOSE SHOT and seizes him by the hand, but as he does so the glow fades from his face and is replaced by

sadness and suspicion.

CLOSE SHOT - ALLENBY and DRYDEN. Their eyes on LAWRENCE. CLOSE SHOT ~ FEISAL and LAWRENCE.

The CAMERA PANS with FEISAL as he leaves LAWRENCE and moves towards ALLENBY and DRYDEN.

©

I-62

179 Continued

. FEISAL Well I will leave you, General. Major Lawrence doubtless has reports to make.

He goes towards a glass door leading directly out on to the open corridor, but pauses to deliver his salvoes.

British interest. (by the door) The French interest too of course, we

mustn't forget the French, now.

180 CLOSE UP - ALLENBY. He is exasperated. _

181 CLOSE UP FEISAL

does exist.

182 CLOSE UP LAWRENCE

Arab,

He sweeps out through the door.

184 CLOSE SHOT - LAWRENCE. There isa silence. He looks from

the door to ALLENBY and DRYDEN..

II-63

185 MEDIUM SHOT ALLENBY, LAWRENCE and DRYDEN. DRYDEN looks curiously and keenly at LAWRENCE.

LAWRENCE spreads his hands to demonstrate mompists incomprehen-~ sion but he is already looking concerned.

. ALLENBY Then what the devils this?

‘He holds up @ paper scrumpled in his fist.

sir.

- ALLENBY

(angry) For what reason! (suspicious ) Are you sure you haven't heard of the

Sykes-Picot icot Treaty?

186 CLOSE SHOT LAWRENCE

(wearily) I can guess.

187 CLOSE SHOT ALLENBY and DRYDEN

Don't guess. (to DRYDEN)

Tell him.

DRYDEN steeples his fingers delicately.

© .

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I-64 |

DRYDEN (cont)

Civil Servant. Mr. Sykes and Monsieur Picot met. And they agreed that, after the war, France and England should share the Turkish Empire. Including Arabia. mney signed an agreement -

(he glances at

ALLENBY) ~notatreaty, sir, an Agreement --- to that effect.

CLOSE SHOT LAWRENCE.

CLOSE SHOT. ALLENBY and DRYDEN

He rises and walks away towards the archway over-looking the garden.

If we've told lies you've told half-lies... And a man who tells lies --- like me --- merely hides the truth.

(softly) But a man who tells half-lies ... has forgotten where he put it.

CLOSE UP LAWRENCE

MEDIUM: SHOT. OVER LAWRENCE on to ALLENBY and DRYDEN DRYDEN looks at him, curiously and cautiously. LAWRENCE turns to ALLENBY and says with a change of tone, officially but with an under- tone of threat almost, anticipating opposition:

TI-65

191 Continued

That's my

. ALLENBY wrinkles his face irritably and grunts interrogatively, and LAWRENCE raises his voice by a desperate little physical effort.

It's... personal!

| ALLENBY | (softly and irritably.

as though LAWRENCE was not speaking clearly)

Personal?

- ALLENBY (starting quietly but incredulous indignation _ breaking through) . Personal? You're a Serving Officer in the Field! And as it happens a damned important

one! Personal? Are you mad?

192 CLOSE UP LAWRENCE. HE is sweating and every muscle in his body is rigid, andhis voice comes high and strained.

CLOSE SHOT ALLENBY has his own strains and he leaps from

his chair, the CAMERA PANNING with him to the window on the opposi’ side of the room from DRYDEN. He stands silently, his back to CAMERA, making and effort to contain himself.

194 CLOSE UP. LAWRENCE

; ALLENBY (off) ..- On the 16th April I'm making my big push on Damascus. And you're part of it.

TI-66

CLOSE UP. ALLENBY. He turns to face LAWRENCE.

CLOSE UP. LAWRENCE. He-is shaking and as he pumps out each separated word he jerks his clenched fists up and down at

his sides.

big push!

. 197 CLOSE UP. DRYDEN. He has been looking away out into the garden, but now he turns his head slowly to look at the two men.

about them?

want Arab friends!

DRYDEN's eyes widen and he stares.

MEDIUM SHOT. From DRYDEN's point ot view we see LAWRENCE's

198 HOT. back in the foreground of picture with ALLENBY standing facing

him at the window in the background. Regular streaks of blood have appeared across the back of LAWRENCE 's too tight jacket.

He has opened the wounds of his flogging.

I've told you; I just want my ration of common

humanity.

clear) Lawrence.

eee. ST

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I-67

ALLENBY sees what DRYDEN has seen. CLOSE SHOT DRYDEN. He sees that ALLENBY has seen.

MEDIUM SHOT. LAWRENCE in foreground, ALLENBY in background. LAWRENCE, wary and puzzled, turns back to ALLENBY who moves forward towards him with an utter change

of tone, shocked but thinking furiously.

DRYDEN crosses picture as he goes swiftly towards the door to BRIGHTON's office.

ALLENBY takes LAWRENCE by the arm and propels him towards the archway leading on to the terrace.

The CAMERA PANS with them. We see DRYDEN shutting the door in the background.

LAWRENCE's hand flies up behind his back. ALLENBY continues, sympathetic but with a calm which is complimentary to LAWRENCE.

D'you want a doctor?

II-68

They go through on to the TERRACE where there are chairs, a small table, drinks, magazines and newspapers.

MEDIUM SHOT. The ORDERLY ROOM. BENTLEY, watched contemptuously by the R.S.M. and ORDERLIES, is trying quite openly, and indifferent to their opinion, to hear at the door of BRIGHTON'S OFFICE. This is opened suddenly by DRYDEN. His face.is shocked and gloomy and he takes no more notice of BENTLEY than if he were a waste paper basket.

CLOSE SHOT. DRYDEN and BENTLEY in the foreground; BRIGHTON seen through the open door in the background. He is Staring at DRYDEN, shocked and anxious.

(vather fearfully) Will I be wanted?

‘DRYDEN closes the door.

DRYDEN commences to walk away from him.

BENTLEY follows.

TI-69

insouciance which isn't meant to be believed)

No really, nothing at all.

lightly) Oh I expect so. We're all in trouble. Life'

a vale of troubles.

BENTLEY overtakes him round a desk and bars his way, adopting a coaxing tone of voice to mitigate the offensive

ness of it, but not

_ _ DRYDEN (cold, contemptuous and sharp) What claim?

BENTLEY — (deprecating shrug) You've read my stuff -- I've made that boy

a hero. (as one who advances

a righteous claim) When the war's over that boy can be anything

he wants!

II-70

202 Continued

somebody else. (suddenly incensed)

Will you kindly allow me to pass?

BENTLEY does so, but, lounging deliberately, speaks deliberately after him.

, BENTLEY Walk away, Dryden, walk away. Always walking away, aren't you?

One of them's half mad. (he had intended to finish

there but adds) ‘And the other -- wholly unscrupulous.

‘He reaches the door and goes out into the sunlight.

203 MEDIUM SHOT. THE. TERRACE outside ALLENBY'S OFFICE. LAWRENCE is seated in a chair. ALLENBY leaning against a

pillar, his bottom on the terrace railing.

And I'm not going back.

There is a short pause. LAWRENCE's eyes are on the General's epaulettes. ALLENBY notices the look, glances at his crowns and crossed swords,, and begins to unbution his jacket.

C) 203

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; T-71

_ ALLENBY Oh yes. And here’s another thing. When you ask for "common humanity” you're crying for the moon. Common humanity's the one thing you can't have.

_ ALLENBY (mildly) There is, for one man every hundred years or so.

Me?

(Again he is careful to keep his voice matter-of-fact, as though this were some small technical judgement he had just made. )

ALLENBY puts his jacket over the back of an empty chair, and

from this point on he adopts the tone used between equals and friends, and friends of such long standing that they can even afford to be brusque. He regards his jacket, chuckling a little ruefully.

He busies himself collecting cigar,cutter, matches from the table.

© 203

©

I-72

ALLENBY sits and seems totally preoccupied with the condition of

his cigar. LAWRENCE does not answer but looks at him suspicious, flattered, comforted, above all longing to accept the paternal embrace that seems to be offered.

LAWRENCE is a little amused and quite surprised by the degree of understanding ALLENBY assumes.

Apparently on impulse he takes from the table a photo of his house and offspring. He peers at it, pointing out a patch of cabbagy flowers in the background. ~

I-73

' Together they study the photo. ALLENBY never looks once at his victim, seems innocently absorbed in the subject of the conversation. He pauses as he replaces the photo, and smiles.

afterwards.

_ LAWRENCE (he hesitates cautiously, but says) I'd like to.

_- And it is almost like a physical object he has handed to ALLENBY -- the keys of his citadel.

ALLENBY

I've got good soil, good compost, I buy good plants. AndI'm a conscientious gardener. ButI don't have the luck to be a good one. So

_ (he grins) I'm a gardening sort of general. Most generals are. But there have been poet generals. Xenophon was one. Hannibal ... Nelson was the last. I think you're

another ...

LAWRENCE |

(his tone sceptical but his smile tremulous and reproachful)

__ Nelson, and me?

He is asking ALLENBY to be merciful.

ALLENBY

Not to an extraordinary man it isn't.

O

cay LAWRENCE (almost desperately) No!

o ALLENBY (in his cunning adopts a tone of irritation) Look, Lawrence, I've taken those things off -- — (rubs his shoulder) oO -~ and I don't feel happy without them. I believe your name will be a household word when you'd have to go to the War Museum to find who Allenby was.

© He makes this statement very deliberate. His voice now becomes low, confidential, but very steady; it is temptation incarnate.

204 CLOSE UP. LAWRENCE

“ ALLENBY (off) mad You are the most extraordinary man I

ever met.

(quick and low) -- Leave me alone.

q)

TI-75

CLOSE SHOT. ALLENBY over LAWRENCE. After a pause, ALLENBY shrugs, and the CAMERA PANS with him as he rises and moves away with feigned hostility, turning his back looking out over the garden,

the very image of a disappointed father.

CLOSE UP. LAWRENCE looks at ALLENBY's back longingly. He hesitates and is lost. He prevaricates:

. ALLENBY (off) (short) That's not what I'm saying.

Suddenly LAWRENCE's immobility flies apart. He is thrown about in his chair by muscular stresses ~- much as a man might respond to a thumbscrew -~ and he cries out:

His tone in saying this is as though he were saying, "All right I've got cancer!" A tone of desperate lament... But then abruptly having accepted it, he freezes again and looking at ALLENBY he says in avery different tone quietly mocking, from a superior knowledge.

CLOSE UP. ALLENBY. He is now looking at LAWRENCE, but has not yet caught the reversal of their positions.

MEDIUM.SHOT. ALLENBY walks back towards his chair.

©

T-76

ALLENBY is nonplussed and begins to be uneasy. LAWRENCE says in a deadly voice.

LAWRENCE interrupts him rising from his chair and walking a few paces along the terrace where he stands in an archway his back to

' the General.

ALLENBY watches him, cautiously. He turns. He addresses ALLENBY quite politely but not looking at him, as though he were

a subordinate.

. ALLENBY Yes. Can you doit. I'll give you a lot of money. -

Artillery ?

. _ W-77

on 208 Continued

' C LAWRENCE (now looking at him) boo, They won't be coming for money, the best ms of them. They'll be coming for Damascus. , (very steadily) Which I'm going to give them.

209 CLOSE SHOT. ALLENBY looking up at LAWRENCE from his chair. He blinks, but recovers immediately.

, , ALLENBY That's all I want.

~ 210 CLOSE SHOT. LAWRENCE

211 CLOSE SHOT. ALLENBY LAWRENCE (off) -You can tell the politicians to burn their bit of paper, now. ( ALLENBY -(spuriously boisterous) Fair enough!

212 CLOSE SHOT. LAWRENCE. He looks away from ALLENBY and speaks almost idly, throwing his pearls for ALLENBY to pick up if

C he can.

It's going to happen...

Cc (looking at him again, of quite brisk and matter ‘a of fact)

I shall want quite a lot of money.

\ c Segal 212

©

ia Ne 216

I-78

~ He leaves the courtyard and walks towards the CAMERA, looming ‘up in the frame against the background of a fresco on the wall.

He is now in BIG CLOSE UP. His lip quivers slightly and his eyes glow.

in two long lines, very well ordered. In front of their men the Sheiks either sit ‘their beasts or stand beside them ready to mount, their Standard Bearers behind them. The camels are kneeling, their riders ready.. The HORSEMAN nearest CAMERA look off (past CAMERA) stiffens, standing in his stirrups. He raises his voice in

a shrill cry.

excitement camels rear up, horsemen mount, all together so that

the whole line rises in one movement. At the far end of the corridor formed by the lines are two isolated horsemen, and a van with a

man on the roof drives out and joins them. (About this van: itis |

a civilian, not an army vehicle - something Bentley has begged, borrowed or stolen. I would even say it should have lettering: "T.I. Mkapolous and Son, Gordon St., Alexandria, Finest Fresh Breads Delivered". Itis vital in this scene to signal to the audience that we are not offering magnificence in lieu of a properly controlled finale, like a Charlton Heston Sampson and Delilah, that we the film- makers do not take it at face value. Bentley is the vitalizing point of disturb- ance in this epic atmosphere which he will enrich, not destroy, if we use him bodily. Nothing like a streak of low comedy running through a scene of high drama - vide the late William Shakespeare. )

MEDIUM CLOSE SHOT. The man on the roof is BENTLEY, witha tripod camera. The two horsemen are ALI and AUDA.

c 216

©

C

e

F Cc ‘\ 219 220°

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| . BENTLEY It's not for you Sheik Auda, it’s for Major Lawrence; he doesn't mind having his

picture taken. (he adds for ALI’s: benefit)

He doesn't. mind at all.

AUDA knows this is true and he regards it as a fault. He removes himself from this offensive man a few yards, grumbling:

_ AUDA Well... There is only one Aurens ...

And staring keenly off towards:

a bunch of camel men, riding rapidly, a white figure among them.

MEDIUM SHOT. BENTLEY and ALI. BENTLEY ostensibly busies himself with his camera, says lightly:

' ALI Yes. BENTLEY Changed, hasn't he? | ALI (loyally) No. BENTLEY — Oh I'd say he had. Different man, I'd say.

I-80

220 Continued

© | same man humbled!

“(the humbleness was an added virtue evidently) What did the English General do to him, in

Jerusalem ?

© BENTLEY . (amused and pleased by ALI's percipience) Seach me. Ask Aurens.

-™~

© ow 221 LONG SHOT as for 214, 217, 219, but now LAWRENCE and his group are nearly at the entrance to the corridor.

222 BENTLEY and ALI, as before.

( , BENTLEY (chirpily ignoring ALI's .deep and apprehensive tone) D'you take it?

of 223 MEDIUM CLOSE SHOT. LAWRENCE and his BODYGUARD ride

we between the ranks. (On SOUND TRACK the Tribesmen break into adulation, some shouting his name, some simply shouting, so.that there is a gradually rising fury of sound underlain by the chant 'E] Aurens!"

1-81

as he progresses) They ride tightly bunched, not filling the screen. | LAWRENCE is at the head, but definitely one of them, not removed. He is mounted on a magnificent white camel, outrageously caparisoned, though he himself is still all white. His expression is exalted; this we have seen before. But it is also unwittingly desperate - he is not fully aware of himself, imperfectly in control of himself - and this we have not seen before. The BODYGUARD ride beautifully, every man an expert. LAWRENCE turns his eyes from side to side, taking in the Army, but the BODYGUARD keep: their brutalized faces immobile, save perhaps for a faint suggestion of a sneer, a secret rather nasty joke. They are contemptuous of all this merely legitmate might. Outsiders who have sold themselves to LAWRENCE, they concern themselves with him only. They are all of a kind. They are superbly dressed, armed to the tetth.

TRACK SHOT. Along the face of the ARAB ARMY. We now See that behind and among the Tribesmen are men of a different kind, mounted on mules, even donkeys, some very poorly dressed, in literal black rags, one or two doubled up on rangy farm camels. But all have rifles and bandoliers - British Arm Webbing in the case of the poorer. All are in a state of wild excitement, but we now pass a Sheik, sitting his horse before his men, and as he sees LAWRENCE's party :

As for 224. The SHEIK looks horrified, bewildered, alarmed, in contrast to the open mouths, staring eyes and wildly flapping arms behind him.

As for 223. LAWRENCE and BODYGUARD.

As for 224 TRACKING ALONG the Arab Army. Another Sheik with the

same reaction. As for 223 and 227. LAWRENCE and BODYGUARD.

As for 224 and 228, TRACKING. ANOTHER SHEIK with the same

’ reaction.

CLOSE SHOT ALI. The van behindhim. He is reacting exactly like the. three SHEIKS. But bewilderment and alarm give way to indignation. He whips his horse and takes off down the corridor.

LAWRENCE and his BODYGUARD, half way up the corridor now, with the adulation at its climax, are joined by ALI.

©)

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231 Continued

ALI turns in his saddle and inspects them with the cold eye of the . aristocrat, then turning back:

There's a price on my head, too.

LAWRENCE _ (flatly) These men are mine.

ALI is unwilling to accept the meaning of all this. He reasons: ALI

Aurens, these things know nothing of the Arab Revolt - You! Khitan of Aleppo!

231A CLOSE SHOT. KHITAN, spokesman for the BODYGUARD.

Aye, but for what?

{0

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231A Continued

ALI turning back, is horrified to find the insolent smile of KHITAN © reflected in the face of LAWRENCE, who has heard the interchange.

231B MEDIUM SHOT. The yelling tribesmen.

That is different. (gesturing to BODYGUARD , hotly)

These are not ordinary men _-

He means they are monsters but LAWRENCE chooses tomisunderstand him. interrupting heavily:

And he comes down heavily on the phrase, awakening echoes of Second Azrak and Corruption scenes. He whips up his mount and the BODY- GUARD surge after him, leaving ALI to pull his way out of it as best he can. He looks after them, full of foreboding. The Tribesmen fall more quiet, wondering what LAWRENCE will do.

down the corridor, towards AUDA.

231D CLOSE SHOT AUDA. He spurs off to meet. LAWRENCE. The Army falls silent.

231E

231F

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CLOSE MOVING SHOT. THE BODYGUARD have formed the open "U"' formation in which they will ride, protecting LAWRENCE from contact with the common herd.

CLOSE MOVING SHOT. On the outside of the BODYGUARD, AUDA on his horse cannot approach LAWRENCE. He gradually falls behind, his

‘face dark, not with anger or foreboding, but incomprehension.

231G

231H

CLOSE MOVING SHOT. LAWRENCE, at the end of the corridor now, simply raises his stick and increases his pace to a gallop, crying:

It catches the assembled Tribesmen unprepared, then in one beat they roar and spur after him, the swifter to the fore.

MEDIUM TRACKING SHOT. BENTLEY bumps along on the roof of his van, eagerly taking pictures of the motley units of the Army as they pour past him. ALI reins alongside, looking down sternly. BENTLEY

chooses his tone.

234 I

BENTLEY a Ah, come on Sherif. My little machine | can't put the curse on a whole army!

AERIAL LONG SHOT. MUSIC UP. The ARAB ARMY streams away, 2 very rough broad arrow behind LAWRENCE and the BODYGUARD,

trailing stragglers. like streamers of seaweed. Leaving BENTLEY and his van behind.

DISSOLVE

MEDIUM SHOT. A large British Army tent, Interior. It is pitched On bare earth by the road to DAMASCUS. Outside we hear a Military band receding "Goodbye Tipperary", and the regular tramp of infantry,

- and motor vehicles in low gear: a Brigade going up to the Front.

ALLENBY sits at a camp table on a camp chair in an attitude of enforced patience, stirring a cup of tea. His dress exhibits those. little personal irregularities which Officers permit themselves on active service.

REVERSE SHOT. Before him sit four groups of high ranking STAFF OFFICERS at. four tables littered with papers. The largest group is Infantry, administrative and thoughtful; the next Artillery, very busy; at.the next Cavalry, conscientiously dashing, booted legs crossed; finally the Specialists --- Native Affairs, Allied Liaison, Medicals, Signals. At the moment every one of these important men is silently

i)

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stirring a cup of tea and staring sternly at the CAMERA (i.e. at ALLENBY) except for the Artillery table which is even now being served from a large tray by a white-coated Arab SERVANT, who then goes, through the flap which is whipped open and shut after him by a Military Policeman on guard outside. At once:

Cavalry Officers show a certain consciousness. Others poker-faced.

If the enemy's retreating in any kind of order --- which we'd better assume ---?

ALLENBY | --- Certainly ---

All eyes turn on the INFANTRY GENERAL. A more cautious spirit.

rome 233 Continued

That'll do for now.

I-86

- up now sir. But Mallud... Could have the

Fusiliers there by Wednesday, sir. ALLEN BY

(to ARTILLERY GENERAL) The guns are what matter.

- ARTILLERY GENERAL (quietly reassuring) Understood sir.

ALLENBY goes, breaking up the meeting; his gait shows he has some specific task awaiting elsewhere but he pauses by the ARTILLERY GENERAL to take his arm and murmur:

234 EXTERIOR NIGHT. The-rumble of guns, the horizon flickering.

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REVERSE SHOT. The feet of camels pace in soft sand. Low drum MUSIC mingles with the rumble. The light flickers faintly. CAMERA lifts to reveal the faces of LAWRENCE and the LEADERS, lit by the same light. Behind them the dark mass of the Arab Army shuffles forwards. LAWRENCE rides in aclear space, protected

by the BODYGUARD, the LEADERS excluded.

- ALI (softly) God help the men who lie under that.

AUDA, his face gloomy and disapproving, grunts agreement, nodding at ALI. LAWRENCE from his artificial solitude raises his voice.

BODYGUARD laugh softly. LAWRENCE is, for the first time, playing unconsciously with his pistol, clicking the hammer and spinning the chambers. ALI looks at him.

CuT

DAYTIME. The High Road to DAMASCUS. (MUSIC, English theme) British Army men and vehicles swing pastus. All is different as maybe from the wildly individual horde of the Arab Army. Faces

are fair, hair is golden, uniforms bleached and laundered. There must inevitably be sweat and dust but this is the merest film upon

the basic good order. In a series of shots we see the men from slightly above to emphasize their humanity, the vehicles from slightly below to emphasize their prowess. On vehicles and shoulder flashes we read the pastoral names: "Green Howards" “Sussex Yeomanry” "Duke of Cornwall's Light Infantry". Oneopen car is uncomfortably filled with War Correspondents, one of them BENTLEY- Then guns --- everything shining and buckled down,. nothing loose, flapping, jerking as among LAWRENCE's promiscuous riders. By the side of the road we come upon ALLENBY 's Staff Car, engine revving. By it a camel is being led away by an N.C.O. wearing a khaki kaffir. BRIGHTON Similarly clad, is in the act of slamming the car door and seating himself in it, by ALLENBY. As he does so the car moves off.

ion 236

© ;

7 A237 ‘ae

| 237 Qo

om, .f ’ hse!

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They avoid one another's eyes.

. (grunts) I wonder where they are...

CUT TO

MEDIUM CLOSE SHOT (probably long focus lens) Part of the village can be. seen through wisps of smoke rising from black and charred foreground. The CAMERA PANS a little following a BRIGHTLY COLOURED PIECE OF WOMAN'S CLOTHING as it blows up a path- way behind the smoke and comes to rest on what appears to be a HUMAN HAND sticking up out of the debris.

woman.

CLOSE TRACKING SHOT. (from behind) On the BACK OF A YOUNG |

SOLDIER at the end of the column. He turns and looks back right to left towards camera. We see he has a peasant, bovine face. A MAN next to him slaps him on the back and he turns his head round again.

CAMERA CRANES ypwards and thus discloses a LONG SHOT of the whole COLUMN as it moves away from ‘us.

©

241A

242A

243A

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CLOSE SHOT, A GROUP OFSICK AND EXHAUSTED MEN lying huddled on the floor ofa jolting cart. Besides them walk OTHER MEN hanging on the cart which supports their flagging energy. (Try and select sympathetic peasant faces).

CLOSE TRACKING SHOT A GUN CARRIAGE. AN EXHAUSTED MIDDLE-AGED MAN sits among a collection of bedding, buckets, nosebags and a coop of chickens.

BIG CLOSE SHOT. TRACKING - THE MIDDLE-AGED MAN (Chickens in the background) He stares vacantly ahead.

out in the desert in front of him.

CLOSE TRACKING SHOT On the BACKS OF THE LEADING COLUMN. The back of the TURKISH COMM Dea: silhouetted against the glaring desert beyond.

MEDIUM SHOT: A GROUP OF TURKISH SOLDIERS surrounding a section of CAMP KITCHENS piled with rifles, bandoliers, rugs and kitchen utensils. The CLANGING NOISE which we have heard throughout the sequence “is now shown to come from:

CLOSE SHOT TWO IRON LADLES swing against each other with a raucous Cclamour like a parody of church bells. The LADLES swing into BIG CLOSE UP, their clanging becomes louder and louder.

CUT TO |

CLOSE SHOT The SCREEN is momentarily MAUVE, the mauve of Lawrence's banner; it passes out of picture disclosing LAWRENCE himself. He is sitting tense on his camel looking around the village his breath coming in gasps. He stirs his camel onwards and we see the ARAB ARMY passing through the ruins. (Possibly craning upwards as LAWRENCE goes out of picture)

CLOSE SHOT. . From behind a foreground of the PINIONED MAN (whom we saw in the first long shot with the Turkish Column). AUDA rides up into CLOSE SHOT, his face black with anger and certainty.

MEDIUM SHOT. THE CAMERA is shooting on to the: backs of a GROUP OF HORSEMEN led by AUDA as they mount the ridge over the village. THE CAMERA CRANES upwards disclosing the TURKISH COLUMN on the plain beyond.

247 |

TI-90

appearing over the ridge.

CLOSE SHOT ALI (with the village behind) He comes to a standstill.

on the ridge, apprehensive, appalled by the emotions which are

rapidly gathering force around him. LAWRENCE enters the foreground

of picture in BIG CLOSE. UP. He stops gazing out across the plain.

It is quite apparent that he is wrestling with inner conflicts beyond

the immediate situation. There is the SOUND of a distant bugle. |

MEDIUM SHOT. THE TURKISH COLUMN. There is a spurt of | . sudden activity, the SOLDIERS look back fearfully and spur on their | animals. The BUGLE continues loud.

the plain. The REAR COLUMN still moving up behind. KHITAN moves

into BIG CLOSE SHOT in foreground of picture. He looks straight ; ahead.

BIG CLOSE UP. LAWRENCE with ALI beside him in the background BOTH MEN have heard KHITAN. LAWRENCE's breathing becomes more rapid. ALJ looks at him closely.

-ALI . (warningly and anxiously) Damascus, Aurens...

LAWRENCE appears not to have heard. There is 2 SOUND of horses’ _ hooves. !

CLOSE UP AUDA comes to a halt in BIG CLOSE UP with LAWRENCE and ALI in the background. AUDA looks out over the plain. He draws his sword with a grating ring.

CLOSE UP LAWRENCE and ALI.

Mee

254A

259 ©

II-91

CLOSE UP KHITAN, now very excited.

BIG CLOSE UP LAWRENCE, again he seems to have heard KHITAN's remark. He looks terrified. His eyes stare inwards, he licks his

lips; he is shaken by a last conflict with the diabolic in himself. Therc is the SOUND of horses hooves. LAWRENCE glances over to his right

HORSEMAN is coming out from the line, ahead of the others. All

eyes are upon him. CLOSE SHOT. LAWRENCE, ALI and AUDA

_ AUDA (holding up his hand to stop any interference from LAWRENCE) This was Talaal's village!

CLOSE SHOT. TALAAL comes to a2 halt in the foreground of picture, his back to camera. In the background is the "TURKISH COLUMN.

CLOSE UP TALAAL. He looks fixedly after the Turks. He suddenly takes hold of himself, draws his sword, dashes his stirrups into the mare's flanks and gallops out of picture.

BIG CLOSE UP LAWRENCE. A shivering intake of breath.

still, in foreground of picture with TALAAL galloping away from them towards the TURKISH COLUMN in the background.

CLOSE SHOT. AUDA watching TALAAL.

CLOSE SHOT. ALI watching TALAAL.

LONG FOCUS PANNING SHOT of TALAAL's charge. Bending low

and swaying in the saddle TALAAL charges across the plain. THE CAMERA ZOOMS in until he and his mount are filling the screen.

I-92

MEDIUM SHOT. The REAR OF THE TURKISH COLUMN has come to ahalt. In foreground of picture ONE OR TWO TURKISH SOLDIERS stand gaping, mesmerised by the charge. In the background CTHER

SOLDIERS run for their weapons.

CLOSE TRACKING SHOT. TALAAL. He rises up in the saddle, raisr« his sword and cries in a tremendous shout:

CLOSE SHOT. A GROUP OF TURKISH RIFLEMEN kneel and fire.

MEDIUM SHOT. Through a foreground of RIFLE SMOKE we see TALAAL and his HORSE crash to the ground and slither to the feet

of the TURKISH RIFLEMEN.

EXTREME CLOSE SHOT. TALAAL's body rolls over towards camera revealing BIG CLOSE UP, BLOOD-SOAKED DUST AND SAND.

CLOSE SHOT. LAWRENCE. He gulps convulsively, then shouts with a terrible conviction:

- and he is off.

CLOSE UP. AUDA. . With a terrifying ruthlessness he spurs his horse » on out of picture.

CLOSE UP KHITAN. He is almost laughing. He too moves on out of picture.

CLOSE SHOT. ALI. In the background the ARAB ARMY is moving forward and past him in a wave. He lugs out his sword.

He spurs his horse forward. THE CAMERA begins to TRACK

And he too is swept up into the frenzy.

{ i oa

II-93

plain. As they gather speed the thudof horses hooves rises in crescendo as they pass CAMERA in a cloud of dust.

CLOSE TRACKING SHOT LAWRENCE. His face is distorted with a sort of dreadful mirth. He subconsciously raises his pistol. What he's always wanted - dreaded - is upon him.

BIG CLOSE UP THE LADLES of the CAMP KITCHEN clang together with unnatural loudness and move rapidly away froin camera into a MEDIUM SHOT disclosing a chaotic picture of turning wheels, running feet and men on donkeys - all fleeing from camera.

MEDIUM SHOT (57 mm?) The DEAD BODIES of TALAAL and his HORSE form the foreground of the picture. The first wave of the ARAB ARMY sweep around and over them.

CLOSE SHOT. A GROUP of some HALF DOZEN KNEELING TURKISH RIFLEMEN ~ now some yards from the rear of the retreating Turkish Column - fire a volley.

CLOSE SHOT TRACKING. TWO ARABS are swept from their horses. A BANNER crashes down in front of camera.

the distance. Spasmodic rifle fire is taken up all along the line.

Like a great wave THE ARAB ARMY streams in from under.camera about to engulf the Turkish rear.

MEDIUM SHOT (57mm STATIC CAMERA) The CHARGING ARAB HORSEMEN as seen from the rear of the Column. In the foreground of picture the HEADS and SHOULDERS of the TURKISH RIFLEMEN, their backs to camera, rise up with their hands above their heads.

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CLOSE SHOT TRACKING: AUDA and his BODYGUARD fire from the

. saddle.

CLOSE UP TRACKING. LAWRENCE, his eyes wild and staring. |

CLOSE SHOT. THE TURKISH RIFLEMEN lying sprawled over each other dead. Flying horses hooves obliterate them.

engulf the TURKISH COLUMN in a'U' shaped formation, HORSEMEN dashing up on either side, firing into the panicking TURKS.

CLOSE SHOT. THE TURKISH COMMANDER, his HORSE rearing, surrounded by fleeing MEN and ANIMALS, shouts orders into the bedlam He leaps from his horse. (Not more than five feet in all).

past on either side of the TURKISH COLUMN, turning it into a dusty corridor of panic, violence and death. The CAMERA PANS with the ARABS as they blast their way along the column.

CLOSE SHOT. A GROUP OF TERRIFIED TURKS sheltering against a vehicle, the FARSIDE ARAB HORSEMEN racing past in background.

MEDIUM SHOT. MUSIC CUT. A group of Turks under the frenzied direction of the COMMANDER, is unlimbering two field guns.

MEDIUM SHOT. AUDA, still followed by his standard bearer, and his section, stares keenly, points and sets off another charge. MUSIC.

hurtle towards the gun crews and the COMMANDER, who have their backs turned, and are facing a group of the BODYGUARD who wheel to charge in the distance. Then we are on top of them:

CLOSE SHOT. MUSIC continuing; they turn: some scream. CLOSE SHOT. AUDA hacking downwards with his sword. MUSIC CUTS CLOSE SHOT. TURKISH feet run diagonally across the screen.

CLOSE SHOT. TURKISH feet run diagonally across the screen in the opposite direction.

CLOSE SHOT. Horses hooves. .MUSIC. CLOSE FLASH SHOT. ALI sabering into the CAMERA.

CLOSE TRACKING SHOT. LAWRENCE and a group of the BODY- GUARD, charge.

}

' He drops his sword and dismounts for it.

-95

CLOSE TRACKING SHOT. The Turkish kitchen units flee before the CAMERA. The BODYGUARD rides through and over them leaving them sprawled and bloody. ~ he

CLOSE SHOT. ALI wheels his horse, he stares at:

CLOSE SHOT. LAWRENCE fires his pistol point-blank into a man's

face.

CLOSE SHOT. A compact mass of BEDOUIN, led by LAWRENCE, flashes across the screen.

CLOSE SHOT. Speeding towards a single Turkish SOLDIER.

CLOSE SHOT. LAWRENCE riding full belt at the CAMERA raises

his pistol.

CLOSE SHOT. TURKISH SOLDIER goes over backwards, his face bloody. MUSIC CUTS.

MEDIUM SHOTS. Turkish Soldiers stumble blindly ‘through-the swirling dust in every direction.

CLOSE SHOT. AUDA in the dust hacking.

CLOSE SHOT. ALI, in the dust, coughing. CLOSE SHOT. LAWRENCE in the dust, firing.

MEDIUM SHOT. MUSIC, Four Turkish Soldiers run into comparatively clean air from the dust.

MEDIUM SHOT. A group of twenty or thirty BEDOUIN pursue them. CLOSE SHOT. The TURKS are cut down in a flash.

MUSIC CUT. ALI watching this, breathing hard.

He picks it up and stares He looks about.

CLOSE SHOT.

blinking like a man coming from a trance.

©

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I-96

MEDIUM SHOT. The BEDOUIN are disappearing back into the drifting pall of dust along the fringe of which lie bodies of men

_ and horses.

MEDIUM SHOT. Another little group of TURKS run from the dust pall towards the CAMERA.

CLOSE SHOT. ALI watches them indifferently. It is obvious he will let them go.

MEDIUM SHOT. MUSIC. When the TURKS are quite near they see ALI and are terror struck. Then they fall on their knees. But LAWRENCE and the BODYGUARD appear like a thunderbolt out of the dust pall. They tear up to and pass the TURKS, LAWRENCE firing, the BODYGUARD striking out. The TURKS fall.

- CLOSE SHOT. ALI. He calls as LAWRENCE flashes past him.

MEDIUM SHOT. LAWRENCE wheels and gallops past again with his men.

CLOSE SHOT. ALI calls after him again.

CLOSE FLASH SHOT. LAWRENCE, unheeding, returns to the carnage, his zece stupefied with excitement.

MEDIUM SHOT. MUSIC CUTS. A group of some fifty TURKISH SOLDIERS are herded together and raising their hands looking ‘straight at, and backing away from:

CLOSE SHOT. AUDA, with his men on either side of him, trots slowly towards them. He stops. He sheathes his sword, he raises his rifle; his men follow suit. .

MEDIUM SHOT. The TURKS turn and run. CLOSE SHOT. AUDA and his men firing.

CLOSE TRACKING SHOT. ALI searches amongst the dust, which shows in glimpses the result of the carnage, calling:

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I-97

CLOSE SHOT. A TURK runs across his front, followed a moment later by dismounted BODYGUARD holding swords, two

handed.

CLOSE SHOT. In the dust a mounted BEDOUIN is shooting a group of harnessed Turkish baggage animals, methodically reloading before each round. The range is about five yards and the horses are

screaming.

CLOSE SHOT. LAWRENCE and the BODYGUARD on the fringe of the pall, his back tous. The sun is low behindthem. ALI appears

at a little distance. Aurens!

CLOSE SHOT. LAWRENCE turns his head slightly. We see his face but ALI approaching cannot. It is quite mindless and very frightening. He is reloading the chambers of his pistol.

ALI

Aurens! (Joins him)

Enough!

- EXTREME CLOSE SHOT. LAWRENCBE's hands reloading the pistol.

While on SOUND TRACK ALI repeats. Enough! Make them stop!

CLOSE SHOT. LAWRENCE turns his face slowly from us to the CAMERA. We cannot see it but ALI can. He stares, his eyes widening. He backs his horse instinctively.

MEDIUM SHOT. A group of TURKISH. OFFICERS, some on horses, others clinging to their stirrups, break away in the distance.

uefirem SHOT. LAWRENCE sees them. His face blazes again. Hé« shouts and with the BODYGUARD takes off after them. The dust

closes over ALI whose face is aghast. CLOSE SHOT. A Turkish corpse in the billowing bust.

CLOSE TRACKING SHOT. In the billowing dust a ludicrous and apocalyptic figure appears. It is an elderly TURKISH SOLDIER, unarmed, his face caked with dry blood, mounted on a DONKEY. He gabbles the name of God in an audible voice as he appears and

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disappears in the dust. CLOSE SHOT. An Arab stalks through the dust, his rifle ready.

CLOSE SHOT. A TURK stumbles wildly through the dust in any direction. He stops when he comes upon: »

CLOSE SHOT. A BEDOUIN removing the boots from a group of corpses. He takes up his rifle and shoots the TURK.

CLOSE SHOT. The MAN ON THE DONKEY leaves the dust and makes for open country. The moon is rising.

CLOSE SHOT. Three or four BEDOUIN trot silently, their rifles ready. a

CLOSE SHOT. A heap of dead donkeys, tangled in the harness of up~ turned little trucks, coughing is heard in the dust.

CLOSE SHOT. A BODYGUARD cocks his head and listens intently to the coughing; a pistol in his hands.

CLOSE SHOT. AUDA sees, takes off after him. CLOSESHOT. The man hears AUDA COMING. He spurs his donkey.

MEDIUM SHOT. The MAN ON THE DONKEY towards us. AUDA is coming up behind him. When the TURK is right up to the CAMERA, AUDA is right up with him and for a second fills the screen.

CLOSE SHOT. AUDA reins in; the dead TURK behind him; the donkey standing. AUDA sheathes his sword, takes out his rifle and shoots the donkey.

CLOSE SHOT. His graphic face is merciless and stern but not excited It is the face of Mars satisfied.

the hills. CAMERA pans round the hills to:

MEDIUM SHOT. LAWRENCE onan eminence, mounted on his camel, looking over what he has done, which we have not yet seen. ALI is in a parallel stance but removed at a distance from him.

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MEDIUM SHOT. Behind them BENTLEY approaches on a peasant's camel with a dilapidated saddle, precariously hanging on, a vulgarly comical figure.

CLOSE SHOT. He shouts out: (he is eager for his story)

He slithers down protecting his camera, not himself, and runs up the incline panting. But when he sees what is to be seen his expression

changes: Jesus wept!

This is an expression of pure shock, but after a pause his face disclose: a fund of natural pity and the sadness of his too wide experience, too

little understood. Deeply and simply:

half-stripped bodies of the TURKS lie like ivory in the pale light, in swathes and rows. It is a Golgotha. A few ARABS. make their way amor,. them, stooping. From this distance ALI calls, his voice cracking with

bitterness.

CAMERA approaches him.

Surely you know the Arabs are a barbarous people! ... Barbarous and cruel? Who but they ----?

(He swallows) Who but they ----- ?

(He breaks off)

CLOSE SHOT, BENTLEY, looking up at the mounted figure of LAWRENCE in a tone not of hatred or disgust, but of lamentation for a

fallen hero: .

He aims his camera, and we see LAWRENCE from his viewpoint, a magnificent and romantic figure against the sky, and himself crouching like an inferior animal.

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bo. . v 366

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T-100

BENTLEY (cont)

Here. Let me take your rotten bloody picture,

He does so and aims his camera again. For the rotten bloody newspapers. LAWRENCE suffers it, his face like marble in the magnesium flare, CUT

CLOSE TRACKING SHOT.

A galloping ARAB HORSEMAN. He carri+: a bunch of unripe grapes.

CUT TO LAWRENCE as before, but now entirely alone. The horseman reins in and holds out the grapes..

These were cut last night Aurens --- in Damascus:

LAWRENCE.

CLOSE SHOT. He takes them and stares at them.

EXTREME CLOSE SHOT. The translucent green beads of fruit quiver in his hands, while on SOUND TRACK the HORSEMAN repeats inviting):

- "Damascus" One or two of the grapes break off and lie in LAWRENCE's palm.

MEDIUM SHOT. LAWRENCE hands the bunch back to the HORSEMAN | and regards them in the HORSEMAN's hands.

Tell him... remind him .

He takes a shuddering breath and looks away hoplessly. The HORSEMA:

turns his horse. LAWRENCE's eyes fall upon the grapes in his hand.

O° 367

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Ii-101

He cuts off his awareness of the man. Slowly and mechanically he puts the grapes in his mouth. The expression of his haunted eyes does not change one iota but his lips twitch in a reflex against the

bitterness of the fruit.

The HORSEMAN goes. CUT

ALLENBY is striding, a conquering Caesar, through his improvised Headquarters in Damascus. CAMERA retreating before him. At one elbow walks BRIGHTON, at the other a MAJOR. Behind are the A.D.C. and DRYDEN. Having this very minute arrived, ALLENBY is travel-stained and tired looking, and carries his cap.

The A.D.C, likewise. DRYDEN carries his Panama hat and stick and looks fatigued, though immaculate. The MAJOR and BRIGHTON having been there some time, are cleaner and without their caps, and BRIGHTON is also without Sam Browne or jacket. The MAJORis a sort of Military Major-Domo, fussy and self-important, and he is showing ALLENBY to his quarters. He runs ahead to open doors, indicates to left and right the preparations that are being made in

the halls through which they pass. He has an exact half of ALLENBY's attention; BRIGHTON has the other. Trestle tables and chairs are carried in one after another; papers, typewriters and files are placed and ordered by a host of Clerical N,.C.0O.'s, while Signalmen swiftly unwind spools of telephone cable in contrary directions. Their many voices and the banging and slapping of their equipment, (though purposeft: not excited) makes a constant echoing and we can only hear that BRIGHTON is talking urgently, a "rhubarb" speech which we cannot hear except the underlined words:

CLOSE SHOT.

I-102

© 368 Continued

BRIGHTON

, Lawrence is behind it sir --- everything they

do on the advice of Lawrence! Everything

Oo that matters is swarming with the Arab Army -- They've got a thing they call the Arab Flag’

I don't know how they did it --~ I know who

did it for them --- Lawrence!

369. «= CLOSE SHOT. The MAJOR passes the CAMERA.

i ALLENBY (to BRIGHTON) | When? . 'O | - _ BRIGHTON

A day and anight, sir! They've been here a day and a night! They've occupied the town, sir! They've done it! He's set up his own Headquarters --~-- in the Town Hall!

He is almost querulous at ALLENBY's continuing equanimity and _ divided attention. ALLENBY pauses to pick up a telephone and listen for the "live" tone, and then replaces it, before passing on, saying:

u ALLENBY _ What else besides the Town Hall?

C House. ” (He indicates the electric light beneath which they are passing)

Hospitals, Fire Stations, everything, sir:

one 370 REVERSE SHOT. The MAJOR rather grandly throws open a double door, steps back and salutes. as the party. passes through.

371 MEDIUM SHOT. Inside ALLENBY's temporary private quarters. Two rooms, the first a living room. The A.D.C. shuts the doors

on the MAJOR and on the racket outside.

af BRIGHTON A . They call themselves the Arab National Council, sir!

II- 108

But ALLENBY throws down his cap and walks straight through (CAMERA FOLLOWING) to the next room, very sparsely furnished with wash-stand and camp bed which he tests without enthusiasm. BRIGHTON's voice pursues him, reiterating indignant and bewildered, as though this were proof of the urgency of the situation:

ALLENBY comes back into the living room saying:

What

CLOSE SHOT. DRYDEN looking over the green palms and gardens of Damascus. We hear distant crowd noises. .

MEDIUM SHOT. All looking at DRYDEN.

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T-104

MEDIUM SHOT .#as before. .

' This cry breaks the stillness. The A,D.C. relaxes his pose of strained

attention. DRYDEN moves from the window towards a chair. ALLENBY sits and says to BRIGHTON, smiling:

A.D.C. moves towards door.

And Tracey: All troops to remain quartered until further orders.

A.D.C.

Yes sir. (Pauses) Does that apply to Technical Units, sir?

. ALLENBY Technical Units particularly.

Yes, Harry, Medicals too!

CUT

—

rail | re |

II~105

THE COUNCIL CHAMBER of the Town Hall. Pandemonium reigns. Some two dozen of the leading SHEIKS are seated (or standing) at a

long mahogany table. At its head the principal chair --- almost a throne -~- is unoccupied. On one side of it is LAWRENCE's place,

on the other, ALI's. AUDA is by LAWRENCE. The others range down the table and their rifles make a small arsenal down its beautifully polished surface. Absurdly, ink stands, paper and pens have been placed along it, but these are now pushed away and scattered. City dignitaries, in European clothes and the Turkish fez look down from the walls. At the foot of the table on bentwood chairs brought in for the occasion, are one or two SYRIANS in pale suits, with stiff winged collars. One or two of the SHEIKS look grave, one or two uneasy, most are in a mood of total excitement and uncontrol. Round them are ranged their individual BODYGUARDS --- say three or four to each SHEIK --- armed to the teeth and ready to back their masters with blows, bullets or as now merely with noise. At the moment, the SHEIKS are in two factions, leaning across the table or towards each other on the same side, shouting fiercely. Some of LAWRENCE's own

BODYGUARD are by the door which trembles now and then under pressur.

LAWRENCE is seated staring at the table with a AUDA, beside himself with rage, is standing ALI is seated, his face grim with foreboding

from without. premonition of defeat. yelling into ALI's face.

and the effort of self control. "Howeitat" and, repeatedly, "Harith". LAWRENCE looks up, girds

himself, rises ‘suddenly and pounds the table with the butt of his pistol, leaving ‘dents in the surface. He goes on, looking fiercely at the SHEIKS, until (the graver souls pulling the others into their seats) they

are sufficiently silent and mostly seated.

This momentarily calms all with the parcial exception of AUDA who, glaring at ALI says:

An ominous murmur from Howeitat supporters.

We cannot hear what AUDA says, except:

om { YJ

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-_——-

7;

Ti- 106

. AUDA (sullenly) They will not work because they are given no electricity. And the electricity is in the care of the Harith! (to ALI) _ You insulted me. --- Harith!

This last word is said as aterm of abuse. ALI starts and LAWRENCE

grips his wrist. ;

at him) - If you answer they'll be bloodshed.

LAWRENCE takes thisin. He releases ALI's hand which is removed, ALI raises his voice: ;

I ask pardon of Audalbu Tayi. AUDA raises his eyebrows. He is astonished. Then he sneers:

ALI licks his lips, clenches his fists upon the table end, glaring at AUDA, ‘replies:

AUDA looking at him, sees that his motive is not fear. He is suddenly filled with unease and depression.

- AUDA Well, this is a new trick .

He eirows himself back gloomily in his chair. LAWRENCE quickly seizes the opportunity to break the train of events. He addresses

ELDER HARITH:

i pee Sa on

os 375

If-107

A respected figure, he has the

ELDER HARITH rises for a speech. attention particularly of the older and graver spirits.

A SYRIAN, patronisingly helpful calls up the table to LAWRENCE;

. ELDER HARITH (Courteously)

So? | (to LAWRENCE) One of them is burning. } _ (He turns to the others, smiling pityingly) )

They are of incredible size, but helpless. .

ANOTHER . j Let them burn. What needs telephones?

A chorus of agreement, not excited this time, but deep and philosophic. LAWRENCE rises, pounding the table again, breaks in, crying out ’ desperately:

ALI | a Then we need the English engineers. i

The door bursts open and a dishevelled SHEIK and SYRIAN burst in. A mob of yelling petitioners attempts to follow and is beaten back by the BODYGUARD who close the door. The SYRIAN screeches out to the others at the far end of the table:

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I-108

DISHEVELLED SYRIAN

Fire! (He fights for breath)

Fire has broken out! (He fights for breath again, makes a graphic gesture with both hands)

All along the waterfront!

The SYRIANS start to their feet in an overlapping clamour: ''Where?" "In what quarter?" 'In what district?'' exploding and falling silent

in the same instant.

lt. will spread.

_Then in God's name, use the fire brigade!

‘MEDIUM. SHOT. On the steps of the Town Hall, LAWRENCE is

Ii-109

There is an uproar again, some laughing, the Rualla and their allies furious, and the others quick to respond. MUSIC (Arab theme : mounting) LAWRENCE rises, gesturing DISHEVELLED SHEIK to follow him. The doors are thrown open, and under the rising music

the petitioners pour in, waving papers, beseeching, bullying, indignant

or tearful. We see that they extend throughout the lobby of the Town

Hall towards the open double doorway.

CLOSE SHOT. ONE OF THE SHEIKS at the table is stuffing silver ink stands into the fold of his garment, hurriedly, as one who prepares to depart.

shouting into the uproar.

on its side. And people run from every quarter towards the steps of the Town Hall where we see LAWRENCE fighting forwards through the intemperately individual mob, a hopeless enterprise.

CUT

ALLENBY'S ROOM. CLOSE SHOT. BRIGHTON stands stiff and | uneasy by one o! the windows, biting his lip looking out upon a dark sky with a faint red glow in it from which distant shouts and now an occasional scream are also heard. He turns to look at:

MEDIUM SHOT. The electric light is burning. Bottles, glasses, and used plates. DRYDEN sits at his ease, reading. ALLENBY has one eye upon an open book upon a table and, in a highly artificial stance with one leg before the other, he holds aloft a piece of cane with a length of string attached to it.

EXTREME CLOSE SHOT. It is a text book on fly fishing and a diagram shows an Edwardian gentleman in knickerbockers going through the motions of a cast.

CLOSE SHOT. ALLENBY dutifully performs the mekions as decreed there. He seems totally absorbed.

II-110

DRYDEN looks up at him over his spectacles, but ALLENBY ignores

it totally, murmuring:

ALLENBY © (absently, eye on the diagram)

ALLENBY directs a look of venomous resentment at him.

The light goes off, putting them in moonlight and showing us the moon beyond one of the windows. We see that the torpor of DRYDEN and ALLENBY was more apparent than real, and ALLENBY has laid down his rod before BRIGHTON has fully registered what's happened.

DRYDEN clicks the switch of a reading lamp off and on. DRYDEN

No, sir, it's the power. bd ? v*

’ As he is saying this we hear the jingle and thud of horsemen under the

window. They go quickly onto the balcony and look down.

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T-111

MEDIUM SHOT ANGLING DOWN. A caravan of mixed horse and camel riders, veiled, silent, inscrutable, they lead laden animals at their sides.

CUT

TOWN HALL INTERIOR. The room is lit by many candles, some in lovely candelabra, some in saucers; the table is littered with coffee cups. Both table and floor are littered with papers. The OLD

' SHEIK is asleep. ALI and LAWRENCE sit where they did before.

AUDA sits opposite LAWRENCE. LAWRENCE is writing and AUDA watches him with displeasure. Suddenly his hand descends upon the paper.

LAWRENCE makes no attempt to retrieve the paper. He looks at AUDA blankly and mildly:

LAWRENCE gently extracts the paper and apparently returns his attention to it. AUDA watches as before.

, C3 384 ) ) , Oo ) . ) eS

7 387 id i |

11-112

He contemptuously indicates the room with its littered paper.

walks down the room to the door, passing ALI who is all ears but does not move anerve. At the door, AUDA pauses.

CLOSE SHOT. LAWRENCE. AUDA continues on SOUND TRACK, warm, confident, comforting. .

T tell you the desert has dried up more blood than you could think of.

CLOSE SHOT. LAWRENCE. AUDA in background. LAWRENCE shows no facial emotion. Deadpan, he raises one hand and says with deliberate formality:

EXTREME CLOSE SHOT. LAWRENCE. On SOUND TRACK AUDA says:

... there is only the desert for you.

On SOUND TRACK we hear the door open and shut. Immediately LAWRENCE raises his head and sees ALI looking at him down the table. He goes back to his work for a space, then:

CLOSE SHOT. LAWRENCE. ALI in background.

LAWRENCE hesitates, stops writing, but does not look up.

fa)

II~113

. LAWRENCE That's a very low occupation.

CLOSE SHOT. ALI rises not purposely but compelled, and finding himself on his feet, knows he is making a farewell. He hesitates, glancing down the table at his friend.

seemingly absorbed in paper.

After a pause to control himself, LAWRENCE says mildly:

REVERSE SHOT FROM HIS VIEWPOINT. ALI by the door.

LAWRENCE

And then (ALI turns quickly) . it would be something ... ?

Itisa naked appeal.

ALI

Yes. (He tries for a smile)

Much.

LAWRENCE half-smiles back, but as they raise their hands it is as

- when the ship is already too far fromthe shore and friends know the

parting already complete, and themselves already strangers.

ALI goes through the door.

MEDIUM SHOT. Down the corridor which he has entered. It is lit only by moonlight which pours through the arch windows which punctuate one wall. This wall ends with an open archway through which the moonlight also pours. The corridor is thus in alterhate

II-114

~ Continued

bands of silver light and grey shadows. From one of these shadows a MAN steps silently and grasps him by the arm. He instinctively

‘recoils but finds himself gripped.

At this, ALI immediately sets off down the corridor, his face averted.

AUDA's face is angled so that we can see it; ALI's face is in the shadow of his headcloth save for bright lights on his eyes. AUDA peers a little.

This is said certainly not as a sneer, and certainly not with womanish sympathy, but as men speak of weeping naturally whose virility is far beyond question. There is a moment or two of silence before ALI can

reply.

. ALI

If Ifear him ... who love him...

How must he fear himself, who hates

himself?

(Suddenly all the emotion comes pouring through and ALI shouts furiously)

_ Take your hand away ...

ALI wrenches himself free with a cat-like bound, simultaneously drawing his dagger which (CLOSE BOT carves a bright arc in the gloom. |

- Howeitat!

on We

TI-115

AUDA has made the minimum necessary movement to avoid the blow, instinctively, and now regards ALI, unruffled and even pleased. He is leaning one hand against the wall.

ALI is sheathing his knife, but looks up at this and says, determinedly:

They have come to an open archway. CUT to the courtyard.

ALI is crossing it diagonally towards a far corner where among the shadows is another archway.

CLOSE SHOT. AUDA, his face turned up to the moon and stars. AUDA Well these are new tricks .. (Complacently) and I am an old dog.

He stretches luxuriously and breathes in the open air.

He lowers his head and watches ALI, who is entering the shadows, and calls:

I tell thee what though... !

REVERSE SHOT. ALI in the shadows turns back towards AUDA. AUDA is calling under the stars:

DISSOLVE

EXTREME CLOSE SHOT. The indignant face of BRITISH COLONEL. Glares straight into CAMERA.

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‘ —«WT-116 Continued ©

MEDIUM SHOT. ALLENBY confronts him. He has just risen from bed and is wrapping on his dressing gown. We see that he expects immediate action. It is broad morning.

ALLENBY

It comes within the jurisdiction of the Arab Council.

. COLONEL I'm sorry, sir. Under the circumstances I think I must take over immediately.

ALLENBY ° (almost automatically) _ Under any circumstances at all you must _obey your orders.

CUT TO

EXTREME CLOSE SHOT. LAWRENCE looking straight up into CAMERA, and the CUT so timed that he appears to be speaking in response to ALLENBY 's line.

L

c 401

TI-117

LAWRENCE ©

(cannot look at him)

Yes.

Sad MUSIC begins, and he rises. Then, as one who fears the answer to his question, he asks:

. What's it like? CUT

the Turkish Military Hospital. The beds are overflowed into the courtyard. Here and there tarpaulin awnings have been rigged, but one of these, over the hospital entrance, has come loose at one corner and flaps heavily and slowly with a soft insidious sound.

REVERSE SHOT. From under this flapping awning. We hear it and the horrible buzzing of flies. LAWRENCE has entered the courtyard at the far side.

CLOSE TRACKING SHOT: Moving with LAWRENCE among the patients. Some are dead. They are unwashed, their bandages are blood caked, dirty dressings and enamel containers lie strewn. (But the CAMERA must not linger on any one thing; we must see it all passing; we want to establish a fact, not assault the emotions).

Le: eee ee sO

II-118

MEDIUM SHOT. Having tracked with LAWRENCE to the awning and the entrance, we pause with him. Voices croak "Water"... 'Water" .-» monotonously. The Turkish word is used so that we do not understand it, until LAWRENCE, coming to, snatches up an enamel water jug and darts into the hospital.

CLOSE TRACKING SHOT. He searches frantically down a corridor, also littered with patients, catching glimpses inside wards of their contents. He comes to a dispensary and darts in. Frantically, he turns atap. The MUSIC rising hopefully.

EXTREME CLOSE SHOT. THE TAP. No water is init. MUSIC dies away to silence. CLOSE SHOT. He puts down the jug. He leans back against the dispensary shelves. His wandering eye lights upona broom. He picks it up, and as he does so, we hear cars drawing up, doors slamming and crisp voices shouting instructions. -

drawing up and drawn up. MEDICAL OFFICERS, NURSING SISTERS and ORDERLIES are fanning out between the beds. Stretchers are being unloaded. Already we can see SIX DOCTORS, a DOZEN SISTERS and a SCORE OF ORDERLIES. They are clean, starched and competent. It is like a vision of heaven.

foreground, is studiously sweeping between the bunks. A moustached and very military M.O. attended by TWO ORDERLIES marches up the long ward. He stops at LAWRENCE. He is the Captain of the Prep. School, the Chairman of the Golf Club. His face is crimson. He is enormous and fleshy.

Outrageous! Outrageous! (he comes up to LAWRENCE) Outrageous!

CLOSE SHOT. LAWRENCE. The pale ghost of his old mockery haunts his features once again. He begins to laugh. The MEDICAL OFFICER stares incredulously, then deals him such a full-armed smack across his face as flings him from his feet against the wall.

ee ne ee

\ 410

-ALLENBY's great room in Damascus.

Ii-119 |

CLOSE SHOT. LAWRENCE crouched against the wall continues to laugh. (And let there be no mistake, but that it is laughter, though it may remind one of tears. The only thing no audience could possibly accept from this strange man - particularly at this point -- is self pity. Which would also quite ruinously "explain" his state of . mind)

QUICK DISSOLVE

' CLOSE SHOT. FEISAL in all the panoply of an Arabian King, is

speaking, melodiously, persuasively, gently and humorously... As he speaks, CAMERA DRAWS AWAY to reveal that he is in

This is his prestige room, not his. working office; polished furniture, royal portraits, the full treatment. ALLENBY is seated at an enormous and useless desk. Behind and to one side of him DRYDEN is seated, regarding his clasped hands; behind again, BRIGHTON stands, looking as is ALLENBY, towards the object of FEISAL's discourse whom we cannot

yet see.

FEISAL: My friend Lawrence, if I may call him ‘that -- "my friend Lawrence" -- how many men will claim the right to use that phrase, how proudly! He longs for the greenness of his native land. He pines for the Gothic cottages of -- "Surrey" =~ is it not? (he smiles a little at ‘his own pretentions to be . familiar with all that) Already in imagination he catches trout and... all the activities of the English gentleman.

MEDIUM CLOSE SHOT. LAWRENCE looks silently back at him without judgment, without even distaste, almost as though he had . only just met him. Now and henceforth 90% of LAWRENCE's energy

is taken in merely sustaining the burden of his own nature, leaving only 10% for dealings with the outer world. He listens carefully and politely to everything, and reacts to nothing. And this is not a posture, but a necessary economy to which he is committed. Any suggestion of attitudenising would be very distasteful at this point. He is indeed con- cerned not to be any kind of nuisance. It is simply that attention and elementary good manners are all that he can possibly manage. .ALLENBY coughs uncomfortably in the silence.

O

Alt .

SE ae a ee nen nt cst . TT rence gy tt ee ae ere a

‘ II-120

down again) You're promoted Colonel,

LAWRENCE

Yes. What for? (He asks the question with polite interest not aggressively)

FEISAL

| (quickly) Take the honour, Colonel. Be a little kind.

_ ALLENBY

(roughly) As a Colonel you'll have a cabin to yourself

on the boat home.

There is another awkward pause. ALLENBY aligns some papers. Then he forces himself to look at LAWRENCE, chin out and says

ruthlessly:

FEISAL cuts in with quick persuasion.

_ FEISAL There is nothing further for a warrior here. (unreal self-deprecation) We drive bargains.

LAWRENCE looks at hiin, without anger, without condemnation, without comment of any kind. FEISAL is touched with the desire to

comfort, and adds more sincerely:

Old men's work. Young men make wars -= and virtues of war are the virtues of young men ~- courage and hope for the future. And then old men

pon ee ee te ee ce Se teen pune ne ne

- 411 I lo t (©

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area arc SSP crc nan tetera coer

TI-121

(gently) It must be so.

LAWRENCE simply gets up. He pauses momentarily wondering what

to do with his cap, or what to say that will get him out of the room. Quietly, the others have risen also. Tongue-tied. He goes to the door and is awkwardly half way through it when he is arrested by: |

LAWRENCE completes the closing of the door.

CLOSE SHOT. BRIGHTON looks after him, concerned. Concerned for the man, concerned that no more has been made of the occasion. On SOUND TRACK we hear ‘a clearing of throats and scraping of chairs as the others reseat themselves.

BRIGHTON looks at him, horrified and indignant. They face one another across the desk like a pair of bargaining peasants.

. ALLENBY. If you retain the Pumping Plant there will be no water, sir. .

pp . ALLENBY Have you any men, sir.

'® ALLENBY | (impatiently) They have no power, sir. It’s illusory!

He rises and lets drop a pile of newspapers on ALLENBY's desk.

of 413 EXTREME CLOSE SHOT. THE NEWSPAPERS. They are in OW) . several languages. The top one is the "Chicago Daily Courier" and there is a reproduction of the photograph taken by BENTLEY after the blood-bath. On SOUND TRACK:

FEISAL

a (on SOUND TRACK)

. ' The world is delighted with the picture of Damascus liberated by the Arab Army.

414 CLOSE SHOT. ALLENBY

© | ALLENBY Led, may I remind you, by a British serving Officer!

7 FEISAL

Le | (a small smile)

Ah yes. But then Aurens is a sword with two edges. We are equally glad to be rid of him are we not?

{> ALLENBY ae (between admiration -_ and disgust)

wat I thought I was a hard man.

|@

es)

II-123

He speaks with an archaic dignity which puts several centuries between them. But CLOSE SHOT BRIGHTON. Indignantly, he rams his hat on his head, salutes, says:

And strides from the room without waiting for permission, after LAWRENCE. ALLENBY lcoks after him rather wryly, then, his guilt causing him to anticipate an attack, he half turns his head towards DRYDEN and barks almost snarls, aggressively:

DRYDEN in fact was examining his fingers as before, but at this, he too fires and out of his guilt, says with bitter brightness:

CUT

—~ 415

& | |

II-124

LAWRENCE is crossing the Officer's Lounge in the Damascus Headquarters. Afew OFFICERS sit about, mostly reading papers. LAWRENCE absently puts on his cap, and hastily takes it off again.

CLOSE SHOT. The red-faced MEDICAL OFFICER springs from his chair as LAWRENCE walks past him.

' MEDICAL OFFICER I say!

LAWRENCE turns and flinches when he sees who itis. The

MEDICAL OFFICER advances on him.

LAWRENCE nods. Well may I shake your hand, sir?

He does so, chuckling apologetically, without help from LAWRENCE. Then he steps back at attention, and says with manly fervour:

LAWRENCE is going, and then turns back to say, not lightly, but with deep and serious curiosity:

. _Don't think so, sir... (smiling confidently) ‘No, sir, I should have remembered that. CUT © MEDIUM SHOT ANGLING UP a flight of narrow stairs. BRIGHTON

appears quickly at the head of them and descends two ata time. He pushes open a pair of double doors and walks rapidly through an | office. He appears through a door into a little courtyard, runs across | it and in through another door. He appears in the Officers’ Lounge walking swiftly through it in the same direction as that taken by LAWRENCE. He runs through the Icbby on to the steps.

420 .

-desert. CAMERA is in rear of a travelling staff car.

W-125

CLOSE SHOT. He looks eagerly up and down the drive. The

eagerness dies away from his face; he looks crestfallen, disappointed,

downright gloomy. CUT

THE ROAD from Damascus in the after-glow of sunset. It is a level In the front are the DRIVER and LAWRENCE. There is no sound but the wind and the engine. An Army lorry passes us in the opposite direction; then the staff car must slow down for a file of BEDOUIN on camels going in the same direction.

CLOSE SHOT. LAWRENCE. He stands and peers up hopefully into their faces as the car crawls past.

MEDIUM TRACKING SHOT. P.O.V. LAWRENCE. Their faces. They show no sign of recognition. We hear the car accelerating, and accelerating, we leave them behind in our dust.

CLOSE TRACKING SHOT. The DRIVER and, obscured by him so that in this last moment he is hidden, LAWRENCE.

The car purrs onwards.

LAWRENCE does not answer by word or expression. The level desert swings endlessly past us. A second Army lorry approaches and swings past us, full of Tommies singing a music~hail ditty of the period. ("Goodbye Dolly, I must leave you...") The sound of their singing disappears swiftly behind us and immediately an Army Dispatch Rider on a motor bicycle passes in the same direction.

We glimpse the RIDER and the screen is enveloped in the dust which his machine throws upwards.