"LAWRENCE OF ARABIA" (1962)

BOLT ROBERT

by

ARABIAOF LAWRENCE

~------~-·-·----·.. --- ----~---··--·--

accelerates: calm as the CYCLISTof stillinto a sortbut it setsdetermined smiling nor particularlyIt is neitherand we can see his mouth.little has slipped aThe scarf MOTOR-CYCLIST..theCLOSE SHOT of5

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

second corner.a-towardsimmediately and are acceleratingagain too fast,and pass the roadworks,

down Again we throttlelooming larger. the word "WARNING"before, than notice which we see nearerand a similarroadworksa similar

Round the corner still too fast and bank for a corner.roadworks, down and pass theWe throttleRoadworks ahead".Drain laying. notice says "WARNING..A WATCHMANyawns over his brazier.

a NIGHT to be there; the morning for the workersinIt is too early

the road is up.a distance,.At MOVINGSHOT of the road ahead.4·

in the slipstream..ruffledand his bright hair is

no helmethe wearsbut begoggled and mufflered as to be anonymous

He is so heavilyengine roaring.TRACKOn SOUNDshoulders. Head and The MOTOR-CYCLIST. EXTREME CLOSE SHOT.3

cut to: Then sharp receding to silence.motor-bike

noise of As background to FINAL CREDITS, the peaceful farmyard;

into the lane.the farmyardleavesThe motor-cycleSHOT.PANNING2

with a roar. and moves off frame, He mounts and kicks the starterad lib as needed.controls,mixture

choke andadjusting the machine - filling the tank,while he prepares on this CAMERA.stays tank a pair of gauntlet gloves.onto the petrol

boots and slaps He is wearing heavy motor-cyclingthe buttocks down.

him fromsee We can onlyus. the machine with his back towards

MAN comes and stands between us andAthrough nearby leaves. and its background are dappled with sunlight. fallingmotor bicycle

and the The shed is open-fronted a jam jar on the work-bench.· roughly in are stuffed ratherand such,dandelionsA few wild flowers,

cans and so on.petrol country shed with a background of work-bench, We can see that it is standing in some kind ofbeautiful condition. powerful and inIt is large, CLOSE SHOT of the MOTOR BICYCLE.

As a background to the SCREEN CREDITS the following:1

ONE PART

ARABIA LAWRENCE OF

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/

REPORTER approaches.Asaluting._)_( as thoughhats,theirhim raise but one or two who passmodest, '\,-.·,·

is and his bearingHe is in civviesand quite still.alone,standing0

ALLENBY is a few POLICEMEN.by FOLK who are kept aside watched by a crowd of more ordinaryis leaving,CONGREGATION The fashionablePauls.of St.The steps MEDIUM LONG SHOT.9

him. knewI BRIGHTON ,. 0 I ( Did;you know him well?. (interested) CLERIC () · remarkable.counts, By any chap. remarkableaHe was disagree) though he can't (must defend Lawrence, BRIGHTON'

in all this. thing • . . disproportionate But I find some-· Well nil nisi bonum. CLERIC

away.

then these the CLERIC glances;Atfaintly from the walls.glimmer which to other honoured heroes,memor'ialspastalong the aisle,

BRIGHTON and his FRIEND pace slowlySHOT.CLOSE TRACKING8

awaits him.a CLERIC,friend, where an elderlycongregation L

shuffling murmuring, of the discreetlythe restafterway up the aisle i. and makes his (past two SOLDIERS in blues who keep vigil there)chapel the glance leaves and then without a backward, severely,but neatly. reverentlynot He does this which has fallen askew.certtra1·wreath·tlie adjusts holding his bowler hat,clothes,civiliancorrectMAN in very A TRACK, the organ.On SOUNDCathedral.Paul'schapel of St.

The blind stone eyes of LAWRENCE's bust in aCLOSE SHOT.7

CUT TO

up to CAMERA.

along it The goggles slitherroad.thepiece ofACLOSE SHOT.6

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

Continued5

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:C.J

I you? Who~ sir:You -,i

MILITARY GENTLEMAN I I lo looming on the step above.behind,up from

darts of the final sequence) A MILITARY GENTLEMAN (The M.O.

and Bailey.:Barnumsince exhibitionist He was also the most shameless BENTLEY (Cont)

REPORTER tips his hat to the LADY and moves away.

: ( mighty warrior''.aandpoet,

a scholar,awashe him known to the world:

to know him and to makeprivilegewas'.my"It down) REPORTER takes which (a public "statement" BENTLEY

as anybody does. about Colonel Lawrence you must know as muchBentley,Mr. REPORTER

BENTLEY and a LADY.and darts towardsscreen somebody else. offThe REPORTER seesaway'.ALLENBY moves

know him well you know.tI didn

(politely regretful) No. ALLENBY

himself. but about Colonel Lawrencesir,Yes REPORTER.

The REPORTER is disappointed.

campaign". in the Middle Easternpartdecisive played a "The Revolt in the Desert "statement")formal (he makes a deliberately ? .•• What, more words little)a(smiles ALLENBY

few words about Colonel Lawrence? a Could you give meLord Allenby. REPORTER·

Continued9

-e

J __

in from one to the other and out again,cables proceedsof electric

bundle a hole has been knocked high up in the wall and a massive

At each endpassage. more than a glorifiedhardlyroom,narrow in a long We now see that LAWRENCE is seatedSHOT.MED.12 <) by. the lower half of a camel walksOutside,

window. LAWRENCE's point of view of a basementCLOSE SHOT:11

interested. him and he looks up,acrossfallsshadowA

I I but without enthusiasm,patiently,back to look at it,He sitscolour. J 0

LAWRENCE is neatly tinting a map with waterCLOSE SHOT:

CAIRO BRITISH H.Q. MAPPING ROOM.INT.10

DISSOLVE TO t_) Cairo. Staff inoiimy had some minor function He No I never knew him.Knew him? MURRAY

He growls:FRIEND.awithpasses MURRAY eyebrows.raised away with politelyBENTLEY turns

Damascus!in I had the honour once to shake his hand· (truculent) knew him.I can't claimINo sir, GENTLEMAN MILITARY

Did you know him? (mildly) 0 BENTLEY

man! very greataHe was (challenging)· exception!possible and I take the strongestlast remark I heard your whoever you are sir,You instantly)(recovers Oh. thrown) (momentarily MILITARY GENTLEMAN

Bentley.Jackson My name's (not a bit put out) BENTLEY

Continued9

_____,,.....• -------------------------

l~~

1,

tosh.y'areHere CORPORAL I

with my newspaper.Potteris WilliamHere lO LAWRENCE

at all. no notice SERGEANT takesThe phlegmatic LAWRENCE.towards CORPORAL walks overTheSHOT.MED.14

· · the basement.

from upwardsleadingof stairs and a flightexchangetelephone of a a glimpse Beyond him we catchnewspaper.with a folded

CORPORAL enterschirpya The door opens andCLOSE SHOT,13

LAWRENCE looks up. the sound of boots on stone floor.

is There parody. of a ritualisedby meansbeen bridgedrank.has and gulf of classtheForces;in thenot uncommonrelationship

It is a and goes on with his work.him,LAWRENCE watches·

while and box, down the packetthrowingcigarette,aHe lights

right.'T's SERGEANT

an ignoble fellow.Then you are LAWRENCE

I am.· (thinking of the trenches) SERGEANT

not happy in it.areWe LAWRENCE

right.'T's SERGEANT

this is a nasty,Hartley,GeorgeMichael (gloomily) LAWRENCE

'., ( l a SERGEANT.room,the OCCUPANT of the only othersitsthese 1.I one ofAt is a stool.boardeachbeforeandshades,with metal hang lampsboardstheAboveneed. cartographerselsewhateverand maps of rolledpilespencils, pens and ink,compasses,protractors,

T squares,brushes,of paint,with potsboardssix drawingare

There windows high up in the wall of the basement.semi-circular of seriesa through light which comesinadequatethe alreadydimming

Continued12 ;C). r

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i I J

fascinates. before but which evidently still the other two have evidently seenIt is a trickthe while.attentive his face very slowly closing his :finger and thumb upon the flame,....____.' (-;.,,, the match by veryhe extinguishesThen,cigarette.CORPORAL's and lights thes matches one of the SERGEANT'He strikes0

I cigarette~ Allow me to ignite your

LAWRENCE

j upon him and laughs. ,: 0

bovine gazesympathetic,finds theirLAWRENCESHOT.MED.16

did.·if he Or would care down the paper)(he throws· happened.it's who even knows whole of this Headquarters no-one in the And I'll bet there'shold". Strong- Attack Turkish"Bedouin Tribes (he indicates) in The Times.mentioned But I'll bet it isn't (grimly) (, Headlines.it is.Of course LAWRENCE

even uncomprehended.man with a passion,

· the which everyone feels forhim with the respectCORPORAL regard···8

It' at the front page. LAWRENCE holds up the paperCLOSE SHOT.15

Is it there? SERGEANT

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

Ta. CORPORAL

cigarettes?Hartley's Would you care for one of Sergeant act) (back to the Thanks. (quite simply) LAWRENCE

pocket. a coin from hiswithpaying for ittakes the paper,LAWRENCE

Continued14

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-------------

Certainly it hurts. LAWRENCE 0

It damn well 'urts! ,C' (indignantly)

CORPORAL

fingers. to extinguish between his with a burning match which he proceeds0 The CORPORAL is preoccupiedexcited.his eyeshis face very still, and gets down from his stool, a nail driven into the wall within reach, and takes his hat from LAWRENCE puts down the flimsysome kind.

of a routine orderbeit toassuming SERGEANT takes no notice, The changes. LAWRENCE unfolds the flimsy and his expression and exits. .flimsy· to LAWRENCE,thehandspicture,entersM. P. as the down on his own stool,The CORPORAL sitsCLOSE SHOT.18

LAWRENCE.towardsHe goes

sir. flimsy, M.P.

Yes? (courteously) LAWRENCE (Off)

Lawrence?Mr. M.P.

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

You're barmy. (amiably) CORPORAL

philospher. a you're Why, Michael George Hartley, LAWRENCE

murmuring: to his work, LAWRENCE returns

flesh and blood. onlyIt's You'll do that once too often. (dispassionately) SERGEANT JC Continued16 '-·.--c"' ()j

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-~ --- I,

[

/IC-

Its onto a courtyard.and givesOne side is of glassand orderly.

clean but immaculatelynow stripped,once ornate,and airy,high,

I

long, room, Club is a spaciousOfficers'The JuniorLONG SHOT.

(~i

CLUB JUNIOR OFFICERS'INT.20 'C, Gone to see the General. SERGEANT

What? CORPORAL /0 r ( he has too.Good Lord, at the flimsy)and glances {he slips from his st.ool all right.He's SERGEANT f:.

· barmy.He's resentment) (with just a shade of CORPORAL ()

tosh. Right you are, (n.ot looking up) SERGEANT

CORPORAL. The SERGEANT andCLOSE SHOT.19

to go. He turns

for a chat with the General. D tell him I've goneme;should enquire for politeness)with special the name (he articulates Oh, if Captain Gibbon. LAWRENCE

turns·. opens it and

He IS PANNING with him on the way to the door.CAMERATHE

c.:·_·:· if it hurts.minding is not William Potter,The trick, ·o LAWRENCE

then? the trick Well what's (cajoling) CORPORAL

Continued18

() Where are you going? you? supposed to be on duty, aren'tYou're

but not smiling)(still mild, SECRETARY

deliberately.He relaxestalld.ng. the other OFFICERS who stopinHis eyes slide to takehe had not. LAWRENCE had in fact forgotten the cap and wishes very much that

Always. () LAWRENCE

· and even affectionate.courteous, B. O. R. 's was comfortable,

his tone with thewhereasaggressive,nervouslyOFFICERS will be LAWRENCE's tone with thesmile.littleby a seriousaccompanied and his words embarrassment, to avoid needlesslow-pitched,

quite the contrary,ortbut The SECRETARY's tone is not hectoring,.

wear your cap in the Club? do you usuallybe •••supposed toYou're SECRETARY .◄

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

Lawrence. SECRETARY

calls:

hesitation,a fractionaland aftersurprised, LAWRENCE, frowns,

ARY sees when the SECRETfrom the redsframethe triangular. The other OFFICER is also a CAPTAIN and is raisingmaster.0

ring- circusalike moustachea fierce He is a CAPTAIN and wears table. ARY (GIBBON)is chalking his cue at the billiardThe SECRET

s~reen. alongside the glass in the background walking through the ClubappearsLAWRENCE<D and well-modulated. Their voices are pleasantis empty.

the placeOtherwise for snooker. TWO are preparingsit at tables.

One or two OTHERSOFFICERS.· At the bar are two or threeturn. (

Fans of picture. table in the foregroundbilliardais a bar andThere ·''

o· unbleached linen.

of with cloths fours round small tablesin symmetricalarranged

of uniform patternmany basket chairswith a greatfurnished

It is and living Royalty.dead Generalsof old victories,engravings

on the walls are steel floor is covered in bleached matting:

Continued20

()

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backing:and says,turns LAW~ENCEthisAt

a clown, _Lawrence.you're "' SECRETARY (__)

'

SECRETARY says watched by EVERYONE.and goes,he turnsAnd

Sorry! LAWRENCE

leaves his face.and the glitterconfusion,

in still roll table where the balls LAWRENCE looks at the littered

Lawrence! I must say, CAPTAIN

exasperation: looks up and says with frankindifference,his cue with considerate The CAPTAIN who all this time has been chalkingSHOT.MED.22

directions. ·(' sending the balls in allThe black hits the triangleCLOSE UP.21

the table.it acrossand flicks LAWRENCE, smiling knowingly, takes the blackBy way of answer,

Where are you going, please? (firmly) should be on duty. We don't want chaps in here when they again) (reasonably Club. of this I'm asking as Secretary Lawrenc~, I'm not asking as your superior, (reasonably) SECRETARY

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

disapproval. (" but with decent him not with animosity,The OFFICERS regard C Club. Not in theFreddy.talk shop,Mustn't (reproving) i j LAWRENCE I , ----le Continued20 ()i

it.of explanationa smilingand offers LAWRENCE's incompetence, to at the referencea little from the window, smilingturnsDRYDEN

post~ junior in a very incompetentmarkedly has proved so far as I can gather,who, an officerofficer,junior insubordinate an junior officer,veryAstaff~my

: of officer the Arab Bureau and a junior

\ ' r between An intriguean intrigue!I smell I 1

MURRAY 'i (··,Ii_,t

of the Headquarters.the gardenswindow overlooking looking out of a moment has his back to us as he standswho at this

clothescivilianwearing lively face,lined, donnish man with a pale,

DRYDEN, a GENERAL MURRAY is addressingsizes.varying

of cases of empty shellis a collection On a ledge under the picture front. on the Western of heavy artillery News" type pen and ink sketch London On the wall behind him is an "Illustratedat his desk.seated He is exasperated. his expressionand shrewd,His face is hard be, than anyone canregulationmoreis to appearwhose prideofficers

regulation GENERAL MURRAY is one of thoseCLOSE SHOT.

CAIRO GENERAL MURRAY'S OFFICEINT.26

oaf. Pretentious SECRETARY

clearly:sayingthe tabletoback The SECRET ARY turns

the triangle.to rearrange the CAPTAIN startingwith a handkerchief,

wiping his breechessteadily the LIEUTENANT of Yeomanrysilence,

him in They all look afterHe goes. is nothing to be done.there

But LAWRENCE hesitates.An awkward pause.CLOSE SHOT.25

Sorry. LAWRENCE

and looks at LAWRENCE.puts down his glass

merely restraintwith cruel The LIEUTENANT,CLOSE SHOT.24

breeches. onto the perfectspills over on the table andfallsbottle of lagerA half-emptyCLOSE UP.23

is drinking.hair face and butteredwith a handsome at which a young LIEUTENANT of YeomanryAnd backs into a table

all be lion-tamers.we can'tOh well, LAWRENCE

Continued22

I

He grumbles:that. authentic foris not less which though a shade spinsterishthis, the moral tone ofby He is a little put outMURRAY.CLOSE UP.28 G I sir. stuff, He knows his and he might be in Arabia. He's no use here in Cairois indeed.There calm) but still i. io - (suddenly quite sharp DRYDEN

I /, j DRYDEN CLOSE UP.27 J f involved. a principle

There's Dryden. Now don't try that,

MURRAY

sir. loss,great sound as though he'd be anyIt doesn't (calmly quizzical) DRYDEN

in the chair.

and sitsagain, as DRYDEN smilesof his shirtHe loosens the collar

it! and get away withCommanding,Officer Generalhis Lieutenant thumb his nose at crass finicking, let an over-weening, to and I don't proposeDryden,an intrigue, .I ~o It's Lawrence." We think it should be Mr. want you to second us a man in Arabia. j We man in Arabia. want an Intelligence " we Arab Bureau comes along and says, the Very well then,·.since he got here. posting to Arabia once a month everafor He's made applicationthat.ofaware.I'm MURRAY

of the Arabic newspaper.copyacarrying

is DRYDENthatsee We now the two of them.of into a medium shot

TRACKING BACKWARDSwith himthe CAMERAMURRAY's desk,

of chair in fronta away from the window towardsHe strolls

i sir. to go to Arabia,He wants DRYDEN ,IC Continued26 )_,.,.}___.\·1·/~

C

·r-···-··-··----

They did attack Medina. 0 DRYDEN

and lets fall the newspaper.He raisesDRYDEN.CLOSE UP.31

stealers! a nation of sheepThey're i() spent on the Bedouin will be time wasted. opinion and that of my staff that any time my consideredIt's I may as well tell you. MURRAY

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

been brewing for some time.hasThis is a conflict whichuneasy. ready for conflict - he speaks for the Bureau - and MURRAY is But his eyes aresmall request.childishly who makes an almost ()

oneas as he says this, his hands deprecatinglyspreadsDRYDEN

situation. of the To make our own appraisal DRYDEN

To what? (suspicious) MURRAY

\~ to ... on the spot sir,manown just that the Arab Bureau wants itsIt's DRYDEN

not! - My God I should hope MURRAY 0

- sir agvice, giving militaryLawrence would be no question of LieutenantThere DRYDEN

SHOT MED.29

What more d'you want?then we will. arms we should send them some small - and if Brighton thinkswho is a soldier sent out Colonel Brighton -I've already contemptuous) ("books" is very Knows the books you mean. MURRAY

Continued28

13 •

Dryden.Mr. Don't tell me my duty, to his desk) walks back(flushing, \____,, MURRAY ') ' . ·-.......~.r 11() is to win the war. The Bureau thinks the job of the moment DRYDEN

I over? this war's r going to sit down quietly under us when11() ' Bureau think they'rethedoesTurks, i the against they riseIf thing in Arabia? biga And does the Arab Bureau want MURRAY

and rises.him a quick look atMURRAY dartsCLOSE SHOT.34

sir. Big things have small beginnings, DRYDEN

again. He is smilingDRYDEN.UP.CLOSE33

side-show! of a side-showa - would beitselfcalls it And your "Bedouin Army" or whatever attacks through mud) mass organisingthereto be moment how he longsafor (his eyes glow and we see trenches~. . . in theFrontthe Western but on Not here, not the Turks.Germaiis being fought against thewar'sThe real is a side-show.of operationstheatre you want my own opinion, this wholeIf (he broods) - a side-showDryden, in a tea-cup, stormAit. We know they didn't take MURRAY

sir. We-don't know that, I DRYDEN I

them.of made mincemeatAnd the Turks MURRAY (Off) ~c Continued31 ,,-•'' (~

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He moves uneasily.innocence. LAWRENCE's apparent

and MURRAY is again baffled by his own lack of imagination

really. but it isn't It looks insubordinate,sir.My manner, LAWRENCE

What? suspicious)(barks,

MURRAY

sir. my manner,It's crestfallen)(apparently LAWRENCE

arrest! I'll put you under Lawrence,with me, insubordinateIf you're MURRAY

the look at DRYDEN and explodes.but he interceptscaution,◄) not unlike but with something LAWRENCE, ready to be enraged, MURRAY has been looking atTHE GROUP.SHOT.MED.38

somewhat to LAWRENCE's surprise.his head quickly, but DRYDEN shakesapprobation, long glance at DRYDEN expecting

side-a and throws his legs not quite together,very badly,salutes,

DRYDEN andnear LAWRENCE comes to a haltCLOSE SHOT.37

Salute! MURRAY ·() MURRAY CLOSE SHOT.36

sir. Good morning, (cheerfully) LAWRENCE

walks into the room.andMAJORthepastLAWRENCE brushes

Send him in. (Off) MURRAY

sir. Lawrence, MAJOR. i

soon as he is announced.asforward He movesoffice. LAWRENCE standing in the outerhim we see10

Behind The door is opened by a STAFF MAJOR.CLOSE SHOT.35(~j

15 I

,

('

down. with his hand that he is to simmerfrowns and gestures

enquiringly at DRYDEN, but DRYDENhis eyebrows and smiles(J LAWRENCE raises LAWRENCE and DRYDEN.CLOSE SHOT.39 C and walks to a window.rises,back his chair,He pushes

'i

it says so in your dossier. Lawrence; you've been well educated,knowI MURRAY iO i Greek philosopher.Asir.Themistocles,

:, helpful) (delicately '

LAWRENCE

-1 ,i

barks) (suspicious,

I

MURRAY

city. "a littlefrom state "I cannot fiddle but I can make a great en passant}quote, but as dons domockingly, he quotes - not(smiling, LAWRENCE

properly. duties your presentto performable You don't seemimagine.I can'tWhy, could be some use to them in Arabia. to think you The Arab Bureau seems MURRAY 0

sir. Yes, LAWRENCE

up! Shut (thumping the table) MURRAY

sir. I have the same trouble, (confidentially) LAWRENCE

half-witted.justor bad-mannered make out whether you' re bloodyI can't MURRAY

Continued38

(1

artillery!must beThere MURRAY

the paper.He snatches s joy changes to anxiety.MURRAY' (,_; /····--.,..

··(~:: to beseem doesn'tthere...Yes sir MAJOR

Is that certain? I i joy) (real j MURRAY lo j i night. in tomorrow coming The convoy'ssir. Navy signal, MAJOR

Hawthorn? What is it, MURRAY

of bills.sheafawithexcitedly MAJOR enters The door opens and the STAFFLONG SHOT.43 CJ

in! Come at the door) to a knock(in answer of him. It might even make a manWho knows! MURRAY.

heavily. eyeing LAWRENCEaround MURRAY has turnedCLOSE SHOT.42 0' himself. he composesimmediately up, but almostlightsfaceLAWRENCE's

six weeks. You can have him for,,! MURRAY (Off)

LAWRENCEUP. CLOSE41

Dryden. All right,wrong. I could be but I suppose•..Lawrence stand,I can't the kind of creatureYou're MURRAY

sincerity: slowly and with great

He says, and introspective.of the sensitiveloathingthe extrovert's with allis dark MURRAY's face of dust blows by outside.A swirl

:c. looking out of the window.MURRAY standingCLOSE SHOT.40_......,\__·, () •

L__·-~-·

lo

and goes.salutearmy of the regulation)___(l

parody a slow-motionHe performsLAWRENCE. CLOSE SHOT.46

C They both look up. MURRAY and the MAJOR.CLOSE SHOT.45

Sir! LAWRENCE

PANS with him as he goes to the door and turns:CAM:ERATHE,0 mockery. protective by his habitualthen is replacedresentful; then viciouslyis hurt,His expressionLAWRENCE.SHOT.-CLOSE44

Shut up and get out. MURRAY

LAWRENCE·

awkward. and correspondinglysincere

He is MURRAY'S bent head.a,ddressesHeLAWRENCE remains.

but beckoning to LAWRENCE to follow,DRYDEN leaves,

sir. Thank you, DRYDEN

is back on the papers.his attentionAnd immediately

Dryden.work, Now let me do somethree!All right, MURRAY 0

; I I Three.

DRYDEN

1:

Two months then. MURRAY

He and then get back.find the Arabs, find transport, has got to get to Yenbo, He sir. of an expedition,somethingIt's 0 (firmly) DRYDEN

DRYDEN and LAWRENCE have been forgotten.

Continued43

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' the way?by is the job, I. :~· What I'm the man for the job.Of course "'-·

) ( ' LAWRENCE C about that.wonderI just ahead) (looking straight DRYDEN

the job. I'm the man forBecause C LAWRENCE

withdrawal.and bitterstiff

of its expressionto assumebeginshis faceflippantstillarewords

and although hishim,into step besideLAWRENCE fallsAt this

to. ask me why I botheredYou might better DRYDEN

him and goes on walking.DRYDEN again avoids

How did you do it? in anticipation)(grins a fool.he's not a bad chap,No he's LAWRENCE.

Lawrence. not a bad chap,He's (reproving) DRYDEN.

walking • him and continuesDRYDEN avoids

Dryden~ Oh, Shabash, LAWRENCE

up behind him.runs

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

CORRIDORINT.

bloody artillery? how can I fight a bloody war withoutOh, MURRAY

distress. out in real Suddenly he cries frantically.and moremoreagain, to the end and startsHe comes

of Lading.the Billsthroughrapidly MURRAY is searchinghas closed the door Even before MURRAY and the MAJOR.CLOSE SHOT.47

fun~ /IQ is going to beThis Oh, thanks Dryden. ii LAWRENCE kJ 'I ;I rapture. back his head in silentLAWRENCE throwsI

in a day.of desert60 milescross 11 they can Bedouins,HashemiteThey're ~o of Medina. Anywhere within 300 miles DRYDEN

Where are they now? LAWRENCE ·u of stone. .puts down the pieceLAWRENCEDRYDEN agrees.

nice ...Oh that's LAWRENCE

of stone. with his hand on a fragmentand comes to restlittle

a away walksHe of this. the significance LAWRENCE appreciates

altogether.in Arabiaintentions I mean hisnot yours.business,Brighton's Colonel- that's intentionsimmediate I don't mean hisare. - what his intentions somewhat) (his gaze wanders Find out - of man he is.ldndFind out what DRYDEN :I iO i when I've found him?AndGood. LAWRENCE of carving. and fragmentsmonuments ancient desert

of are picturesTherexenophile.a cultivatedofthe roomcarpeted, :CD and It is elegantly furnishedGENERAL MURRAY'S.fromdifferent

to but utterlyonce similaratThis is a roomSHOT.MED.49

DRYDEN'S OFFICEINT.

DRYDEN opens the door and they enter.

Feisal. Find Prince a door) (pausing beside DRYDEN :o -~'' Continued48 ·()

20 r

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CUT TO

and we shots are finishedof under-crankedthe series ;1

until camels We do not see the actualof two camels.footprints

i/ shot should be theeveryof almostin the compositionProminent(_)i shorter.and and the shadows grow shorterhigher and higherrises of movement as the sunsenseconstantshould be ashadow there/0 the firstoi and the casting of the sun over the horizonappearance/ but from the firstprocess, should be unaware of the trickaudience I The sunlight is speeded.dawn to brilliantgreychange fromi so that thecamera an under-crankedwithtakenof shotsA series i

SUNRISE IN THE DESERT :52le)

j DISSOLVE TO I :\ manner, He bows it out in the normallips.I the flame to hisraisesandHe smilesLAWRENCE.CLOSE UP.51 'IC,..:

of fun.sense funny you have athatrecognizedisIt sourly)(rather DRYDEN

to LAWRENCE's face.LAWRENCE'S fingers match in He looks from the burningDRYDEN.CLOSE UP.50

words.

histo contradictionis in utterof his expressionThe set intensity

going to be fun.it'sNo, Dryden, (very quietly) LAWRENCE

him,

forit lightsand a box of matchestakesforward,LAWRENCE steps

for himself.cigarettea black Russiantapping DRYDEN is irritably

a burningmen it's me for ordinaryfrom Take it And you' re neither.- gods. of stone)fragments t· and thefiguresscorched sun- of silent photographs round the gaze wanders(J1is - and Bedouins ...in the desert,'fun' get only two kinds of creatureLawrence, DRYDEN

Continued49

21 I

/c

r---·

--~----...JI.·--·-····--....-- ...··-~-.··-~----...------~-·----·~--··-·--

again . '(1-..::1. ,If\

obscuredareThey and TAFAS looks at him.thisdoingTAFAS is

out dust while LAWRENCE spits round his mouth.headcloth

his AS tiesAFT clarity.intocloud one smallfrompowdered well LAWRENCE and TAFAS emergeTRACKING SHOT.MED.59

of the to and explanationa mere introductionwere,itasis,

This effect of Sinai.nor the weird opaque wall of the dust-storm the to either and the dust not comparableNefud mud·flat later,

to the and not comparablerocksbyshould be brokenflatmud

(But the A MUD FLAT UNDER FLOATING DUST.LONG SHOT.58

DISSOLVE TO

and shrugs)(grunts TAFAS

to the bottle.·waterthebegins to returnLA~RENCE

I will drink when you do. LAWRENCE

No. 1 TAFAS }

drink?not You do LAWRENCE

and then stops. He is about to drinkbottle. his waterit from mug and fillsarmya tin LAWRENCE unstraps C one cup. Here you may drink, TAFAS

of air. LAWRENCE takes in a deep breath Almostinv.oluntarilyTAFAS.ANDLAWRENCE..CLOSE SHOT57 ('~.•.·.C(:;,_I rock and blue sky.of sand,landscapevast romanticALONG SHOT.56

The two MEN scan the horizon.Salem.

of the Beniof a Hazimithe robeswho wears TAF AS, his Arab guide, and uniform,British in regulation LAWRENCE, who is dressed

ridden byThey are come to a halt.The camelsCLOSE SHOT.55

ridge. appear over a distantof two MEN on camelstiny figures The rock. of sand andvistalit desertbrilliantlyALONG SHOT.54

white. THE SUN, now a searingCLOSE SHOT.53

J

DISSOLVE TO

sun low on the horizon.A redCLOSE SHOT.65

They both drink.his cup to him. LAWRENCE raises 0

Aurens. TAFAS

Lawrence. --.,..I'('-·,: LAWRENCE

Aurens. You do well ... (pouring the water) TAFAS IC

}.

LAWRENCE undoes his cup and holds it out.

And now we will both drink. (smiling) TAFAS

it to LAWRENCE.skin and bringswaterhis

has untiedASTAF is even more painful.standingonly to find that

out of the saddlestifflyhe climbs anxious to hide his discomfiture,

then, his aching back,easingsaddlethein LAWRENCE remains a momentFor made to kneel and TAFAS dismounts.areThe camels

here. We will sleep TAFAS

TAFAS AND LAWRENCECLOSE SHOT,64 0

to a halt.are broughtcamels

The sands. hollow of soft multi-coloureda secludedwhich frame rocks and high shelteringbushesof junipera circleoflong shadows the approachingare It is evening and the two camelsSHOT.MED.63

TO DISSOLVE

them. down towardsdriftsdistantly .( the next cloud whichus towardsaway fromThey rideLONG SHOT.62

pans with them.Camerahis mouth.tied over LAWRENCE with the ragThey emerge,TRACKING SHOT.MED.61

again. obscuredThey are LAWRENCE hesitates.over his mouth.

in mime that he should tie itintimatingLAWRENCE a bit of rag,jO

to TAFAS offers They emerge. TRACKING SHOT.MED.60 CJ•

_J

DISSOLVE TO

(_)

... the caravan he is again gazing thoughtfully towardsforward,

his beast and as he urgesfades,his pleasureBut immediately C!

Aye~ looks at LAWRENCE} (astonished and pleased, TAFAS /o I of the Beni Salem.No, Hazimi, of his dress) (indicating some detail LAWRENCE

... I am not Harith to the distant RIDERS) (his attention going back TAFAS

I know. LAWRENCE

country. camp is Harith From here to Lord Feisal's ed. TAFAS

his own comfort .

for own anxiety,his of one belittling with the off-handednesssays, grin and upon him he gives a quick explanatoryregardLAWRENCE's

but finding AF AS is looking at them intently,TCLOSE SHOT.710

the mountains.towardsthe plateaumoving across four camelsofcaravanA LONG SHOT (BINOCULAR EFFECT)70

his eyes.

them to and raises LAWRENCE unslings an old pair of binoculars

but seeing nothing, AF AS points out ahead,TCLOSE SHOT.69

distance. A wide and empty plateau with mountains in theLONG SHOT.68

below. the landscape

down at a halt and both MEN stareAF AS signalsTCLOSE SHOT.67

of the two MOUNTED MEN appear over the crest.figures After a few moments the smallsky.ridge backed by deep blue A huge cliff of dazzling white sand leading up to aLONG SHOT.66

'

... at the muttondeprecatinglylaughs

He of the mug.the incident as he remembersvanishesbut his smile

He holds it out eagerly.idea. up his fat and has a brilliantHe takes"'---"'': : I \ I l ~ , features. rudimentary ...·;c beneath hisstruggling at LAWRENCE with a complex of emotions

He looks it into his belt.he thrustsWordlesslyhe a connoisseur. and ceramic as though it wereit reverentlyand takeson his clothes

wipes his fingersshining,who, eyesTAFAS,toHe gives the pistol

Take it now. C comprehension) (nods to show his LAWRENCE

give it to me. t· Then you take you to Lord Feisal.b. contract) commercialaofnature the one who explains As at LAWRENCE. If and looks (stops eating TAFAS

Take it. LAWRENCE

jaws to the mutton and his eyes to the revolver.·msaddresses TAFAS of himself. LAWRENCE disapproveson the ground.

it at it for a moment and replacesAS looksAFTit.gently rejects

LAWRENCE with mutton fat.It is rimmedwhich is half full.

his own AS quickly offersAFTIt is empty.up his mug.he takes 0 Absently if he could do it.He is wondering is in no way disgusted. His expressionhand to mouth.AS'TAFof fat fromprogressionbrisk the watches LAWRENCE from time to time,(CLOSE SHOT on this)

equipment. on the pile of LAWRENCE'srevolverLAWRENCE's time to time to AS' eyes flick intently fromAFTprevails.Silence as TAFAS might use.such a personnasty receptaclewhatever!o

and shining tin mug,LAWRENCE's Between them on the sand are

i vicarage.a as if he were inas neatlyand eatspackettheirfrom which he extractsbiscuits LAWRENCE is eating thin arrowroot mutton fat.ran~id TAFAS is eating a fist full ofCLOSE SHOT.73 ·, lj

this again to: CUT BACK from side of the fire.AS on the otherAFT :1

LAWRENCE and and saddle bags piled beforeSaddlescamels.

kneeling then theireating;absorbed,postures,in identicalfirethe by fashion, Durham-miner TAFAS and LAWRENCE, both squatted, reveals CAMERA, drawing back,fire.night'sof lastembers the of wind are blowing sand acrossgustsLittleCLOSE SHOT.72

_j

f one day more.camp,

Feisal's Well to LordMasturahAnd from

r i TAFAS

Yes? LAWRENCE

tomorrow~Well -Masturah I think we reach approving)(genuinely TAFAS

iO.

his eyebrows,and raiseswell, LAWRENCE knows he has done

AS.AFT LAWRENCE back alongsidewhich bringscirclean erratic describesThe camel into a gallop.the camel with him as he urges and trackspansCA1\1ERAand thegrows,confidence LAWRENCE's

as they move along.tipsis giving him ridingASmount and TAFIt) awkward on his LAWRENCE is still CLOSE TRACKING SHOT.75

along at a good clip.canteringASAFLAWRENCE and Tidentify

and wein,boring The CAMERA keepstwo RIDERS.two camels,

I we see two shadows,size,inand as they increasethem,towards 1• to descend The CAMERA beginsthe CAMERA.moving towards ; I

below -far two tiny moving objectsthen we perceiveempty desert,

t we see nothing but the sweep of theAt firstand level plain.firm

is now adesertThe (HELICOPTER)LONG SHOT.EXTREME74

DISSOLVE TO

some more.takes LAWRENCE gravely

More? out the fat) () thrusts pleased,(very TAFAS

Good. LAWRENCE

indeed mortified.

is we see that the fleshof his faceconcentrationthe steelyfrom

(

and is no comedy,Thereby TAFAS. watched anxiouslymouth,

and puts ·it in hisap_ieceout his hand and takesLAWRENCE thrusts

it back again)draws sadly (. . . and rather Bedu food. TAFAS

Continued73

--e_.

- but does the same LAWRENCE, noticing this,-round the horizon. all carefully AS begins to haul up the bucket he glancesAFAs Tflat.

on the edge of the mud The top of the well is situatedSHOT.MED.83

well. C

a at the bottom ofwaterin the stillthe reflectionbreakssplash,

CAMERA, and with a louddown towardsA bucket hurtlescircle. on the edge of theappearASAF of LAWRENCE and TThe faces in black. of blue sky framedcircleA brilliantCLOSE SHOT.82

for) he is again scanning else in this than in whatever interested (but he is less The Well. TAFAS

and points.He gruntseyes. them with narrowedbefore the horizon TAFAS is again scanning CLOSE TRACKING SHOT.81

black cliffs of rock.enc,losed by tallmud flatnarrowand

a long crossing We see now that the two RIDERS areLONG SHOT.80

(,

in silence.

They ridedust.with fine of his skin are powderedand the creases

and the folds of his headclothEuropean,red of the sunburntfiery

skin is the LAWRENCE's by below them. the mud flat which slips

ed

of the patternagainstoutlinedwhich areAS LAWRENCE and TAF of on the faces The CAMERA is close TRACKING CLOSE UP.79

honeycomb. into a flattened of a mud flat baked by the sunsurfaceThe parchedCLOSE SHOT78

The white hot sun of noon.CLOSE SHOT.77

lost to view.CAMERA, are now moving away fromFIGURES, - until the tinyand highera gallop - higherbecomesthe canter The CAMERA pulls back and up, as{HELICOPTER)SHOT.MED.76

TAFAS following.canter,aintoputs his beast LAWRENCE obediently

( Now! and) and grip of his reins, LAWRENCE, his posture 0 looks athe exercise, an his pupil to repeat who desiresteachera(as ~- TAFAS (Cont) J i IC Continued75 ./•. __,i ()

27 I

I

,) '(' ' I ·- -,---

out over the flat.staringThey stand together

AS.AF over to Tgoes and slowly LAWRENCE rises,SHOT.MED.88

)__(

floating above the mirage .about half a mile,

of a distanceat dust cloud is approachingA littleLONG SHOT.87',

to see what he is looking at.LAWRENCE turnsCLOSE UP.86

looking out over the AS is standing stock stillTAFCLOSE UP.85,( ,..-

LAWRENCE looks up.splash. followed by a heavysilenceis a moment'sTherethen it stops.

- well The sound of the bucket is heard bumping up the side of the daydream. off into a littledriftsas he Who Broke the Bank")Man ("The begins to whistle to himself.LAWRENCECLOSE SHOT.84

echoes up from below.A splashbucket into it. to the well and drops theAS as he returnswatching TAFlazily sits over to a little patch of sand andLAWRENCE strollsdrink,camels )◄

theAs of the water for the camels.out the remainderand pours

look round the horizon he goes over to a small troughWith another

greedily)~inks(he The Harith are a dirty people. regret) (with hypocritical This is a Harith Well. the weakness of the primitive) gentlemen forcivilized between twoproper indulgencepatronizing 0 on, and with thecatches he looks into his bucket,but (the idea is new to him, TAFAS

all right.It's (with a half-smile) LAWRENCE ( Good? TAFAS

both drink.

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

some water intopoursthe bucket,AS regainsAFTthey see nothing.

Continued83

(

holster. the saddlefromhis riflehe drawsthe groundreaches

As he position. into a kneelingcamelhis STRANGER is tapping '() the 125 yardsof some At a distanceSHOT. QUICK MED.98

Deaf to LAWRENCE. frightened.His eyesmasked.TAFAS, QUICK CLOSE SHOT.97 1:0 Tafas~ (sharply) LAWRENCE

his pistol.cocksASAFT

Who is he? LAWRENCE

with his headcloth.his facemasksASTAF by the well. and apprehensivepuzzled LAWRENCE waits,while u of picture, in the foregroundis standingASTAFCLOSE SHOT.96

face.

his acrossdrawncloth with a blackhooded cloaka blackHe wears

••• waitingstill,stands into animal,closeand keeping of the camel,sidethegun fromhis TAFAS unhitchesCLOSE UP.94

on a camel. as an ARAB mounted

see1, mud flat is now clearlyFIGURE out on thethe approachingcamel to hisover LAWRENCE and goesAs TAFAS leavesSHOT.MED.93

off. he hurries at LAWRENCE,lookingWithout

Bedu. 0 TAFAS

pause. A moment's LAWRENCE AND TAFAS.CLOSE UP.92

by the mirage.as if on stiltsbut elongated,

camel,aor as a horse recognisablenowisThe blob LONG SHOT.91

not answer.TAFAS does (". Turks? ~a LAWRENCE

TAFAS.AND LAWRENCE CLOSE SHOT.90

anything.almostcamel,

MAN on aahorse,ona MAN MAN running,aIt could becloud. :o

of the dust out of the centrewaversblobA blackLONG SHOT.89 Jo

(

·i l r

His? ALI

lying on the wall of the trough. up the tin mug which isHe pickshis camel.bythe well followed

approachesand into his own waistbandit complacentlySo ALI stuffsC

his.No, LAWRENCE

English?yours,pistolIs this

· ALI

it. examinesHe up the pistol.He pickscostume.

and in both bearingfigurean impressiveage; about LAWRENCE's

young man of He is a handsometo the ground.gracefullyleaps

and unwinds his headcloth,holster,into the saddlehis riflethrusts he is deadAS that T AF a glance to make sureAfterthe dead man. of side on the otherhaltatocomes him and finallyslowly towards

the STRANGER ridesIn the backgroundof picture.the foreground

in C.AM:ERA with his back to LAWRENCE standsSHOT.106 MED.

: ◄ on ALI. his eyeskeeping I I

by TAFAS, LAWRENCE goes down on his haunchesUP.105 CLOSE

camel.his and mounts

his rifle,reloadsto his feet, The STRANGER rises104 LONG SHOT.

: eyes to the mud flat.hisand then raises , looking down at the dead man,LAWRENCE stands103 CLOSE SHOT.

i · to the body.overruns LAWR~NCEit. heap besideainto and crumplesat the kneessags 0 slowly heand very to the ground with a clatter,AS' gun fallsAFT Then, still. completely MEN remainThe three 102 LONG SHOT.

of violence.eruption numbed by the unexpectedin place,frozenLAWRENCE,101 CLOSE UP. •<o f of picture.foreground ~

in the as a statueas still TAFAS remainsshot.is anotherThere

( ► to the ground behind his camel.The STRANGER dropsSHOT.100 MED.-

(o and fires.his pistolraisescamel,of hisside

the out from AFAS stepsTmovementsuddenaWith CLOSE SHOT.99

let me -Tafas, I LAWRENCE ,' :o Continued98 ()

•

j( ,,

__J__·--~--.

of you. I have heard thoughtful)more 0 mood LAWRENCE'sand makes news evidently,(this is real LAWRENCE (_)

El Kharish.lbn ·c: Ali I am Sherif And it is mine.thing. The well is every-He was nothing. ALI

Then why kill him? LAWRENCE 1(.)

English.nothing,He was (comforting) ALI i.).

but in of them frightenedNeither They look at one another.

welcome.You are (politely) ALI

from it.drunkI have LAWRENCE

is my well.This ALI

Why? Yes. LAWRENCE lo ALI. TAFAS and approachesLAWRENCE leaves !

He is dead. ALI

<D onto his back.AST AFturns LAWRENCE and does so, from the troughwaterlittleaHe scoops

Then I will use it. a compliment) (as one who confers ALI

j

Mine.

j LAWRENCE I

106 Continued

·,--·~--

··---~-·

people.a little 1'--" so long will they betribe,againsttribe ',,.-~, Arabs fighttheasSo longAli~Sherif him) {calling after LAWRENCE )__(

mud flat. C

on to the his camel backand turns his head in saluteALI raises

He knew that. (shrugs) at our wells. They may not drink

to the Harith. Beni Salem are blood enemies i The Hazimi of the Beni Salem.aHe was back) (mounts and calls ALI

Feisal~ He was taking me to help Prince LAWRENCE

which makes him the more angry. position, defending his humanitarianLAWRENCE finds himself ...◄· from comment.refrainsbut politelyhis fine eyebrows,ALI raises

that.Yes, LAWRENCE

(looks at LAWRENCE) That? AS)AF (looks at T ALI

He was my friend. LAWRENCE

English. You are angry, Quietly) pause. (after a little ALI

I had not heard you were a murderer. spontaneously) .( (indignation rising LAWRENCE

So? (pleased) ALI

106 Continued

j

j l told me.Feisal was' coming. I knew someone I BRIGHTON ................; ) ( l Did you know I was coming? ~~...! (surprised) LAWRENCE

you. I've been waiting for (hostile) BRIGHTON

SHOT.TWOa LAWRENCE intoup alongsideHe ridesON.BRIGHT

His name ison it.somethinghas who knows his own mind and

as a man it is rapidly,When he speaks and hard-bitten.intelligent

I

but . military,He is very over to join LAWRENCE.his camel he trotsas with the COLONEL · The CAMERA pansSHOT_.112 MED. 10

DISSOLVE TO

out into the sunlight.comeson a camel,now mounted of the COLONEL,the figureback ground,in the farof the rocks\◄

the shadowFrom and looks around.camelhisHe haltsname.his

voice shouting a parade-ground LAWRENCE hears 111 CLOSE SHOT..

viewpoint. COLONEL'sthefromcamels

two LAWRENCE and hisoffiguresThe distant110 LONG SHOT.

behind. a few yardsgrazescam.elHiswatching.boulder,

on a He is sittingColonel.of a Britishuniformin thedressed MAN on a;CLOSE SHOT of ato restand comesthe echo,following

of rock,face down a great The CAMERA pansSHOT.109 MED.

and beauty.grandeurof incredibleatmosphere

an white sand and give the .landscapeabove sparklingtowercliffs High redscenery. and magnificentof spectacularan areaentered now have LAWRENCE and his two camelsLONG SHOT.108 EXTREME

<O DISSOLVE TO

behind him. AS' empty camelAFTleadingriding, which LAWRENCE is·acrosslandscape,desert- a barrenlocation

a differentrevealingdownwards The CAMERA pansMusic begins.

with blue sky.filled leaving the screenout of picture,ALI rides

are! - as you and cruel barbarous,Greedy, A silly people! LAWRENCE C( word.every empha,sizingLAWRENCE, 107 CLOSE UP._,/..'., ,()

33 I

I

/C

I r-----·

0-o-oh. has explained all) This (his face clears. BRIGHTON

Bureau. I've been seconded to the Arab LAWRENCE .._.,i ,r'

Now - who sent you? is outraged)etiquette of professionalsense his curious;(irritably

Lawrence. one moment,Just flatly) he checks himforward, about to moveeagerly LAWRENCE isasThen, into which we cannot see. it> the head an evident declivity with a jerk of(indicating over there.they'reYes, BRIGHTON

it? This is Wadi Safra isn't (cool) LAWRENCE

gloomy) distast~,(with real BRIGHTON

Arab. No, an LAWRENCE

Turks? (alert) BRIGHTON

We~l. My guide was killed at the Matsurah LAWRENCE

No escort?him that. giveI'll know. doesn't that FeisalFeisal of miles Not much happens within fifty BRIGHTON

How did he know? (interested) LAWRENCE

112 Continued

•

of obedience) and has no trace 0 (it is impudently equivocal, saying. what you'reI understandYes sir, (cheerfully) LAWRENCE () what I'm saying? D'you understand keep your mouth - shut.

'11you camp,, When we get into thatan order.

And here's Serving Officer.you are a British "with" and whoever you areyou are,Wherever le creed) dignity his simple with considerable(he recites say to you is this: And what I want toevery night.dozens fading away byThey'rehowitzers.with sadness) abro·odingby· is replaced (the irritation

knocked it out ofTurkswhich I doubt - the - if they ever had any morale,moraleTheir sand with a bit of stick) in the (he digs irritably bloody awful. the situation's That won't be difficult, (grunts) BRIGHTON

but LAWRENCE's face islooks at him cautiously,BRIGHTON does not go unnoticed. The parody of the Public School subaltern

the situation"."appreciate io to I'm sir, vague actually,ratherIt's I ) I rudeness)implicit to BRIGHTON'Spolite in.ratio and earnest (explicitly I~ LAWRENCE

amusement) of patronizingattitude (' ' for this are his authority (a thousand Mess Room jokes ;

And what are you to do for the Arab Bureau?I i in such a weak position as that) I that LAWRENCE ishis relief \ demonstrates (the exclamation j BRIGHTON (Cont) i io 112 ContinuedJ,.r (~I

35 I

(

____.l__

while chickens, goatschildren,for theirand WOMEN searchanimals.•·o

loose to recaptureMEN struggle mid the casualties,.Achaos . and pandemonium - now a scene of absoluteis disclosedblack tents hundredone Bedouin camp of somea largeAs it clears,dust.and smoke by a cloud of driftingis obscuredThe screen119 LONG SHOT.

I(_) do! what modern weapons They simply will not realizerange~" in still "You' re "Move South" I've said, him!toldI've God knows I've told him! BRIGHTON ().

ahead .straight than LAWRENCE - and glaring

rather - to himself BRIGHTON is talking vehementlythe camp.

LAWRENCE and BRIGHTON riding for118 CLOSE TRACKING SHOT.

the cliff.

behind The CAMERA pans with it until it disappearsshallow dive.

its turn and goes into aplane completesThe first117 LONG SHOT.

· then LAWRENCE, who is looking up at:control,under

BRIGHTON gets hisbuck and rear.The camels116 CLOSE SHOT.

over the cliff-top.Another plane roars115 LONG SHOT.

the sound of a second engine. around as they hear BRIGHTON and LAWRENCE turn114 CLOSE UP.

and banks into a sharp turn.overhead The CAMERA pans with it as it roarssteeply.climbingcliff, shoots upwards from behind abi-planeA Turkish113 LONG SHOT.

as:up and lookanimals panic-strickentheir BRIGHTON and LAWRENCE rush to control set the cliffs thundering.two explosionsThe noise gathers,

Oh my God, not again ... BRIGHTON

prayer. soldier's

the trench- haunted as he uttersand his eyes areapproachesaircraft

c: The organ note of low flyingfrom his face.drainsand the vitality

off and breakshe freezes on his heels,springilycrouchedAnd then,

and get back to - make your appreciationYou'll to rise) stick and preparing throwing away his(crisply, BRIGHTON

112 Continued

()

,-.

()

BEDOUINS, who run in gun .firing among the panickedits machine

camp, away over the dust-ladensweepsThe plane130 LONG SHOT.

()

to shoot again.can turn

he him beforeand leavesoversweepsplan.~ the black shadow of the and lash the sand behind him,bulletsoflineaengine deaf ens him,

vainly at the sky as the noise of theFEISAL shoots129 CLOSE SHOT.

opens fire.machine-gunas itsof the planeA flashSHOT.128 MED.

C his rifle. FEISAL raises ··· I27 CLOSE SHOT.

over the dune. diving incomeslow,now veryplane,The first·SHOT. 126 MED.

them~ back atFire FEISAL

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

fight~andStand FEISAL

as he rides.shoutsHe effort to calm the panic.aninwheeling his horseanimals,andMEN

of the streamagainstCAMERAtowardsHe ·rides is FEISAL.This the darkness,out fromridingcomeswhite horsea FIGURE mounted on

a prophet-like it begins to clear,As·black smoke.drifting

of a curtainagainst BEDOUINS staggerFrightenedSHOT.125 MED.

over the top.vanishesitand up to meet it on the crestraces ;()

Its shadowdune.aoveraway The plane .sweepsSHOT.124 MED.

an explosion.ofinrthe flashA tent disappearsSHOT.123 MED.

downwards. A bomb plummets The plane swoops overhead.SHOT.122 MED.

the bombing run. c:

of the wayof- out to left and rightBEDOUINS scatterSHOT.121 MED.

The diving plane.120 LONG SHOT. 10 '

and look up. where they stand, ,r r

freeze The · HUMANS down in a dive. second plane screaming theof is the soundThere among the tents.donkeys stampedeand

_, lo 119 Continued ,(),

-r--

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

- have to move southWe'llsir. bloody messaisThis the Arab Bureau. 0 to secondedsir, Lawrence, Lieutenant BRIGHTON

BRIGHTON in a blue frame.139 CLOSE SHOT.

Who are you? please) "significance" - no interrogative (straight-forwardly FEISAL

enquiringly.

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

interest. with devouringbut more,certainlycompassionwithframe,

a blank blue LAWRENCE looks down at him from137 CLOSE SHOT.. 1; I gaze is arrested. ' but at once hisa public face, back his head and assumesHe throws

burden. once again an intolerableto shoulderas one who prepares himself he braces a few momentsAfter gazing down at the ground.

in his own despair,FEISAL is absorbed ings onto pack-camels.

belong- swiftly loading their MEN and WOMEN run to and fro,life. to camp stirs the shattered In the backgroundin the saddle.droops

so FEISAL dies away,planesof thethe droneAs CLOSE SHOT.136 I

fly away into the distance.The two planes135 LONG SHOT.io

r the plane.afterstaringmare j, foam-flecked on his tremblingbolt uprightas he sitsfiguretragicI

noble anda FEISAL isdust, by swirlingSurrounded 134 CLOSE SHOT.

horse.

up his away he pullsdraws As the plane rapidlyrace.hopeless

shadow in a mad andthe darkhe chasesbehind him,streaming his white robesout,flatinto a gallop and,his mare-beatsFEISAL the sand.across 133 MED.SHOT .. The shadow of the plane sweeps

its gun blazing.of the plane,flashASHOT.132 MED.

rears. His horse gun opens fire.machine

The him turn.makes of the second planedroneThe approaching

of defiance.gesture plane in an impotentat the retreatinghis rifleC

shakes with rage, his pale face contortedFEISAL,131 CLOSE SHOT.)__,, J r~

I

him. it afterand leads which he has forgotten,

his horse An ARAB takeswalking.tents,the scatteredtowards and goes on his heelsturnsemotion,choked withHe is suddenly

... the guns • . • now thisFirst about) (he gazes

unused to explosives...aremy people Lawrence Lieutenant You understand FEISAL

•.. Lawrence ~-j LAWRENCE I

LAWRENCE as before.143 CLOSE SHOT.

?- . . . Lieutenant Yenbo. They must try to reachNo. FEJSAL

FEISAL looking up as before.142 CLOSE SHOT.

sir~ come with us They can hardly (impatient) BRIGHTON (Over)

they can get to Yenbo.If (Over) FETSAL

of them at Yenbo sir.We can take care (Over) BRIGHTON

BRIGHTON says: On SOUND TRACK LAWRENCE as before.141 CLOSE SHOT.

some thought for the wounded ..•We must take (~: he says) and as though to him I looking at LAWRENCE ic• he is (his gaze shifts; I and I was wrong.rightyou were south -miles Colonel - fiftyyes,Yes, l FEISAL ij

140 Continued C)I

·······--~.- ---------·-··-•··-·---...

Cigarette? (miming) DAUD

looks up at LAWRENCE.of the two,tougherDAUD, the with a winning smile,then,backs,tendertheirrubbingsilenceC

in they marcha few pacesFor LAWREN<;E. haven besidepeaceful a reach down the line until they finallywith themCAMERA tracks The the RIDERS. of blows fromseries to be met by another only among the camelsescape-BOYSThe them both with his stick. to lay about out and proceeds ground just as the GOATHERD springs

RIDER on to thethethrowseventuallyThe ramkeep him on.

to is trying with laughter,roaringwhile the other,ram,protesting

a bucking andto· ride One of the BOYS is tryingground of picture. at two BOYS in the fore-GOATHERD is shoutinglegs an infuriated

camel of marching behind a forestFrom TRACKING SHOT.152 MED.

looks up.

he and laughterof shoutinga sudden burstHearingon the map. a positionand marks the compass LAWRENCE lowers151 CLOSE UP.

the of the compassthe markingsAs seen throughSHOT.150 MED.

it. through d to his eyes and looksthe compassLAWRENCE raises149 CLOSE UP.

of Exodus.scenea Biblical- WARRIORS, and baggage camels CHILDREN, in howdahs,and WOMEN on.footcamels,sheep, of goats, EUROPEANS is a moving massthe threeSurrounding of the caravan. is noting the courseon his knee,with a map case

who, of LAWRENCE,in frontyardsseveralridingareorderly,his

BRIGHTON AND CORPORAL JENKINS,TRACKING SHOT.148 MED.

terrain. bleak and featureless

a overout is now sprawledThe caravanDAY. 147 LONG SHOT.

\.1,1 /'I"\ DISSOLVE TO

c· the open desert.

into and rocks the high cliffswinds out fromand herds,flockstheir with Bedouin caravan,A greatNIGHT. 146 EXTREME LONG SHOT.

DISSOLVE TO

frowns.

and uneasily, BRIGHTON looks at LAWRENCE,FEISAL:after:::i

LAWRENCE looking LAWRENCE and BRIGHTON.145 CLOSE SHOT.,,.,,/,....nI i

~ ,----

(" s camel.CE'LAWREN BOYS fall in beside ~--) the two of his appreciation,Taking advantageSHOT.158 MED.

his laughter.checks

and looking at him,the two impsLAWRENCE sees 157 CLOSE UP.

laughing and turn.-someoneThey hearinnocence.· DAUD and FARRAJ walking along with studied156 CLOSE SHOT.

to the ground with a thud.JENKINS falls155 CLOSE SHOT.

() Jenkins~Hold it, BRIGHTON

the CORPORAL. BRIGHTON, shouting after154 CLOSE SHOT.

off. and takesroars The camelhome. his stickrams tail and DAUDthe camel'sliftsFARRAJ daintilylong practice,

of With the deftnesscamel. behind the CORPORAL'simmediately

back with them as they take up a positionthe CAMERA drops is an exchange of looks between the two BOYS, andTherelaughs. The CORPORAL only to find that it is empty.BOYS leap on it,

The packet. down a cigaretteand throws The CORPORAL relents

one for two.Just your excellency.Please, FARRAJ

of prayer. his hands in a gestureand raises

eyes, FARRAJ looks up at the CORPORAL with his soft swimming

off~ 'Umph JENKINS

your excellency?Cigarette, DAUD

side of JENKINS' camel.on eitherappear

The two BOYS BRIGHTON and JENKINS.TRACKING SHOT.153 MED.

picture.

out of theforwardrunThey and points to the two RIDERS ahead. nudges himFARRAJ,imp, but the otherinterested,up,DAUD looks

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

152 ContinuedC)

LAWRENCE head down, face hidden.closed,

eyes FEISAL head back,impatience,which shrieksself-control 0

BRIGHTON with a gentlemanlylistening,to whom they areRECITER, BRIGHTON, LAWRENCE and theFEISAL,arePresentis essential. though a carpet"furnished",sparselyvery black tent like the others,-'___\, ) ( it is a plainThough large,tent.FEISAL'sINT.SHOT.161 MED. ✓-----·,

·c the camp.angle,From their 160 LONG SHOT.

· sequences. of the previous the noise and bustleaftertranquilityscene of great

It is a the soft glow of the sunset.againstsilhouettedSENTRIES are of the tiny figuresabove the camp,On the heightsBedouin tents. (J th~of and most centralin the largestlights appearand-one by one, 1 into the airstraightrises The smoke of the firesplateau.a remote

and high banks of sand at the edge ofring of smooth rocksprotecting been set up beneath ahasThe new campSUNSET.159 LONG SHOT.

DISSOLVE TO

worlds to conquer. the two BOYS looking about for fresh We stay on out of picture. his camel forwardLAWRENCE urges

and sympathetically The BOYS grimaceis unanswerable.This

afford it.I can't LAWRENCE

It will be very nice for you. FARRAJ

- yes everything. DAUD

- cook food - wash clothes ·O - - light fires We can do everythingNo? this) (considers FARRAJ

I don't need an orderly. LAWRENCE

You have no orderly. '- DAUD (

Aurens. LAWRENCE

Aurens? DAUD C 158 Continued--~✓......' ()!

/c

r-·-·····

;__',-.'j

Brightness"."The And now Selim, FEISAL

;C while: coffee,with

ALI and serves SERVANT appears to FEISAL' s clap aIn answer

Yes my lord. dry)(very LAWRENCE 0 (, think.IAli,Sherif you have metLawrence,Lieutenant , FEISAL /?

iI not taking his eyessits,ALIhands.FEISAL claps·hisLAWRENCE.

to returneyes His hostile to BRIGHTON.silentlysalaamsALI

Sherif. greeting)curt(a BRIGHTON

My lord. to FEJSAL)(salaaming ALI

ALI. we recognizeWith him,changes.

expression LAWRENCE'ssurprised, LAWRENCE and BRIGHTON turn

Ali. Greetings,

FEISAL

finished.is When the recital

FEISAL. by LAWRENCE or BRIGHTON, who faceunseenflick open,

by FEISAL whose eyesback to CAMERA seenALI entersnecessary)

as or shortenedbe lengthened (which can of courserecitalDuring this

merciful. God is forgiving,Verily C of God. And seek ye forgivenesseasy. as may bemuchas thereforeRecitecause. Hisin do battle and othersthe earththrough travel while others among you sickbe some God knoweth that therebe easy to you. ' as may then as much of the Koran· Recite RECITER I ' 161 Continued•.•·:0 ) ( . ,,-"

~ Akaba You could supply us through

FEISAL

sir~ We can't supply you here times) a dozen )_j_..__'\ ground been over this ""-..,· hashe out;· (bursting C but - to rub it in sir,• • . Sorrysir~ not doing much good hereWell you're BRIGHTON

Colonel. _)' 'C Yenbo, back onfall You want me to FEISAL i sir. decision,aI want BRIGHTON r•)

Colonel.Yes, FEISAL

He sighs.couchant. BRIGHTON, EuropeanBedouin,rampant

in ALI, FEISAL takes at one another. LAWRENCE, they smiling() FEISAL tofrom suspiciouslyeyes flickALI's 163 REACTION SHOT.

So? (looking at LAWRENCE} FEISAL

pleased.

and FEISAL surprised BRIGHTON surprised, 162 REACTION SHOT.

to thee and thou be satisfied. - And in the end shall your Lord be bounteous'O LAWR~NCE

- thee than the past for shall be betterthe futureAnd surely FEISAL

for him: and finisheswrist lays a hand on the RECITER'sgently,smilesseeing this,FEISAL, recommences. when the RECITERimpatience BRIGHTON exhibits

displeased. hath He beenneithertheenot forsaken Lord haththy darkeneth, night when it by theand By the noon day brightness RECITER

161 Continued

BRIGHTON is disgusted.ALI laughs sharply.

Possibly. FEISAL

the same.and oneare and Arab interestsThe British C I must ask you not to talk like that. sir. BRIGHTON

consequence to us.is of littleItinterest. British Canal is an essentialI see that the FEISAL t)

surely? You see that sir,be the Canal.and must is Front of thissector The one essential the obvious) {as one who states BRIGHTON

the Suez Canal.ProtectingAh yes. FEISAL

got other things to do. the Navy's Put that out of your mind sir; (more gently) BRIGHTON

I can imagine.Yes,..Twelve inches dejected)(heavily; FEISAL

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

You could. FEISAL

can't~ But you we can supply you.courseof Oh well if you can get hold of Akaba sir0 (angry) Akaba! (astonished) BRIGHTON

163 Continued

I

i ··~·--

l

- never fearsir, We'll have you in Damascus 0

BRIGHTON

alarmed. BRIGHTON,So doesto this. FEISAL and ALI react

I think it is far from Damascus. LAWRENCE

of Yenbo? What do you thinkLieutenant? FEISAL

1t..1 FEISAL: ',[

butJt, suppressesmovement, LAWRENCE makes an involuntary

army! a modern mechanized We will teach them Sherif Ali, to fight BRIGHTON

how to fight? will teach the BedouinThe British· (laughs) ALI

sir. guns more thanfar Your men need training BRIGHTON - and keep the training.guns;give usYes; sneering)(lounging, ALI

Medina~guns atTurkish Guns like theArtillery!:!GunsNo! (passionately) FEISAL

modern rifle for every man.A BRIGHTON

Guns? (quickly) FEISAL

everything~training,advice, We will give you arms,equipment! Fall back on Yenbo and we will give you Upon my word sir you 're ungrateful. BRIGHTON --~:Q.J 163 Continued ()

i

----...J

Right.

(quietly) LAWRENCE

them great. makes and this where they please,strike and where they pleasegothe English C Because of this Because it has a Navy. FEISAL

discipline!hasBecause it BRIGHTON

guns~hasit Because ALI

? And why -great.but it'ssmallIt's with some. Small population compared than yours. country - much smaller is a small Great BritainNow look sir, BRIGHTON

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

will. But discipline (kindly, persuasively) sir. won't get you to Damascus,Dreaming to FEISAL)(sternly, Lawrence.do,That'll BRIGHTON

but compellingly:

quietlysays, BRIGHTON this STRANGER must be watched.a pole;0 up, againstALI sits likes this rapport.ALI nor BRIGHTONNeither

Very. LAWRENCE

not?itis It is beautiful, FEISAL

Yes my lord. LAWRENCE C .. Lawrence?Mr.cu~,Damas Have you been in with interest) (scanning LAWRENCE } FEISAL JO 163 Continued ()i

(.j ,---·--

insubordination.such atrociouscomprehend BRIGHTON can barely

suspicious,trebly with every word of this and is renderedALI agrees

fight now. "\ ( I you shouldway And this is theway. the world for fighting in thisthroughout You are famed has always fought ...

where and strike go where they please And on this ocean the Beduis dipped". is an ocean in which no oar"The desert ··c enquiringly) FEISAL cocks his head (he points to the Koran. is right.

LAWRENCE

Rubicon.

I the LAWRENCE knows he is crossingof polite attention,an attitude' LAWRENCr:towards maintainingunmoved,absolutely FEISAL remains ► I ) r4 I

man! I

I and master'ar'eThey (Lawrence)to him? i

(Brighton) turn from himWhyfool!Old ALI

tent. in Feisal's Lord Feisal,From RECITER

your orders?take from whom do you Goddammit Lawrence, 0 BRIGHTON

BRIGHTON jumps down it. LAWRENCE opens his mouth.

But I should like to hear his opinion. FEISAL !o

- sir~ Advisor is not your MilitaryLawrenceLieutenant /° can speak) FEISALbefore(quick, do! that'll Lawrence I I BRIGHTON

breaks. At once the storm FEISAL looks to him again. C. 163 Continued.,J..,'II / ! (~ 1i

I r

i ~

L

C LAWRENCE.expecting the tent flap, BRIGHTON and ALI regard Outside in the dark,to remain.signalhim a discreetmakes

FEISAL as LAWRENCE is following,JustLAWRENCE.precedes

but himselfhimself, .ALI out beforeushers BRIGHTON politely ALI salaams. BRIGHTON salutes.All rise.It is the dismissal. ()

it is late. rises)(he And now tomorrow. I will give you my answertruth. the speak . . . But youheavilyYou tread 10 (stung) FEISAL

I. lose you'llsir, the betterThe sooner

we move? when shallsir,well,Very (curtly) BRIGHTON

right. I know you aredecide. must people but wisersay;say their They must passionate. young men are I and Colonel, young man,aisheno -No FEISAL

IV traitor? \ e. a do you know that you'reLawrence, BRIGHTON

is this to you?What and suspicion) (wild with jealousy ALI

Army. British one poor unit in thebecomesRising and the Arab back on Yenbo sirFall to FEISAL)(he turns wrong~ - but you 'resirI'm sorry (distressed) LAWRENCE

I

Well I don't know ... who gives up} as one (disgusted, BRIGHTON

I

163 Continued

I ,-·

J ....

Gordon of Khartoum.Doughty, Stanhope, away)' (he walks - loving Englishmen desert-of theseanotheryou areI think He nods) him. and considersclosely LAWRENCE (he approaches ? ... that possible And is To ·England and Arabia both? FEISAL

as he draws up to LAWRENCE and says thoughtfully;serious

is and his expressionis practical,for him the questionintellectual-

To England and to other things. humour)emotive not of intellectual,smile a smiles (hesitates, LAWRENGE

loyal to England? Are you not an Englishman.You are FEISAL '

they hunger for Arabia.. fear I Lieutenantplaces, hunger for desolate The English have a great ·my soul I do. I to do it uponBut I fearguns.European 'iO have for the Turksit,I must doAnd FEISAL

yes. In effect my lord, LAWRENCE ,if'.h~ '' does he not?Officers under European Colonel Brighton means to put my .men FEISAL

Inside the tent FEISAL and LAWRENCE both stand.0

ways between the tents.

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

163 Continued

_J_

{he shrugs) need· the English or ...weit seemsagain,To be great 0

FEISAL

holds it apart. FEISAL courteously \

and They move over to it,the tent flap.graciouslyHe indicates!c

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

again my Lord. Time to be great (mildly) LAWRENCE

ago. Nine centuries (dryly) FEISAL

you were great.Yes, LAWRENCE

village!a when London was-in the streetslighting of public city of Cordova were two miles in the Arab But you know, Lieutenant, surprised) looks (LAWRENCE and cruel? barbarousgreedy, a silly people;people, we are a little you can play with because or is it that you think we are something••. philosophic to the emotional) (His tone changes from the

And no man needs nothing.-desert. There is nothing in theand green trees. We love water No Arab loves the desert. Jurns)(he FEISAL (Cont) o. 163 Continued·-...·",-·: ,,J I (~. • I'

r

white of the moonlit outlined aga:inst the brilliantconcentration,

in deep of LAWRENCE, standingThe dark figure173 LONG SHOT.

puzzled.down;, The two IMPS look172 CLOSE UP.

(_) He comes to a stop with his hands in his pockets.below. of LAWRENCE walking in the desertfigureThe small171 LONG SHOT.

downwards with curiosity. looking FARRAJ and DAUD squat into picture,170 CLOSE UP. :o ' they stop. the end of a promontory,On reaching along a sandy ridge.FIGURES scamperTwo small169 LONG SHOT.

open desert.the ! slowly in deep thought towardsof LAWRENCE's back as he strolls,1() and we see the dark outline pans upwards following the footprints, as the CAMERAof mysticismon an overtone dynamo theme takes

The in clean sand. A set of moonlit footprints168 CLOSE SHOT.

about the young man outside. ' 4

thoughts conflictinghis curiouslyto collect the tent flap tryingtowards up He lookshis tent. alone inside FEISAL is sittingSHOT.167 MED.

direction. he walks off in the oppositeslowly,verythen,music begins again, to the ground and the LAWRENCE's eyes return166 CLOSE SHOT.

among its neighbours. lit army tent glowing outbrightlyBRIG:E{TON'sSHOT.165 MED.

and he looks up.stops,the musichis mind,crossesAn irritation 0

TRACK. theme begins on the SOUNDa slow dynamo-likedeep thought,

looking down at the ground inAs he standsfrom the tent.yards LAWRENCE comes to a slow halt a fewOutside,164 CLOSE SHOT.

and LAWRENCE leaves. FEISAL nods a polite goodnight,

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

FEISAL 0

? Or •.. (gently) LAWRENCE o·· 163 Continued/____....! (),

) C

___;__J,_·.---..

Akaba. (quietly} LAWRENCE

is a pause.There The music stops.LAWRENCE.UP:CLOSE180

They don't know why, but theyback.The IMPS stare179 CLOSE UP:

seeing them. and he is not reallyfocused on the distance

I' up at the two BOYS, but his eyes areHe looks directlyeffort.·o

I

\ with the unconscious tightly that his fist vibratessohold the stoneI I LAWRENCE begins tobuilds up and up. which has never stopped, I.- The music, LAWRENCE. to creep in towardsCAMERA starts

i

The between the backs of the two BOYS.LAWRENCE is framed so that down near to DAUD, FARRAJ comes and sitsthe stone.C: with - watching him as he continues playingcross"'.leggedDAUD - also sits in front of LAWRENCE, with his back to camera,fo·ur yards Three or so that LAWRENCE's head is shaded.cloth in the branches

FARRAJ is hanging an odd piece ofThe SAME.178 MEDIUM.SHOT:

side. below, and to eitherabove,

empty, is completelythe frame Apart from this tiny group,him.

him, the OTHER is busy behindsits beforeOne of the BOYStree. stunted deserta LAWRENCE is sitting under177 LONG SHOT: DAY.

DISSOLVE

out of picture. The IMPS get up and run palm of his hand, and walks slowly away. bounces it up and down in thepicks up the stone,he aimlesslytion,

concentra.:his without interruptingbut then,not to notice it,seems0 he At first SHOT: The stone lands at LAWRENCE's feet.176 MEDIUM

gently lobs it out of picture.DAUDliimself,restrain but unable to shakes his head,FARRAJLAWRENCE.towards throw it downhe in pantomime thatcolour and suggestssome bright Then DAUDpicks up a jagged stone ofmaster.dogs watching their watching LAWRENCE like twosit patientlyIMPSTheUP:CLOSE175

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

LAWRENCE is standing quite still,sky.dawnSHOT: A174 MEDIUM

DISSOLVE TO

direction. begins to wander off in another and LAWRENCEin intensity, The dynamic theme increasesdesert.

173 Continued

-- r-----

LAWRENCE drives·on: ALI begins to be fascinated.0

for myself. Only for the place.answerOh I can't "----·~ ) \ LAWRENCE -··--....._/ \ 1C> created~ The Nefud is the worst place God not flicker) (LAWRENCE does Englishman. It takes more than a compass,You? () (surprised) ALI

it if you will.crossI'll LAWRENCE ..It The Nefud cannot be crossed. ALIA

right.That's LAWRENCE

the Nefud.to crosshavewe should To come to Akaba by landmad.You are ALI

and MUSIC stops when: root and goes sprawling,

over atripsDAUDbut and the BOYS put on a spurtamong the tents,0

LAWRENCE disappearsa race.run becomestheandbackground

in the The camp appearsThe music builds.destination.a specific who has - as a man runs until he is runningand fasterwalks faster

LAWRENCE follow close behind.The two BOYSfrom the three. CAMERA PANS and TRACKS with LAWRENCE as he walks ·away

The music begins.whirlingExciting, He gets to his feet.excited. and activelybut outwardsinwards-longer see his gaze is nowehand

and above his LAWRENCE licks his palm mechanically,bleeding.

It is LAWRENCE'S hand.and points to then looks up in surprise it, DAUD catchesBOYS... He comes to and chucks the stone at theI

,o

land~ Akaba - from the LAWRENCE

LAWRENCE and the BOYS.182-MEDIUM SHOT: C don't understand.:SOYSThe two181 CLOSE UP:n

►

of going.matter only aIt'sAli. Akaba's over there LAWRENCE ()

185 LONG SHOT of this while he says on SOUND TRACK.

points to the horizon.andHe turns

u of it. do not dreamthe TurksCertainly LAWRENCE

from the landward side! It cannot be. approachedreason~With good ALI

are no guns at Akaba.side there From the landwardbe turned round. And they cannotAli.face the seaThey LAWRENCE ,,)

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

though·. Good fighters·: LAWRENCE

to anyone. sell themselves they will The Howeitat are brigands; 0 (promptly) ALI

I hear. The Howeitat are there (lightly) join. would be fifty men that other men might If fifty men came out of the Nefud, they LAWRENCE ~ I Akaba? Fifty,. against ·'o ALI

Fifty men? LAWRENCE

184 Continued

, 55

C

If

is a bad beginning to such a journey. tracking)CMIERA is, camel LAWRENCE's knowing wherePARTY, and through the RAIDING (he walks LAWRENCE into Blasphemy. FEISAL

To work your miracle. (smiling) LAWRENCE

with fifty of my men? - Lieutenantyou going, And where are :__4' and -searchingly)faintly but rather(smiles, FEISAL

of the rock. out of the shelterand FEISAL stepsin the scene )◄',

to takepauses WR.ENCELA all is done very quietly.the contrary

is no shouting - onthereexceptthatpit,racingGrand Prixainas and technicalis as tensethe atmosphereto go;rearingalready some are being loaded,are Some of the camelspreparations. minute making its last The RAIDING PARTY190 LONG SHOT.

he sees: of the outcropcurvetheskirting

and flap; but also without that is without pleasureflies,accepts man as a sensible the phenomenombut he acceptscharmed, or does not look at all pleasedWR.ENCELA189 CLOSE SHOT.

DAUD and FARRAJ are following.188 LONG SHOT.

and: he has been been seen,sure

to make when LAWRENCE looks over his shoulderthat is,Except,

sign of life.but no otherfires,one or two earlyfromascending is the camp with smokeat a distance,In the background, round the edge of it.is stridingand saddlebagsbandolierpistol,

with LAWRENCE burdenedGrey dawn. 187 A ROCKY OUTCROP.

DISSOLVE TO

mad! You are unwilling respect) and (with horror ALI C ALI 186 CLOSE SHOT

t (,

(he gets into the saddle) No. (inexpressively) LAWRENCE C

Yet you did not tell Colonel Brighton. (searchingly) FEISAL 1(; (he gets into the saddle) my lord. Sherif Ali owes you his allegiance, LAWRENCE

last. FEISAL risesstare. defensive-aggressiveexchange their

and again he and LAWRENCEto rise,ended ALI is the first

is When the prayer quietly with his bags.himselfthen he busies

we see what he sees;He looks about;Mecca.kneeling towards all but LAWRENCE arerustling, camp and with a single wave-like Muezzin is heard from theThe distantfalls all about.Quietness FEISAL holds up a hand and listens.Before LAWRENCE can answer

I,. I

to tell me?confidence,Did Ali break FEISAL

I

aggressive.

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

~

I these to you.

'O But I will spareI must ....yes,Yes, muttering)long, , I (glances at him side- FEISAL

on Yenbo, sir. You are falling back, one hand to the other) He shifts his bags from (it is a bit awkward. LAWRENCE

Why not you?Ali did. FEISAL

Who told you? LAWRENCE ., C: 190 Continued,/___,.,, (""'i; •

57 •

(

armed. and most seriouslybut a dashing ridermanner,eyes and an elegant

made-upclothes, and MAJID a willowy young Ageyli with splendid face, with a calm strongwarriorand well-equippeda middle-aged

the ELDER HARITH,Bedouin,and impoverishedundersizedcheerful, C GASIM, a shifty,individually,We see,tents.food and rolled-up

laden with Last of all come the baggage camels,ahead.centrated con- and seriouslyfiercely followed by exotic faces,Then banners, costumes.red-tippedin their two NEGRO SLAVES, magnificentALI's come First· than the CAMERA.fastera littlethe shot trotting

through each in turn as they pass the line of RIDERS, introducing

to move down The CAMERA now starts 197 CLOSE TRACKING SHOT.

sardonically.he smiles ALI has been watching him:ecstasy. with disciplined His face is stiffenedhis head.and erectssaddle

thein himself He straightens his eyes blazing.to the front again,>(I.

LAWRENCE turns ALI and LAWRENCE. 196 CLOSE.UP TRACKING.1

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

round in the saddle.righttwists

and the temptation he is unable to overcomeFinallyyet more force. _gathers The MUSICround.turning behind him without overtly

to see what istrying his head from left to right,turnshe slightly

As he rideshimself.controls excited young man who nevertheless

is that of anHis expressionday.broad of LAWRENCE, riding; quite loud, to the head and shouldersl\iIUSIC194 CUT SHARPLY, with

ride? in whose name do youBut..claim it you may Lawrence,LieutenantYes, 0 angle) LAWRENCE's from (looking upwards, FEISAL

FEISAL CLOSE SHOT.193

of Mecca. to ride in the name of Feisal

: we can claim Since you do know; I

(smiling) LAWRENCE

I I

risen. sim~larly and OTHERSALI and behind we seewhich has risen,camel,

j LAWRENCE looks down into the CAMERA.from his192 CLOSE SHOT.

wistfully. DAUD and FARRAJ hang off the RAIDING PARTY,191 LONG SHOT.

i •

J

~lA-rt..TAT,......~.....~ merely LAWRENCE looks up,voices. SOUND TRACK, raised

On of ALI's regard.~wareLAWRENCE ishim.fromdistance

watched by ALI who lounges at a littlecrouching,singlet,army LAWRENCE is wringing out a spareIn the oasis205 CLOSE SHOT.

slope. down the reverse They slitherthe can.DAUD seizes With determinationoff again. C)

Look hesitantly. They look at one anotheragain).distantvoices

looking off (the DAUD and FARRAJ as before,204 CLOSE SHOT.

is water.all there

But above is kindled food is in the offing.fireAown reflections. theiratsmile or merelyhands, dabble theirsplash,heads,their

pour water ondrink, call to one another,They drink,periphery.

at its a human fringemen .merelythe most of the screen,occupies

The water not yet begun.of the journey over and the hard part

of parting the sadness for the night in high good humour,preparing

TRACK) are now suddenly loud on SOUND(their voicesRaiders

The oasis. of a palm-fringedwaterglitteringThe 203 MEDIUM SHOT.

I

at: off fascinated,he gazesfrom his lips,falling heedlesscrumbs

and half-heartedly,chewing mechanicallystuff;drymouthful of the

another DAUD essaysof a camel.and the roarvoicescheerful

j•

distant TRACK we hearOn SOUNDyearningly. looking off screen, They are an old tin - empty.fromone, but improvisednot a proper ~- can water we see theirsidesBy theirfood.and crumblyunappetizing

they munch somebellies,On theirLate afternoon.ground. hidden behind a fold in theDAUD and FARRAJ,202 CLOSE SHOT.

DISSOLVE

plain. the desertoff across with them as they trot whack and CAMERA panscamel a smartthen DAUD gives their They wait for a few seconds,DAUD and FARRAJ.201 CLOSE SHOT.

dust sent up by the RAIDING PARTY.of

column viewpoint we see the recedingFrom their200 LONG SHOT.

ahead. the desert to

watch The two IMPS furtivelywaist.DAUD'saroundclaspedhands'I

i

his behind him, with FARRAJ mounted pillion-fashionis in front'

i

DAUD FARRAJ and DAUD. is brought to a halt we recogniseanimal As the with two RIDERS. mangy camel appearsand rathersingle a of a hillock we have just passed,Round the cornerSHOT.199 MED.cf

... RAIDERS draw away leaving a cloud of dust behind them.·

as the and fainter The MUSIC grows fainterCAMERA.from away stick pointing out a change of directionhis camelALI raisesI

sands and rocks. it weaves its way through the multi-colouredas( The CAMERA follows it for quite some timeTY as a whole.PAR time we see the RAIDINGFor the first .198 LONG SHOT TRACKING.(~)t

(

her. followedWe our camel strayed.No Sherif,

FARRAJ

stay~ You were told to whip)his twitchesHehorizon. the over (he looks uneasily us • tracking have beenYou C ALI

even seem to hear what follows.and doesn'taway, unconcerned, but LAWRENCE again looksto the others,for confirmationHe turns

wish it.doThey Aurens. That is true, [) indispensable)'(anxious to be GASIM

, . ~is. in something no concern ofconcern no have looks away as one bored or one who willandthem,ofpart

He will have nohim..forholds troublethat the situationsenses to the boys but LAWRENCE is attracted LAWRENCE-sardonically. ALI looks at at LAWRENCE. nods cheerfullyhandful of water,

a snatching DAUD, having improved the moment by surreptitiously

~L Sherif. Lord Aurens,To serve FARRAJ i I FARRAJ with his foot.He pushes

Boy. Why are you here? ALI.

caught them.I nod to LAWRENCE) ingratiatingan{with

I I They were here.us.

They have tracked I caught them Sherif. I

I I

One or two of and throws down his captives.GASIM comes on frame

LAWRENCE as before but ALI is standing.207 LAWRENCE and ALI.r

i

lO evidently. These are known characterslaugh and applaud.• I

The Raiders ended and has set his face dis obligingly.his dignity offi is in pain andARR,AJFButaffected fear.and plays up with clowning and DAUDthen,and a rough shake now of attention and gives DAUD the centrebe is delighted toGASIM hair and FARRAJ by the ear.

i by a handful of his thickHe has DAUDFARRAJ.andwith DAUD;0 is coming through the palm treesGASIM206 CLOSE MOVINGSHOT.,,,./..\();-' r

I I .....,r---·-··

~--·1

fair. That is · (judicial) GASIM 0

every week?One shilling DAUD

fing~r. DAUD is holding up one bottom half as we are looking down on the boys POV LAWRENCE. C We only see his though this were what he had intended all along.

as over them quite proprietorial,away, but GASIM standsdrifted have The other Raiderskneeling.The boys are still209 CLOSE SHOT.

Aurens. DAUD u

.. On SOUNDTRACKlook for look .. LAWRENCE trades 208 CLOSE-SHOT.

these are worshippers.not servants,These are ALI

say: turning only todisgustedly,

away ALI stalks touching head and heart.They are at his feet,

with the baggage.ride canYou.. . . They sound very suitable LAWRENCE

not suitable.They areBe warned.

ALI

apologising for such creatures) ·pity but on the contrary not expressing~hrugs,(he ... parentlessoutcasts,...are Aurens - these Oh these are not servants GASIM

save him from a social blunder.0

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

Don't do that. LAWRENCE

up. loo~s LAWRENCE At once on DAUD's shoulders.hardthe whip downHe brings

Blasphemy. not angrily)(technically, ALI

It is the will of Allah. (looking at LAWRENCE) servants. She led us here to be Lord Auren's (solemnly) DAUD C ---~-/·-~- 207 Continuedj.(I ,,---,..

:I

into the the line ahead of us and rideshe crossesdown the slope;.I

LAWRENCE among the RAIDERS we followFromSHOT.220 MED.0

(and he moves forward) is there? s no time to waste then,ThereYes.

(equally polite) LAWRENCE You see? of him) ahead LAWRENCE who staresover polite as he triumphs(sardonically ALI

LAWRENCE and ALI.219 CLOSE SHOT.

to die. in twenty days they will start And we die.die, If the camelswater at all. no For the camels, but what we carry. no water From here until the other side, TRACK) SOUND(on ALI

shining white.ofvistaa limitless 218 LONG SHOT. Beyond the railway

that - is the desert.andis the railwayThere ALI

and ALI LAWRENCE 217 CLOSE SHOT.

samr. and does the The MAIN PARTY appearsus.halt and look towards appears LAWRENCE and ALI SHOT. A CRESTED DUNE.LONG216 MED.

DISSOLVE TO 21S

above the railway.of the telegraph210-The singing wires

CUT

the compassionate!Allah favours

sinner:)going..thorough (with the dreadful piety of a you! They will be lucky for GASIM

that he has "significance".).

so screen, from an empty uncluttered(if possiblehim and callsafter looks he moves away. GASIMawkward smile,With a nod and rather

All right. LAWRENCE

much! No that is too (scandalised) GASIM

Each? (a quick glance at FARRAJ) DAUD 209 Continued

II

•o.

I was thinking . (defensive} LAWRENCE

straightens. opens his eyes,immediately () LAWRENCE LAWRENCE with his stick.pokesandsatisfaction,

grin'\with ALI comes up alongside,, smileshead nods forward. hi~ agit'inbut upright,himselfHe.:jerks He is about to fall off. sleepily.head jerksHis LAWRENCE. CLOSE UP TRACKING.·234

() floor. on the desert and contractingexpanding and flitting, His shadow jerking 233 CLOSE TRACKING SHOT.

own shadow.his looks away from the dust devil to

and togetherhimselfHe pulls LAWRENCE. 232 CLOSE UP TRACKING:

giddy spiral. The foot of the dust devil sucking the -ground in a231 CLOSE SHOT.

eyes follow the dust devil downwards.His half-closeddown.

up and LAWRENCE bobbing monotonously230 CLOSE UP TRACKING:"./

'Ill

floor. the desertacross and turning A DUST DEVIL twistingSHOT TRACKING.MED.229 (

on: eyes are fixed dreamilyLAWRENCE'sDAUD. ,a LAWRENCE followed by FARRAJ andCLOSE TRACKING SHOT.228

at: looks overHe ALI alert. The SERVANTS tired,

SERVANTS.'TWO ALI, followed by his CLOSE TRACKING SHOT.227

monotony.of - building a senseangleStill anotherSHOT.MED.226

Another angle.SHOT.225 MED.

and down like sacks.

jerk upRlpERSThe are· exhausted.MEN and beastsSHOT.224 MED.

high sun.

a plodding on underorder,out in no particularspreadRAIDERS are The A FEATURELESS DESERT WASTELAND.223 LONG SHOT.

DISSOLVE TO

on into the plain.and continuesmoving forwardat the rear,Shot starts move over the plain.column,disjointedainquite well gathered,stilli

but formation, THE RAIDERS, not in precise222 FIRST AERIAL SHOT.

DISSOLVE TO legs. ... le

moving seen between theirdistantmoreothersclose,somecross,.1'I

(J ; of the RAIDERSThe camelsAlong the line. 221 LOW GROUND SHOT.

63 (

ALI looks atALI. LAWRENCE andSHOT TRACKINGMED.243 C a·way.n.m a shortis just

illusion the corruptingtimethis ·A THIRD MIRAGE;LONG ShOT.242

his head andHe turnsLAWRENCE.SliO'I'.TRACKINGCLOSE241 {__)

MIB.AGE. BUT SIMILAR A DIFFERENT LONG SHOT.240

to the left.away his head slowlyHe turnsLAWRENCE. CLOSE TRACKING SHOT.239

and It .wavers SPARKLING WATER.CFMm.AGEA LONG SHOT.238

ence.

of indiffer-maskartificialaninsetface his sun-scorchedhis right, towards He is looking awayLAWRENCE. CLOSE TRACKING SHOT237-

his camel.and hatinghimselfforsorryactivelyGASIMennobled,

MAJID The ELDER HARITH unmoved,TRACKING SHOTS.MED.2S6I

le suffering.

his own each MAN absorbed.inopen order,are now in much more

the RAIDERS whotowards over the flat groundspeedingwe are t but not aerial:shot,HELICOPTERAnother)sequences.Trek ~ be common to all thesemustof colourabsenceof feature,absence ea

(But LANDSCAPE. OF "FEATURELESS"TYPEA DIFFERENT235

DISSOLVE TO-

It will not happen again ! I LAWRENCE !o t drifting.you were Be warned, i I (as before) I -ALI I ro It will not happen again. I dry) I and rustlinghis voice is steely,(his face Yes. 1 le

I drifting.You were I (mockery) I I ALI jO Continued234 / ....'·- (~

l

I 0

I

r•--.

,,,___,......~•\ lips. have gummy foam about their'i. ----~'•' Some of them THE CAMELS' HEADS AND FACES.CLOSE SHOTS.247

MAN. and shroudeda motionlesscowerscamel

eachby tiny shadow affordedIn theTHE SAME.SHOTMED.246

CUT TO

then

approac: We begin to _individually.andand foursin threesscattered,are which the kneeling camels cannot see the MEN, merelyWePARTY.

from us the RAIDINGAt a distanceNOON.SHOT.LONGMED.245 ,() DISSOLVE TO

I'll wake you.Fine .. (goes on shaving) LAWRENCE I )4r hours.threenow;reststillWe (sweetly) No, no. ALI

now? Why don't we startMmm. shaving) on his (concentrating LAWRENCE

of this) (he watches the effect each day. A few hours while it is too hot to travel.restAnd by night. now on we must travelFrom ALI

,in a tin lid. a spoonful of water except for LAWRENCE, who is shaving outall the OTHERS the same, In backgroundbed"."inALISUNSET. A BIVOUAC. MED. SHOT.244

DISSOLVE TO

ALI' s face darkens.child.curiousimpertinently

anby as one who is botheredweary frown,head with a rather away his LAWRENCE turnsamused. LAWRENCE, sarcasticallyC

Continued243

('

j___

on a beast,·twoof them,The lastgasp. which is at its lasta camel

on the tongue of BEDOUINS rubbing waterWe see threekneeling.

of insteadsides now on theirthe camelsofOne or twoanyhow. dismounted The RAIDERS areand rocks.by black bouldersfringed shoreits on the edge of a mud flat,Late afternoonLONG SHOT257

C, I i DISSOLVE TO

THE CORPSES OF THE CAMEL AND THE MAN.LONG SHOT256

back.look .. DAUD and FAR.RAJ, in the rear,MED. SHOT255C

glance.

serka and he and MAJID exchangeround at this,ALI looksher lead. jerking distressfullyand slobbers, he does so she groans,Assuit.

MAJID followson.his beastand leadsALI turnsSHOTMED.254 ,C>

his hands a little.raisinglooks off at ALI,up,straightens over to this,MAJID hobbles rag which is a MIDDLE-AGED ARAB. and the bundle offrom that inert,but apartmechanically,kicking one leg of which isbeast, stand and look at the fallenimmobility LAWRENCE, ELDER HARITH, GASIM, stunned intoMED. SHOT253

CUT TO

as he is flung from his saddle.glimpsed

goes overa camelclaritybrilliantIn EXTREME CLOSE SHOT.252

SHARP CUT TO

stones. of brokenwilderness iO

a way across The RAIDERS pick theirAERIAL SHOT.MED.251)

l DISSOLVE TO !

feet.s camel stumblingat their

anxiousl:.' of the RAIDER S , looking downOther'sLONG SHOTMED.250l.§

again. stumbles stumbles,His camel looking down... He ridesto ALICAMERA liftsstones.of broken i\ on a surfaceslippingfeet,A camel's CLOSE TRACKING SHOT.249

DISSOLVE TO

the OTHER:; begin to stir. the backgroundIn ALI who is looking back at him.forlooks round ·' LAWRENCE, whowho rousesHARITB.,ELDERHe rousesrises.He j _IQ He looks up at the sun.his headALI uncoversCLOSE SHOT.248

J

in the saddle. FARRAJ is nodding CLOSE TRACKING SHOT:263 _.,...-(.."!-,,

LAWRENCE followed by FARRAJ andTRACKING SHOT.MED.262

to pan with them. The CAMERA beginsline.orderlyor less and the RAIDERS in a moremoonlight,FaintNIGHTLONG SHOT261

DISSOLVE TO

to date.eye-ful and bleakestbiggest should be theThisrocks.the encirclingit fromout acrossstrike of the flat as the RAIDERSscaletremendo.isWe see theAERIAL SHOT.260

anvil . is the sun'sThis b.. wryly) (he smiles up. sun gets tomorrow'sbeforebe crossedmust it much, But however I am not sure. MAJID

MAJID CLOSE SHOT:259

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

sun. The mud flat in the settingLONG SHOT258

the mud flat)(nodding over of that.sidethe otherOn 0 ~ Aurens. of water,shortnow,is no restThere MAJID

(he goes) die. we die, when the camelsyou;I told (shortly) ALI

here? Do we rest LAWRENCE

of water. a few spoonsfulm1.1gbottom of a

in the who swills by LAWRENCE,are joinedthis,watchingand ALI, ) ELDER HARITHknees.to herflounderscamelTheirin.comingare }

C DISSOLVE TO

on. :Plod The RAIDERS LONG SHOT TRACKING.276

-..

move off together.Tlreyu FARRAJ remounts. LAWRENCE and DAUD wait untilSHOT.MED.275

about again and continues.wheelshas happened,whatatdisapprovingly

and hard He staresto a halt.comeHe too hasALI. CLOSE UP274

-I on through the picture.·passOther camels it to its knees.and bringsto his camelforwardas FARRAJ runs

They waithalt. LAWRENCE and DAUD have come to aMED. SHOT273

and gets up.head, ' '

his shakesup, He sits RIDER is FARRAJ.The FallenCLOSE UP.272

shadows ..among the and a BODY fallscry,

is a -then thereseconds The shot is held for severalthe camels'legs.

The shadows bobbing up and down betweenCLOSE SHOT TRACKING271

long shadows.casting

- The moon nowPAitTY. THE RAIDING LONG SHOT TRACKING.270

DISSOLVE TO

·o back again.and turnsGROUP, looking around theHe turnsALI' s back.SHOT TRACKING·CLOSE269

· him. overtakes

A yawnit. This done he replaceswatch.·histo readhis armraises

With half an eye on ALI heLAWRENCE..CLOSE UP TRACKING.268

and erect.Uprightback.ALI'S. CLOSE SHOT TRACKING267

to: far.wardHe looks a new position.

taking up in the saddleHe shifts CLOSE UP TRACKING LAWRENCE.266

asleep. among the baggage and are RIDERS have wedged themselves

his saddle.acrossrestsand his rifle awake and alert

He is at the head of the column.ALISHQT.CLOSE TRACKING264

68 '

()

and apprehensive.He is worriedup beside them.DAUD rides _..,,,,,./..,... ) l done it! Then we've C LAWRENCE

mid-day. God-willing, ALI

When do we get to the wells? u LAWRENCE

God willing. shrugs.)'He his relief. (even he cannot hide entirely ALI

done it.We've (to ALI) I know. (frowning) I •~ LAWRENCE

him. you know how you have tempted I do .not thinkAurens.thank Him,Yes, ELDER HARITH

Thank God for that anyway --- LAWRENCE

off the anvil.but we areNo,

a little)(~miles ELDER HARITH

Have we done it? (eager)... LAWRENCE ((;).

but look :relieved .slumped,All are

HAR.ITHELDERALI, LAWRENCE, CLOSE TRACKING SHOT.280

gravel. ;o

for hard·mudfeet leavecamels'Their CLOSE .TRACKING SHOT.279

all looking down.

HARITB and ELDERALI, LAWRENCE .and CLOSE TRACKING SHOT.278

mud flat.of thesideon the far the sandy shoreapproaching ,·-IC RIDERS areThe distant DAYBREAK. LONG SHOT:EXTREME277 (;

j ' I

,-

------------·-····

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

·-........ his mount but ALI blocks his way.LAWRENCE wheels;\\ \ ,· \ Take these. C boys)theto (pointing I can. LAWRENCE

not-go-back! We-can- In God's name understand! ALI

ALI instantly stops too. LAWRENCE stops his camel.

In two minutes comes the sun.·()

to die with Gasim?What for, (scornfully) ALI

We must go back. LAWRENCE

ALI and LAWRENCE CLOSE TRACKING SHOT283

and the CAMERA TRACKS with them.LAWRENCE follows, forward. his camelurges then impatientlythis,He considers

God knows. ALI

happened to him?What's LAWRENCE

by DAUD. watched anxiously ALI and LAWRENCE stationaryCLOSE SHOT.2820

Gasim's. ALI (off) ( saddled. A RIDERLESS CAMEL,MEDIUM SHOT.281

stick. with his camelHe points

Aurens. DAUD ,0 Continued280 ()

C

I .. ('---

Engli-i-ish!....English! him) (howling after ALI

word he can think of. about for the worsthe castshim trembling;and looks afterALI stops

milaness) with deliberate(he smiles ,o. In here . (points to his own head) That is written. I shall be at Akaba. LAWRENCE

,'1 and says pleasantly:upon his hated friend most donnish expressionhe turns his most amused,home,point To drive theIt is victory.--- him the most exquisite satisfaction of control yelled into LAWRENCE's face affordslossThis absolute

· Akaba! but you will not be atblasphemer,back,Go You will not be at Akaba, English!Akaba?it Was Akaba? English blasphemer?Eh --- conceit? with your blasphemoushere for --- What did you bring uswhat?What then --- Blasphemer!English!Go back! ALI

with venom. but incoherenthi'll},longer to detain

any not attempting ALI goes alongside,between them.He bursts

Jo

"written."Nothing is I contempt) and impatience with occidental crammed (his voice and manner LAWRENCE '',''"0.

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

HARITH ELDER

Get out of my way. (quietly) ; LAWRENCE·· 1 :c Continued283 ()

(

_j ____....-··--...-..........-.......---------------- ---------------

() on the mud flat.beginning to appear HIS SHADOWisat the sun. and looks over his shoulderturns

- camera away fromHe hurriesBACK.8GASIM' 294B CLOSE SHOT.

camera. away from the sun and towardshis direction

alters then subconsciouslyin his walk,GASIM hesitatesg.)p.in r._,..

- up over the horizonway(HalfGASIM and the SUN.294A TWO SHOT.

walks even faster.hesitation,a moment'sthen after

it and He sees his face.flicks a few seconds the sunlightAftersun.

He does not see theGASIM.(waist figure) CLOSE TRACKING SHOT:2940

over the horizon. THE TIP OF THE RISING SUN appears293

CUT TO: seconds. Hold for severalwalk.

to a fast he hastens KNEE FIGURE OF GASIM,TRACKING SHOT.292

f>

sky. HIS EYEL.INE of the brightening291

look - cut to:on the second

- to his left GASIM looks fearfully FULL FIGURE TRACKING SHOT.290

1-r. camera walking away fromand GASIM appearsFEET enterFOOTSTEPS. of pre-dawn. The empty mud flat - theredglowPRE-SUNRISE.289

and steadily. He is walking slowly but uprightmud flat. in the middle of theGASIM, a tiny figure,LONG SHOT.EXTREME288

Silence. and fainter.grow fainterraidersthe retreating

of The soundsnot risen. The sun has still on a shot of the sky.

and the CAMERA remainsbounds forwardThe animalhis whip.

lash with it a viciousand givesof picturein foregroundthe camel up to ALI trotsonwards. RAIDERS follow theroundandanimals their and DAUD tumFAR.RAJ In the backgroundcamel.riderless GASW'sof is composedpicturetp.eof The foregroundLONG SHOT.287

Get on!Get on! -ALI

forward.the beasturges and DAUD as he angrilyFAR.RAJ

towards and shoutsaroundanii;nalhisALI turns in the background. LAWRENCi·withof picture in foreground ALI and his camelSHOTMED.286 \lo

of LAWRENCEfigure looking back at the retreatingFARRAJ and DAUD anxiouslyCLOSE UP:285

the flat. back across ()

going LAWRENCE and his camelofviewpointALrsMEDIUM SHOT.284_./...•...·

1..I.(~ •

(

ARABS aroundother and one or two.FARRAJ,.ALI,CLOSE SHOT306

,(; in. comingstillarecamels

· bagga:the In the backgroundbottles.theirfillinggrouped,areRAIDERS of the which somearounda wellis besideThe troughMED. SHOT.305

drinking. with camels·waterof clearA trough CLOSE SHOT.304

to the ground.of GASIM sinksfigureThe smallCLOSE SHOT.303

in. He gives supplication.hands~

his half. raisesblindheand nearlyWeepingGASIM. CLOSE UP...302

(): white. now almostsun,The LONG SHOT.301

The drums. down to wait.He settlesDAUD.CLOSE UP300

to be seen.No-one now shining.The mud flat,LONG SHOT.299 (

and then forward.Party,the Raiding

back towardsHe looksis frightened.tooHeDAUD. CLOSE SHOT.298

to a halt.comesthem on the flat,shoretheway offitspickscamel

A mounted Shooting along the edge of the mud flat.LONG SHOT.297

the rear.

towardsdirectedare his looksbut mostlyparty,·to the raidingforward He glances He is frightened.FARRAJ CLOSE TRACKING SHOT.296

by FARRAJ.mounted

camel a singlecomes Behirid themup.doubledSome areasleep. up tucked..still Some of the men areby CAMERA.closepasscamels The baggagemud flat.theaway fromcountrybleakaout overspread CAMERA, away fromis movingpartyRaidingThe distantSHOT,LONG295

and continues.turnsHeat it.lookingstands

GASIM: of the horizon.clear THE SUN now wellLONG SHOT.294F

sun humbly.look at the

to and turnsHe stopsGASIM. overtakesSadness CLOSE SHOT.294E 0

down. LONG SHOT he slowsEXTREMEreaches '

he As definite. of him now quite LONG SHADOWS aheadrun. I

into a half breakscamera,away from GASIM, movingSHOTIilGH294D J

j iC SUN BREAKING CLEAR of the horizon.'..THECLOSE SHOT294CJ.....··. (}

()

_,. j

()

object. and moving as an elongateddistinguishablebecoming with the flat andis now mergingpintpointThe distantfaster.

by is slippingThe ground His viewpoint. LONG SHOT TRACKING315

trot. (_iI

to a the camel Slowly he bringsDAUD. CLOSE TRACKING SHOT.314

above the horizon.blackofpinpoint by uncte·rneath with the distant

slippingThe flat s viewpoint.DAUD'TRACKING. LONG SHOT.313

u ahead. peering bolt upright TRACKS with him as he sitsCAMERaThewalk

into acamelthe1 he urgesdaring,HardlyDAUD. CLOSE SHOT.312

falters. The drum above the horizon. () into the blue of black elevatedpinheadelongatedAnLONG SHOT.311

ahead. staringhaltato He comes CLOSE UP.310

few paces.aforwardanimalthehe budges Subconsciouslysaddle. :hisin stiffenSJ then DAUDseconds,of severalis a pauseThere 1C

a shadow again.casting The BOY and the CAMEL areSHOT.MED.3.09.

DISSOLVE

himself. is beginning to mount, but he controlsFear and then up at the sun.him,aroundHe looksDAUD.CLOSE UP.308

lake. infernalanlikeshining The mud flat back to CAMERA.

of DAUD mounted on his camel,figureThe smallLONG SHOT.307

io again. The drums the desert.out over l to a halt lookingcomesjie PANS with him on to a shot of his back. away and the CAMERAand then turnsdrinka shortFARRAJ takes

(he drinks) God be thanked. ANOTHER ARAB

(he drinks) God be thanked. ARAB

) {he drinks. God be thanked. ALI

Continued306

..(-:· ,

r--------

up. ALI looks

! Daud !!! Aurens (off) FARRAJ

FARRAJ. cry from is a suddenTherestick.

with his the ground He looks away and whacksALI.CLOSE UP.327

waiting~sky, the reddeningagainst

outlined of FARRAJ on the crest,figureThe smallLONG SHOT.326

C upwards.he looksa momentAfterstick.camel

with hisgroundtM moodilydrawspatter~sinHethe tents.ofone of frontin groundon the cross-leggedALI is seatedCLOSE SHOT.325

burning.areFires the well,around

few tentsaupsethavePARTY RAIDINGhim the Behind and below

back his tears.He blinksdesert.theskin looking overwaterawith

on a crestis sittingFAR.RAJ LATE AFTERNOONCLOSE SHOT324

DISSOLVE

stops. The music LAWRENCE..in besideto fallaroundanimal his wheels .and DAUD The TWO CAMELS: meet,.MUSIC builds. The of the screen.sideeitherfromconvergingone galloping, and One trotting The TWO CAMELS.SHOil'.LONGEXTREME323

half smile.A tortured ""L,AWRENCE. CLOSE UP TRACKING.322

shriek.anotherDAUD CLOSE UP TRACKING.321

camel. gallopingsof DAUD'outline 0 The approaching LAWRENCE' s viewpoint.LONG SHOT TRACKING320

eyes . bloodshotthrough

ahead and he peersblackenedis dreadfullyfaceLAWRENCE's can.he hanging on as bestGASIM:,Behind him sitsat a slow trot.i along is joltingcamelHis LAWRENCE CLOSE TRACKING SHOT319·ei

... as he recognizesof delightshriek

into a mounts His excitementDAUD. CLOSE TRACKING SHOT.318

' see. cannot () by one or two men webut ridden---now a mounted camelfigure

The distantby.now racingflatThe mud LONG SHOT TRACKING317

on the SOUND TRACK.

to well upbeginsMusic into a gallop.the camelHe beatsface.

his over spreadsgrin A painfulDAUD CLOSE TRACKING SHOT.316

n

,1 ,I lo·

and DAUD embracing.FARRAJCLOSE SHOT.341

happy defeat.

admitsthat with a half smileHe walks forwardALI.CLOSE SHOT.340

C ALI. He looks towards

in the saddle.slumped LAWRENCE remainsthe camel.GASIM from

MEN pull the exhaustedLAWRENCE and GASIM.CLOSE SHOT.339

ground~to thekneel and the camels They come to a halt C by the RAIDING PARTY.,surroundedThe two camels,MED. SHOT.338

standstill.

to a cpmeshe a few stepsAfterALI. CLOSE TRACKING SHOT.337

·u down wearily.DAUD smiles

Daud. Daud. FARRAJ

bottle. up the watter ',,.." FARRAJ holdsand DAUD.FARRAJ CLOSE TRACKING SHOT.336

contact.to make with FARRAJ the first The two GROUPS convergeLONG SHOT.335

out ahead. LAWRENCE lookingCLOSE UP.334

the sand.reaches

men he hurryingby SurroundedALI. CLOSE TRACKING SHOT.333

forward. his cameland stirstoo,

yelling he startscompanionhis RecognisingDAUD. CLOSE UP.332

· desert.

the acrossyelling FARRAJ running, CLOSE TRACKING SHOT.331

in off the desert.cominghim,

behind with GASIM mounted DAUD and LAWRENCE,SHOT.MED.330

apprehensive.and a littlehopeful,ulous,

is incred-faceALI's the desert. walking towardsand startfeet to their the RAIDERS riseIn the backgroundALI.CLOSE SHOT.329

flying.bottle his waterhimself,over below as FARRAJ fallsDAUD's camelsandLAWRENCEWe see with· him into a LONG SHOT.The CAMERA PANSas he· goes. of a dune yellingdown the sideplunginr,isFARRAJSHOT.MED.328

and a shadow isboots,his FARRAJ begins to unlaceInstantly, (It must not be a faint though)into sleep.collapsesalmost

and control the mind's the body from light going out he releases and like asaddleclothpatterned Then he looks down at the brightly

Wash. j( ··,. (giving him the shirt) LAWRENCE

FARRAJ comes.

Farraj! LAWRENCE

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

Aurens! (smiling) MAJID

Aurens! (smiling) ELDER HARITH

the honour upon them.to confer0

·,

by two or threeinvitedNow he is eagerlyon the ground.cloths

saddle-their of the RAIDERS have spreadSeveralMED. SHOT.343/6

He looks about.

on the ground.gingerlyhis feetand placesthe saddlefromHe slithers

' ""') 11'f"',I Aurens.Aurens, Aurens,

murmur: admiring,amused,shocked,awe hear As he drinks

0I Nothing is written. (he croaks) LAWRENCE

heal.his his lips and raisesfrom

the water but he takes LAWRENCE is about to drink,him a bottle.C

LAWRENCE and handsbesideinto pictureALI walksCLOSE SHOT.3420

'. (,

J__

i

,. Then when he dies you too will be a Lord,.'\~...........',., ALI \ \

A kind of a Lord. LAWRENCE

Is that a Lord? (pleased} ALI t)

Chapman. is Sir ThomasMy father effort)an and says withasleep, his eyes as thoughand closes on his backTurnsthe food. ;~! away Pushesthis. (considers LAWRENCE

Lawrence?Mr.Justtoo: Your father ALI

True. LAWRENCE

better.is El Aurens ALI

Lawrence.Just Not 'El Aurens', Then:) goes on eating. he laughs quietly,(moved, LAWRENCE 0

(it is capitulation) it. they writeunlessis written for some men nothing. . . Truly,El Aurens (quietly) ALI

ALI.by watched into his mouth, it and begins to spoon it carefully considers on one elbow,himself LAWRENCE raisesLAWRENCE. by layshe which dish of food, FARRAJ comes with a prepared

Farraj~ softly)(calls ALI

the light. His eyes have opened and gleam inLAWRENCE.CLOSE SHOT,347

(l

r------

······--···------....-'

I suppose I am.Yes, (he keeps his eyes tightly shut) LAWRENCE C

own name then.yourchoose to me that you are free toIt seems thought; quietly)(after further ALI

apology for a fault.) humble though dignified but a (and this is not bitter I'm sorry. LAWRENCE

Silence. ) think this out. He must (he is disturbed. I see. (gravely) '('· ALI

art of breath)eff perceptible· come out on a barely arid 'mother' (the words 'father' my mother. didn't marryHe my father.reallyisn'tMy fatherAli. LAWRENCE

- Chapman·name is - Your father'sthis I do not understand 0 him) point strikes(another But then ... ALI

No. LAWRENCE

like himself)aristocrats (a common complaint among brother. You have an elderAh. t 0I (sympathetic) ALI

No. LAWRENCE

Continued347

--I r,

J

It is permitted? ALI)(to LAWRENCE

(delighted) DAUD AND FARRAJ

Sherif,Salaams is to us. The honour {courteous) MAJID 0

emotion) and awkward with pleasure smiles, a circle,(he turns fine.Very !(J silk)the (stroking LAWRENCE

the Beni Wejh. I of of a Sherifthe robesThey are ,, ALI

him. regard and othersMAJID,HARITH,ELDERALI, SHOT. MED. 349

robes.

in Arab hand on daggerLAWRENCE, BROAD DAY. CLOSE SHOT.348

enquiry. mouth open in horrified

his with them to him FARRAJ looks from one by one on the fire. the clothesALI throws FARRAJ wakes.up. ALI takes themtop.·

·C with the webbing belt onsocks,shorts,shirt,LAWRENCE'spiled By FARRAJ are neatlynow asleep.there, DAUD and FARRAJ are him and goes over to the fire.ALI coverssleep.He feigns

for "El Aurens."settleI'llrigbt,All in him) which rises to love -similar dangerously - of gratitudethe surgetrols in which he con-a pause(after,.a LAWRENCE

Continued347

(-)

I - r-

__J___--··--·----···•-·--··----------------··-----------·---~---

I

I lo

to music. like a man listeningsmiling,arebut his eyes

sternis his faceerect; He stands He dismounts.CLOSE SHOT.354

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

cut off and the RAIDERS arewith thisPANSLONG SHOT above)

as in REVERSE CAMERA (situatedangle.off at a rightcamel

his and urges his hand to them LAWREN CE raisesSHOO'.MED.353

hands.their The RAIDERS raiseSHOT..MED.352 C

to look at the RAIDERS.in and turns CAMERA, LAWRENCE reins When he approacheswafching.aredistant,The RAIDERS,

CAMERA.towards LAWRENCE galloping REVERSE LONG SHOT.351

MUSIC.

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

CUT TO

"Aurens~"to a shout:risethe murmur As he goes we hear

honour~Great Strongly.) back to them.turnssaddle, his camelμpand picks(he turns Yes. (eagerly) LAWRENCE

Try! good for riding.They are 0 boisterous)(tactfully ELDER HARITH

a lead. is waiting forwhoit is he

onceFor. bashfully. pace or two and smilesa hestitantHe strides

Salaams. LAWRENCE

Salaam.clan.a himself may writeis writtennothing He for whoni 0 ELDER HARITH

Surely. ALI

Continued349 j____,\ n

J

it back into his belt.thrusting

before shot in the air,a singleand firesout his pistolAUDA takes

Yours?- interest) with immediate(stiffens LAWRENCE

at my well?drinkingdogs who are of Are you with that partyAlmost. AUDA

Are you alone? carelessly)basin,

. of the {glances round the rim

As you see. hands on hips) -- insouciance{with equal LAWRENCE

Englishman?you doing --What are AUDA

MUSIC stops.enquiry.in amusedraisedar~ His eyebrows dignified and childish.fierce,His face is haggard, ,ee

Bedouin.desert The complete The man is AUDA.CLOSE SHOT.358

one another.THEY regard MED. SHOT.357

nose to nose.almost . LAWRENCE until they are

unseen by the screen,of the opposite cornerHORSE thus enters

I A MAN on a STATIONARYscreen.·theacrossdiagonallyprogressing but he is CAMERA PANNING slightly,.directionparticular

in no off with a swinging strideHe setsAngling down.LONG SHOT.356

CAMERA FOLLOWS closely.of the arms,► io

movement1 with slow gracefulstopping and turning,striding,As he goes,

than play acting.is more and we can see that thiscautious,almost

attentive: is manly and his expressionhistrionicare Though the actions rising. And so on, the musicto fly.causing the robessuddenly, He turns off briskly. into its sheath and setsthe daggerHe slams himself. for the moment happy enough to toleratei.scase heanyIn smile. though he does not.exactlyin self-mockery,his face relaxes

else who held it and upon the dagger as though it were someone His eyes fall Himself perhaps.with it -- who?threatens nobility of extremeexpressionan draws his dagger and with

He He walks a swinging pace or two.TRACKING SHOT.MED.355

() fat her.Harith, BOY

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

glances. LAWRENCE exchange

He andthem. down the side of the dune and joinspony tearsArab

on a miniature and dignified BOY of about ten years,An impressive

I ·, is my "help" •Here

his head)(he jerks

'. man. other it,

be some that mustTruly Would he not? AUDA

Nefudh desert. coming out of the Great to menwater He would not refuseHe is. LAWRENCE

hero.greatabe He mustAh. AUDA

his wells. to look after the pistol}(indicating -- help summon would not need to .ofThe Auda I heard LAWRENCE

What other? , (roaring) Other? AUDA

name. man of thatof anotherI have heardAh. cidence) coin- a mild (as one who notes LAWRENCE_

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

Continued358

' ..r-

iO I I r it left. and throwsbottle AUDA empties CLOSE SHOT ...362D -~...',:j \ ·, RAIDING PARTY. REACTION SHOT ...362C·•.):....,·1 i ·c - holding the bottle up.AUDA still362BI I I OR

from GASIM .. bottle moving forwardAUDA with waterMED. SHOT ...362A

GASIM:

bottle fromwatersnatch.•. AUDA and SON arriveLONG SHOT •..362"

it. the sand towardsthroughLAWRENCE racesSHOT.MED.361

hesitant.it standswhereto its feet,uneasilycamelLAWRENCE's brings passagetheir As they go,view.from so disappearing the well,towardsof sand,in a spurt the end of the Wadi and wheel, away to they tear LAWRENCE's point of view,FromSHOT.MED.360

◄; The two bound out of frame.The BOY fires.CLOSE SHOT.359

them!Tell Yes! AUDA

his eyes sparkling.inquiringly~AUDA

at Looks and holds it upwards.pistolout an enormousThe BOY drags

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

go.to and wheels his horse AUDA nods sardonically

BOY

And is he Harith? AUDA

father. A Beni Wejh Sherif,

BOY

of Harith? And what manner ,.;j,• AUDA .

Continued358 0

LAWRENCE AND AUDASHOT.MED.373

you down? shot if weHow two. you arefifty;We are LAWRENCE

AUDA's viewpoint.LAWRENCE fromCLOSE SHOT.372

(AUDA turns) Auda! (sharply} LAWRENCE

steal?still Does your father · delicacy). with exaggeratedclears;{his face Ali... Harith thoughtfully)name,an obscure to recollectpolitelymemory, of effortan one who makes(as AUDA ;◄

scriptas continueand in TWO SHOT AUDA and ALI meet371

forward. and moves up ALI (to be shot)·sizesAUDA370

•.. • • • moves forwardwho answers'is Ali of the Harith'ItALI369A

' .'.. speakswhp is Auda of the HoweitatinAUDA~(not yet shot}369

'do not'g.inf. ALI steps

~,,....•\ 'You empty that'dialogue-AUDA as well368

smile and losesgun- cocks, SON • • • smiles'SUDAA367 I I

he smiles.~raisedhandCELAWREN366

reacting.FARRA.erDAUD and365

gun. AUDA's SON pulls364A lo AUDA's SON.up to beside LAWRENCE gallops364 I

AUDA's SON watching.363A

may be withintercut

well and circles at GASIM's feetbottlethrowsAUDA MEDIUM.SHOT.363

r-·

So. (_) cautiously) some interest, at him and ALI with(looks AUDA

Feisal's.PrinceofA friend C (quickly} LAWRENCE

Who is he? not present}

LAWRENCE wereas though and shortlyAtlto (he says ... English with me, Be not clever · and he growls) (he is caught; his face darkens AUDA

Howeitat hospitality? and vessels) men the scattered(he indicates him today?teaching And what is it you're f) disesteem) of and with a trace(serious LAWRENCE

to teach him.begunI have only just mock-apologetic)he continues, up to him as LAWRENCE rides and the gun, (the BOY holsters the unworthy. boy -- this honoursNo, no, to a backward pupil)a lesson who repeatsoneasand(testily, AUDA

BOY, ALI.theAVDA, LAWRENCE,SHOT WIDER ANGLE MED.374

your men.offCall () the BOY) indicating(he smiles, that.desire himself in Cairo nor the SultanNot the Generals llead) and bows his(smiles LAWRENCE

it? Do you desireHoweitat Why then you have a blood feud with the AUDA

Continued.373 C

scene. The CAMERA PANS over thisactivity.ofsortmildest or the very is of leisure,effectand the generaltetheredarehorses D

of the but mosthorse$, on trottingmountedof men aretwo groups One o:· children.herbyfollowedon an ass, her way between the tents

a woman makesand therethough here at wl1ich the women work,fires

of cookingscoresfrom Smoke ascendsof horses.a herdsheep,black (_) of flocksshade,givingtrees with smallof waterpoolsareThereit. aroun,space having a clearmagnificenceone of particularblack tents, 0 of hundredssome s camp comprisesAUDAabove us.towerits walls

yetus, of the Wadi is beneathThe floorin form.Biblicalin scale, epir:is sceneThis WADRI RHUMM.down.AnglingSHOT.LONG375

CUT TO ()..

Rhumm!Wadi in that you dine with me --pleasure It is myHarith. with the Howeitat, Dine English.Auda, Dine withYes. straightforward) becomes his pridephrasemagic said this (as soon as he has But dine with me.of Feisal. friends to buy you, will allow the Turks Tomorrow maybe I find it marvellous. ,Ci some men To me it seems a poor place, correct) pedantically to be evenwis~ingone{as a poor place.camp, summermy I am atit -- If you will take (deprecating) is given.itThen. AUDA

it. We do desire :o {shortly) ALI

Is he your tongue?. ALI)(to AUDA

Yes. at ALI) and compellingly and looking warningly(quickly LAWRENCE

my hospitality?you desireAr.id (to ALI) (cont)AUDA

Continued374 C ,,,,'...\ n

I (

I --·; I

r'

and well-groomed.mounts freshtheir

cleanare weaponstheir splendid;casesin somegood,areclothesTheir

alongside.ridingescort, and threatening

into a hugethemselves and the HOWEITAT have formedis now no noiseJ\~~

\ \

There the tents.between The RAIDERS ride MED. TRACKING SHOT.389

C Shooting stops.the tents.disclose

to it is not a circus)away (not too neatly;wheelinghim,beforebreaks

wall of horsemenThe whirlinghis viewpoint.FromSHOT.MED.388

ahead.littlea AUDA spursSHOT.MED.387

sideways. ahead but look convertlyface

RAIDERS and otherMAJID, ELDER HARITH, MED. TRACKING SHOT.386

· HOWEITAT. group of encirclinga

with CAMERA PANS swiftlyviewpoint;theirFromSHOT.MED.385·,1(

and ALI. AUDA, LAWRENCE, MED. TRACKING SHOT.384

into the air.and firingAUDA.'s nameshoutingabout them,circle by the HORSEMEN whosurroundedTHE RAIDERS,LONG SHOT.383'◄

arrive. of the horsemen

as the firsttogetherclosely They pack morerearranged.garments torn sometimescrumpled,dusty,Their straightened.areBacks

They look defiant, CAMERA PANS along the RAIDERS.SHOT.MED.382 e8

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

betweenfrom the tents, approachingWe are LONG SHOT. What he sees.381

AUDA smiles. in the background.prominent.

banner~he MAJID with THE RAIDERS, MED. TRACKING SHOT.3800

welcor:·ofnoise the ground.· On SOUND TRACK a gatheringit fromplucks horsemanA flying By the big tent AUDA's standard.SHOT.MED.379:

of the tents.into the shelterhorses

the away fromchildren women snatchingin one direction;making.0 all men mounted and moremoreflying;shot still AUDA's second The ·echo ofof the Wadi.the floorfromTHE CAMP, LONG .SHOT.378

and down.forwardwaythe .and leadsshot,another

He fires it is done correctly.to see thatalertand alsoof what he sees

He is deeply proud to show off even slightly.concernedhe is no longer AUDA looks down as before,LAWRENCE.AUDA, ALI,MED. SHOT.377

horses. and run to theirsimilarlyMen appearthem. looking up and aboutall of the tents,almostfromappearand children and then womenof inactivity,is one secondTherebetween the cliffs.C The echo of a shot bounds back and forthTHE CAMP.LONG SHOT.376

88 •

(;

I -·-···~·-·-------··------------

--- -----------..···----·-··-·-···"'··-·-·-----·...·-,··-- l

(~) it? do you hope fromprofit What Akaba. thing you work againstThis

(reflectively) : \ AUDA \ ('

mind. much on hisHe hasalive. _:c

wickedlyareeyes but his littleHe is satiatedpolitely.and belches backwards AUDA reclineswith coffee.attendSlavesthem.is before meal of a splendidThe remainswith fires.is ringednight without blackThe within.lit It is brilliantlyNIGHT.AUDA'S TENT.11'.TSIDE400

DISSOLVE

up. to be swallowedseeming

so among the horsemen,knees of the RAIDERS sink down to their

the camelsHARITH, the ELDERfrom At a signalSHOT.MED.399 ~-11. It is a woven palace .AUDA'S TENT.CLOSE SHOT.398

tent. Auda's AUDA f"1 gestures.

and his guests,He salutes AUDA dismounts.the background. in othersus, towards THREE rideThese TRACKING SHOT.MED.397

ld

a into the others,byon, watched .LAWRENCE who rideandALI AUDA,for except to a stop,comes The whole cavalcadeleaders. the ending onRAIDERS, the HOWEITAT along the camel-borne of the heads we PAN overbehind,From TRACKING SHOT.MED.396

the tents. 0

among poker-facedus, moving sea of HOWEITAT look towards the viewpoint, the RAIDERS'From TRACKING SHOT.MED.395

back. he crowdslooking,

Without crowded.beingHARITH,ELDER CLOSE TRACKING SHOT.394

and down.

up him HOWEITAT eyessplendidA CLOSE TRACKING SHOT.393

his best.d~es?Ut he is nervousthe RAIDERS;crowding

now The HOWEITAT areGASIM.. CLOSE TRACKING SHOT.392

the look.He returns HOWEITAT STANDARD BE.ARER.CLOSE TRACKING SHOT..391

at: balefully 0-. his head and looksHe turnsMAJID. CLOSE TRACKING SHOT.390)....i ,,----,

..-.-··-·-----~

And AUDA goes gray at the insult.

of slaves.tribe,aThey are LAWRENCE

but: AUDA looks pleased,LAWRENCE laughs,

is that? what tribe - but the "Arabs":of the Haritheven heard I know - I havetheseBeni Sahkr,Rualla, Ageyli, The Howeitat,...The Arabs? AUDA

For the Arabs. (quick) LAWRENCE

then? the EnglishForNo? to ALI) (insolently, AUDA

... We do not work this thing for Feisal LAWRENCE

Carefully. the plate.froma morseland takesforward LAWRENCE leans

It is my pleasure.Yes. (short) AUDA

to stay in Akaba.the TurksYou permit (quietly) LAWRENCE

I cannot ·serve.But I --than Feisal. masters he could find worseSherif Ali, if it is in a man to be a servant,Well, (unruffled) AUDA /

mention) 0 (unlike some he could for profit.workdo not The HarithMecca.of We work it for Feisal ALI

Continued400

( r

_j ___... - -·-·· --------·--·--· ---------------------------------------------·--···

j ; IIC, No. i LAWRENCE

Is that service?people!mytoriver I am a Because... Yet I am poor!treasure. C pay me a goldenThe Turks flocks and herds. I take away theirtents!burn my enemies' I scatter,I.in battle! with my own hands, men I have killedSeventy-fivein battle! wounds all gotgreattwenty-threeca;rryI

litany: and goes into a furioushis persecutorsHe faces

Does Auda Ibu Tayi serve?Does Auda ·serve?

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

Auda Ibu Tayi !amI AUDA

one. man might from a physicalanother

as threat to his feet and backs away from this moralAUDA leaps

money.takeswh.o It is the servant LAWRENCE

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

the Turks .is to serve Auda's pleasureAnd

LAWRENCE

Who work at Auda's pleasure! AUDA

Who work only for profit. ALI

the Howeitat! I , is My tribe Well they are nothing to me. (muttering) 0 AUDA

the Turks.They serve LAWRENCE

Continued400 C) --~

(

-,

In Akaba. ALI

C they have ... box greatafrom Which they takeA trifle. (AUDA stares) trifle.aIt is what matters? a hundred and fifty,A hundred, LAWRENCE 0

And a long tongue between them. AUDA

I have long ears.

LAWRENCE

Who told thee that? AUDA

Auda. hundred and fifty,A LAWRENCE

but: dumbfounded,are MAJID, and othersALI,

,,

golden guineas.

(impressive) wages. you will tell me if this is a servant's And Now I will tell you what they pay me. (to LAWRENCE)

Why should they wish to? AUDA

could not buy.ksthe Tur Yet this is a tulip ALI

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

( forfighting. And lost his taste Auda has grown old.see111sYet now it 0 (sadly) MAJID

sits.He He approaches.is genuine.his admirationAUDA sees

Continued400

,92

I ()

) AUDA mounts.SHOT.MED.402

at the rear. and bodyguardsards

stand-their with the leaders,i. e.order,in reverseis assembled)__(

The column AUDA'S CAMP. EARLY MORNING.LONG SHOT.401 ,....._,·.-- C· DISSOLVE

with a scorpion.matedmotherThy then:) grimly,him, (contemplates AUDA

it is his pleasure.come because He willaway. the Turks nor to drive-- LAWRENCE

No. AUDA

--- Feisalfor--- LAWRENCE ;◄

No. AUDA

for Money ------ 6(~) LAWRENCE

No. AUDA

to Akaba ...will not come Auda we have been foolish.Friends, LAWRENCE

delightedly. LAWRENCE laughs

AUDA

else? Where LAWRENCE 0I

In Akaba? (glowers) AUDA

Continued400 C)

(

'you think we shall?D (soberly) LAWRENCE

we will go and get it.Tomorrow C ALI

down to join LAWRENCE.ALI slithersCLOSE SHOT.409

ascends.voicesof theirmur 1(j The low mur-in groups.lie or sit, and the men mostlyin clumps

gathered but the beastsor shelters,no firesareTherecolumn. the In the wadi below,V. LAWRENCE.P.O.LONG SHOT.MED.408

at: He looks down contentedlythe slope a little. -~-•◄I

down over happily and slithersLAWRENCE rollsCLOSE SHOT.407

I

Akaba ..•Yes. ALI

and says: at his expressionsmiles looks to LAWRENCE,

ALI this. LAWRENCE and ALI look towardsIn foregroundsea. and the of a town twinkle,the lightsto wheremountains,of lunar fold fold after We look acrossRIGHT. EXTREME LONG SHOT.406

DISSOLVE ~et3

landscape.a limitless of Rhumm acrossthe cliffsaway fromcrawl

ant-like,. The HOWEITAT, EXTREME LONG AERIAL SHOT.405

of horsemanship.in the matterplacetakes

amount of ·-showing-offA tremendousbehind them.dance,country

as in a followers they peel up theirAs they move,LONG SHOT.404

you!withbe Peace AUDA

Auda lbu Tayi I TRIBESMEN

the TRIBESMEN cry:As they advance,LONG SHOT.403 I C mount and move off ·between the "TRIBESMEN.The leaders

Make God your agent! AUDA

Continued402

► (

--·-(

t·

()

men. one of Auda's One of our men has murdered MAJID

at MAJID who says immediately:looking in consternationu leaving LAWRENCE He goes and stands with his face to the rock wall,

This is .the end of Akaba. {to LAWRENCE) ALI '()

· opening for him. silent,almost which falls his way into. the scrumand thrustsa rifle, .. from one of whom he seizesfollowed by his two,joins the group),

(as LAWRENCEaway,breaksand AUDA MAJID can only fall silent,

while ALI andapproval, two HOWEITAT murinurtheAt this

He dies. He killed. AUDA

able fact: 'it(,1

an unalter- not as one who seeks to convince but as one who states

AUDA says flatly into ALI's face,This group.CLOSE SHOT.413.

them. f LAWRENCE drops into view behindfoot of the Wadi wall.the'btJ

at HOWEITAT in altercationtwo seniorandALI, AUDA, MAJID

in a patch of moonlight,swings sideways to revealstruggling,

gyrates, as of giant bees, which emits a roaringThis dark mass,

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

has formedscrumrugbyof huge In the Wadi a sortMED. SHOT.412

following more slowly.of it,head

at the LAWRENCE appears is leaving the foot of the frame, as heJust a rush.in ALI descendingSHOT. MED. TRACKING411

and shouting.men,ofknot \I[)I

is a swirling converging on a point where thereare on their feet,

In the Wadi, the BEDOUIN MED. LONG SHOT P. 0. V. LAWRENCE.410 I'

thing has happened.serioussome specific, I

that which indicates ALI is gone from the frame with a celerity'►

Ci

split'beat·a single He looks to ALI, but aftershot cannons out.

LAWRENCE opens his mouth to reply but from the Wadi a singleI I

if you are right about the guns.Yes, ALI

Continued409

-u

- - - Aurens is the law,It (warningly) AUDA

•,.,J

HOWEITAT. the surrounding AUDA, LAWRENCE,CLOSE SHOT.418

AUDA. his way afterHe thrusts

bath! i) blood- to watch a tribalcome hereI didn't LAWRENCE

LAWRENCE CLOSE SHOT.417

wound. is an ancientIt (resigned) (on SOUND TRACK)MAJID

... AUDA and the culprit

round gathered The HoweitatLAWRENCE.P. 0. V.SHOT.MED.416

to: way, LAWRENCE looks the otherQUICK CLOSE SHOT.415

facing:grimly

faces, about their winding headclothesrifles,coming up with their gathering,areThe Harith LAWRENCE.P. 0. V.SHOT.MED.414

him,. to where:after LAWRENCE staringaway,

He walks his head dumbly.shakes his back to LAWRENCE,ALI,

Ali! LAWRENCE

about. CE spinsLAWREN

why. no matterIt makes blood feud ......Theft (shrugs) MAJID

'!!!}7?Oh ... 0 groans) ·He He is furious.of this. (knows the full significance LAWRENCE

·...\.,,,,/,•··r' Continued413 ,--·nI/

(

eyes widen in horror.hisLAWRENCE,CLOSE SHOT.EXTREME423

violence)

not moblaw,is tribal- this (no blood stains not been manhandled. He has of GASIM.facestainedThe tear CLOSE SHOT.EXTREME422

FUGITIVE looks up.

and stop.frame:enterfeet LAWRENCE'shard.breathingare captorsand his and weeping, He is strugglingHOWEITAT.or four by three down, kneelingfaceheld,THE FUGITIVE,CLOSE SHOT.421

to: scene

ritualisticand almostgravethisfrom we CUT violentlyiately

of HOWEITAT and immed-the open ringtowardsLAWRENCE moves

•ii,.' is offended!and No-one-- ·,

LAWRENCESHOT.CLOOE EXTREME420

--- tribe I have nothe Law! Then I will execute LAWRENCE

Yes! men} his from dubious murmur off a cutting eagerly,(calls, ALI

Harith? content thewill thatany of yours,harms

men Auda's none of LordIfAli!Sherif (calling) LAWRENCE

tween the two groups.

be- Looking down on the scene ... LAWRENCE standsMED. SHOT.419

him. from thrusts LAWRENCE

Yes. ·(cautiously) 0 AUDA

content the Howeitat?he dies will that If die. that the man mustThe Law says LAWRENCE C (~) Continued418

(

r-

and: which he does,--- AUDA does not stand aside

if his pathfrom to hurl AUDApreparedclearlyan inch,swerving not him,past LAWRENCE walks straightSHOT.CLOSE TRACKING429

Aurens.Well, AUDA

quiet congratulation.

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

As LAWRENCE drawsAUDA~isIthim and waits.One faceshim).

of men walkingthe backsLAWRENCE,P. 0. V. TRACKING SHOT.428

news. horribleheard of a man who has just

but experience, with the shock of a horriblenot merelyshocked, degree His face is in the lasthim. TRACKING BACKWARDSfrom CAMERA away and walks,He turnsLAWRENCE. CLOSE SHOT.427

CAMERA.

close past some passing stony and calm,facestheirsound out, shots as moreit away from all radiatingsee,cannotwew'1ich the execution walking away fromMen are MED. PANNING SHOT.426

LAWRENCE's face is desperate. about on the ground.and flinging himselfalivethat GASIM is still

it is clear again, and again.firesaim andHe takes freshfires. he half averted, His face wooden,LAWRENCE. CLOSE SHOT.425

without dignity. is ugly, scrambling,ItHOWEITAT scatter. we see the feet of the and at the top of the screenof fire, who skip nimbly out of linecaptors,hisfromaway and sideways0

himselfflingsGASIM hispi'stol, LAWRENCE raises..enquiring

his expression Then again he nods,him he thinks.or against

for him LAWRENCE isEither becomes puzzled.smileGASIM's

Did you do it? mechanical)something like (his voice grating LAWRENCE

· of apology on his features.smilea ridiculoussnuffling,

gulping and he nods vigorously,over GASIM's face;spreads Widening to include LAWRENCE,. A wild hopeCLOSE SHOT.424

Gasim! LAWRENCE

Continued423

C

r·-~--····

CUT

and:

a thunderbecomesrises,a rumbleclamour,theirbeneathTRACK, ) l. ' SOUNDOn schoolboys.asinnocent and quarrelsome,excitedit,for '---' rush and HARITH,RUALLA, HOWEITAT,ofgroupA MED.SHOT.435 C

in the moonlight.arcglitteringacutsThe pistolFLASH SHOT.434

him. away fromit spinningSends

at the pistol.Looksand fear. at him in horrorlooksLAWRENCE

C

yours.is still The writing (placating) You gave life and you took it. uncomfortably)(smiles ALI 1•)

not to have heard.who appearsALI and LAWRENCE,CLOSE SHOT.433

it was necessary.Besides,. . .that in No shameAurens. execution,It was 0 (gently) (on SOUND TRACK)ALI

on SOUND TRACK.ALI speaksThe pistol.CLOSE SHOT.432

hand~ in LAWRENCE' sstillon the pistoleye lightshisa little;for in silence,into step,and fallshim in frameALI joinsLAWRENCE.431

LAWRENCE.afterthe frameALI leaves

him. 0 to have leftBetterthen.It was written shrugs)(he .. Ah- (comprehending) AUDA

out of the Nefud. the man be broughtwashe killedThat that ALI ) r I o the Englishman?What ails f AUDA

his friend.after

off looking AUDA in frame,ALI joinsdistress. of LAWRENCE'S of the source no comprehensionsimplyHe hascurious.and withal puzzled but absolutelynot offended,He looks CLOSE SHOT AUDA.430

off again andand fliesturn,like a circustent,foregroundguys of the the deftly seversa horsemanof the chargeIn the rearin a twinkling. overrun shot down, sabred,cri.es they areand with hoarsefortissimo,\'-_,) thunderscreen,onbursts the chargebutburst loose off a brief hesitant··•·--._ One team does want them to succeed.we almostis growing;thunder CJ The to load them.. side of the position, to lug them to the reverse from the heavy guns,to rip the coversvaliantly,without panic,grimly, TURKS struggleIn the Pitsin foreground.thereforeside of the Wadi, at this The same many neat tents. side of the Wadi arethe far

We shoot along the line and at four sandbagged Machine Gun pits.

the Wadi are In a line across continuing but dimminuendo.Thunder443

go down.arms, throw up theirbefore us,scatterTurksArabs. the charging MOVINGSHOT, P. 0. V. As though swept up in it,442

Thunder fortissimo. on top of CAMERA engulfs us.The charge,441

· · and: overwhelmingbecomes cringing as the thunderCAMERA instinctively into but he turns works a field telephone,The OFFICER frantically440

· and: taking cover (thunder of hooves growing steadily)more purposefully

the MEN in the queue and PANNING SHOT, in the Kitchen area,439

but without a break.steadilyincreasingthunder

of dust, P. 0. V. under its curtaintheirThe charge,LONG SHOT.438

and: from his plate,food slidesOne man'soff incredulously.stare

in the queue MENThen,curiously.headstheirraiseat the tables -0 PAN back at once and see MENweof the charge growingThe noise by an OFFICER. (the New Guard for the day no doubt) is inspected a platoon of riflemenin backgroundThen,under awning.tables

on benches atseatedserved ground is occupied by those already

PANNING, middle-in foreground. by cooks with ladlesis served queue of men with enamel platesAthe faint sound of the charge. On SOUND TRACKKitchen area.The Turkish PANNING SHOT.437

and: but not to silence,dies away,the thundercourse As. they leave us ofbut cannot lead. the tidal wave he has raised ()

in the wake ofcamel-riders) LAWRENCE following(with the other

we can make outIn this curtainof dust..us under a curtain CAMERA PANNING swiftly to follow them as they leavepast us, of noise they sweep AUDA in the van when with a crescendoglimpse We have just time tothey are invincible.the hooves are flying, The thunder is deafening, from side to side of Wadi Akaba.stretchingC us in line abreast,thunder towardsRa.i.dersTheMEDIUM SHOT.436()

(

.. Oh.

LAWRENCE

LAWRENCE: CLOSE SHOT.491

conqueror.theforGarlands 0 to the flowers)(Pointing is accomplished.The miracle ALI

behind) (who is justALI CLOSE SHOT.490

sees:

and saddlein his LAWRENCE - he turns RESUME CLOSE SHOT.489

.. --wateron the FLOWERS floatingtheINSERT ofINTER CUT.488

I(;> downwards.he lookshis face, or two the FLOWERS fall past

a momentAfter out to sea:looking his head again raised,He sits, clothing. his hand on hisaway and wipeshis rifleputshis head, lowers the town,towards He glances to develop.)orchestra and trumpetsfor (Enough footageof a conquerer.in the manner head raised.him, He looks aroundLAWRENCE. CLOSE SHOT.487

and coming to a halt.surfthrough

walking PANNING with LAWRENCE and camelMEDIUM SHOT.486

surf. along theturns

As it going down to the sea. SHOT LAWRENCE and camel LONG wall and disclosingAcross ROSTRUM SHOT-PANNING.485

DELETED./. 445 ,o

CUT

· and seashore.its beachAkaba Town,distance

with in the in foreground, BIG GUNS loom on framethe helpless ending when We PAN to follow the charge,victory.totalto indicate numbers in sufficient dead among the wreckage,do we see the strewn distancediscreet and only now at thischaos,in•the camp behind it defences,Turkishup the lastrollsline,in perfectstillcharge, as the thunder the distantcries,the distant the popping rifles,

the end of the Wadi we hea.ratan eminenceFromSHOT.LONG444

and: receding which we hearchargeleft by the main

have been destroyersThesetrick. of a conjuringneatnessartificial

going down with thesideon the farthe tentsto seehave timewe just

Continued443

c,

_jj___

I

Have you looked thoroughly?

(mildly) LAWRENCE I

r..."-··•~C1 at the scene.laughterwith innershakingprivately

he is raised;are His eyebrowsLAWRENCE. CLOSE SHOT.500

() Auda. ALI

the town.towardslooking ALI - he turnsCLOSE SHOT.!~~/

(J ? What ... LAWRENCE

the town.towards LAWREN CE looksoff.explosionis a softThere

If) country. My god I love this the sea) (looking out over Thanks. (holding up the flowers)· know.Don't LAWRENCE

What then? ALI

- ALI in background. LAWRENCE. in foregroundMEDIUM SHOT.496

Ali. things. none of thoseI'm (shrugging) LAWRENCE

to respond.

He wants viewpoint).ALI's(as fromLAWRENCE CLOSE SHOT.495

... for the manFlowers the PrinceforTribute ALI

ALI. CLOSE SHOT.494

up. them picks the FLOWERS and finallychases

heas CLOSE SHOT and CAMERA PANS with him into'Camelhis0 from jumps LAWRENCE LAWRENCE and ALI.MEDIUM SHOT.493

in the water.forwards

and backwardsdriftingThey are The FLOWERS. CLOSE SHOT.492

again. down at the waterand looksHe turns

Continued491·

C

With these? D ALI

Yes. LAWRENCE

"Sinai!" ~~-· ',; ALI

ALI says: SOUND TRACK,Onful.

and wildly hope-alert FARRAJ and DAUD areAt thisCLOSE SHOT.504

C Sinai.'crossYes, (going) LAWRENCE

Case. with the Dispatchto be occupiedcontinues

he insouciant; LAWRENCE is deliberatelyopposition,Anticipating

In Cairo! relish) (with inner the Generals.going to tellI'm LAWRENCE

And you? ALI

Quickly. to Akaba. the Arab Army herebring - - andboats- - any to find boatsTell Feisal to Yenbo. down the coastget a messageAli, LAWRENCE confidence.

and energy electric He radiatesHe thinks.Case.Dispatch up a Picks away and stops. LAWRENCE walks MEDIUM SHOT.503

:o a pity.That's i LAWRENCE

scrutiny:moment:sa and LAWRENCE after

anxiously, at LAWRENCE,ALI looksAngling up. CLOSE SHOT.502

glance:single

a set and after LAWRENCE and ALI go swiftly to the wireless501

it. throughpouragain, as AUDA and his HOWEITAT, noisyaside

and LAWRENCE standsthe door,towardsinvitinglyHe gestures

I have found it!Auda Ibu Tayi ! HOWEITAT

and says to AUDA excitedly:hastenervous to LAWRENCE with·salaamstableau,at the threateningnervously

round He glancesin.crashesHoweitat Behind him a breathless0

,() Continued500

(

but gold as you said, For my pleasure AUDA

Did Auda come to Akaba for gold? LAWRENCE .)....'·~---,\ ··~,' · contempt:mild loudly and with a touch of '~,-•--·

and says in his saddleHe relaxes tunnel is filled with AUDA's men.~1l-"'' that the AUDA but seespast LAWRENCE glancesCLOSE SHOT.507

- box!" "great No No gold! is no gold in Akaba.There AUDA :() DAUD and FARRAJ behind.

ALI by him,his mount, LAWRENCE, preparingHe stops as he sees the courtyard. into the tunnel through which LAWRENCE must leave him which bringsroom,the strongHe leaves MEDIUM SHOT.506

Paper! AUDA

and roars:like snow,the floorlitters

and which hangs in the aircurrency, a final handful of grubby paper it from fli'ngsHe chest to AUDA.a metal two HOWEITAT proffer window,barred room with a smallstrongIn an ancientCLOSE SHOT.505

man. an ignorantYou 're LAWRENCE face:ALI's

softly intothen saysHe pauses,of stone. its end he has a face by and LAWRENGE's featuresfades fromthe smileDuring this,

you. · And then they will believe and barbarity. of our quaintnessstories and telltrousers you will wearclothes; In Cairo you will put off these funnyI see.0 love) of frustrated but with the bitterness(quietly, ALI would laugh! the Generalstaken Akaba, told them that we've and Cairoin Bedouin arrivedIf any of your smiling)gently,him (he shakes

and strapscross one of hisbyALItakesout,reaches·hefaceALI's 0 seeing·But comical.anxietyand ALI's Sinai were the local park as thoughvoice,hi.slaugh inreproving this with a littleHe says

with me. be alrightThey'll LAWRENCE

Continued504

(

)

LAWRENCE. AUDA following FARRAJ and DAUD passCLOSE SHOT.513

AUDA and into the tunnel.pasthis beastAnd he urges )__(

did, Moses Why not? LAWRENCE

Sinai ? You will crossTen days? AUDA

J unimpressed. AUDA as before,CLOSE SHOT.512 () l ,.!

With everything!with guns!With gold, LAWRENCE now assembled:all those

of the benefitfor and adds ringinglyin the saddleHe straightens

LAWRENCE CLOSE SHOT.511

be back with gold.In ten days I'll LAWRENCE as he does so:

saying hands it to him,andframethedown intoLAWRENCE leans

for the paper.suspiciously up his hand ratherholds·andcamel

his alongside AUDA moves P. 0. V. LAWRENCE,CLOSE SHOT.510

me. ... signature) (a flourishing by .•• absence Majesty's Signed in His for his own amusement) he adds scribbling(still " Tayi.Ibuy to Auda 5, 000 golden guineas to pay "The Crown of England p·romises

loudly as he does so:sayingCase,Despatch

the also from with a pencil,writes the back of one of which he on of papers,it a sheaffrom Case and takes He op.ens the Despatch

Auda.See, <O LAWRENCE

· LAWRENCE and laughs.pastAUDA peersalert.

stop lounging and are AUDA and his men suddenlySHOT.MED.509

nois~ unmistakeable with that particularof his rifle,breach0

a round into the FARRAJ and DAUD each slamsSHOT.MED.508

lied. Aurena (deliberately) gold ..•promised and Aurens is honourable AUDA (Cont) (_; Continued507 ,,·--~

105 •

I :c I I

of fire.pillarA (off) LAWRENCE ;'_.✓\ sunrise.

theby huge DUST DEVIL litAviewpoint.TheirLONG SHOT.516

Look! (softly) LAWRENCE

· look back enquiringly. They follow suit. in and the othersLAWRENCE reinslight.by red behind lit fromthey are westwardsriding Since they areabreast.

FARRAJ and DAUD ridingSHOT of LAWRENCE,it into a MED.

beauty of the desolate The CAMERA PANS acrossdawn.in a red disappearingareThe stars THE SINAI .DESERT.LONG SHOT.515

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

He is not perfect. He lied. was gold here.He said there AUDA

evidence:

vitalof a tiny piece but with apprehensioncalmlywho ponders as oneALI,to He says thoughtful.veryand very,stillperfectly but nor taken aback,angryis neitherHis faceturns.AUDA

of God! And beloved (calling) AUDA D

can be seen. the now empty tunnel beyond which only emptiness shot througha partinghand and fireshi.sinat the paperHe glowers

was a prophet.!Moses him) after (glaring AUDA

did! Moses LAWRENCE

to AUDA.

back clearlysails His voicedim. is alreadyfigure LAWRENCE's

children?--the And you will take AUDA

after: AUDA, callingCLOSE SHOT.514

-- -----~.--·-·--------.---~

DISSOLVE.

West.Du.e the Canal.strike we mustWest, If we rideNo matter. LAWRENCE

alarmed.him,atlookfacesfatiguedTheir

My compass. holding it)if he wereas· (cupping his empty hand

LAWRENCE

understanding. The TWO BOYS follow his gaze notto find it and looks back.

fails compass,for hishis robes LAWRENCE feelsCLOSE SHOT.523

If) The THREE RIDERS come to a stop.

and confused.strangenow moreThe terrainSINAI.LONG SHOT.522

isIt move on as the CAMERA MOVES IN on the object.feet The camels· on the sand.silentlyobject fallsA brightCLOSE SHOT.521

clothes.his LAWRENCE shakesno spittle.

to spit but have FARRAJ and DAUD try CLOSE TRACKING SHOT.520

again. only moving forwardto comment,

too tiredThey aregone. is suddenlyItit.sufferingdown,heads dust, in the whirling The THREE RIDERS envelopedSHOT.MED.519

THREE TINY FIGURES.

down on thebearscolumnsOne of theseatmosphere)metaphysical but fact, not geographical(we want here,over the plain.stantly incon- and waverveer distances,at varying five dust devilsfour, Three, absolute. but the droughtinesson the mud flatsthaning overwhelm-of heat less The impression.sand.palesky,paleligJ:it, day- Broad plain.desert featurelessA EXTREME LONG SHOT.518

DISSOLVE

forward.and ridesCE laughsLAWREN 0

sand. No Lord, DAUD

at LAWRENCE uncomprehendingly.C

DAUD looks back LAWRENCE and the TWO BOYS.CLOSE SHOT.517(=>

j .. .

·,... ~.

hundredsome above themon the crestappearcamel DAUD and his of figures the smalldune,of a large down the sidecamelsgrumbling drag theirnow on foot, As LAWRENCE and FARRAJ,dunes.)\, sand of enormous foggy landscapeA windsweptDAY.LONG SHOT.526 \....·(

DISSOLVE

dark. almostIt'is

Lord. be so,s~allThen it ,L../ croaking) (with an effort, DAUD

it! I promise LAWRENCE

of the head.anglingand a dubiousa smilemanagecan justDAUD

in Cairo.hotel in the finestroom,finest in the sheets, the finestnight,Tomorrow With sheets? '.. (DAUD nods) Daud? (FARRAJ nods) Farraj? LAWRENCE

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

beds?in Have you slept LAWRENCE

They plod forwards.

I have Akaba. Until they know thatNo rest.I told you. (sharply) <O LAWRENCE

Can we not rest? (LAWRENCE looks at him) Lord

FARRAJ

as they plod forward. The TWO BOYS look aged with fatigueCLOSE SHOT TRACKING.525

dark. It is nearly The sun has gone.into the sunset. CAMERA straightfrom The THREE RIDERS recedingSHOT.MED.524

of greeting. in an exchangeto wave an arm

managesHe justpatch.difficult a particularlyon throughstaggers as heplight friend's He is unawar.e of hisFARRAJ.CLOSE SHOT.535

Farraj! DAUD

above the wind: =..J

He yellsup.himselfto press sink in the sand as he trieshands

to move but hisefforta greatHe makesDAUD.CLOSE SHOT.534

out of reach.

just reins danglingitsstill,standingcamel,His CLOSE SHOT.533

'

in his eyes.with feardesperatelyaround

He looks The sand is now up to his thighs.DAUD.CLOSE SHOT.532

to what has happened.on oblivious LAWRENCE and FARRAJ plod.:bAUD's viewpoint.LONG SHOT.531

FARRAJ.

CE and· LAWREN He look out towards have sunk into the sand.

the extent to which his legsto move does he realiseuntil he tries

but not at the camel,He shoutshim.away frombacksanimal

fly out of DAUD's hand as the frightenedThe reinsSHOT.MED.530

· back its head.jerks

and grunt out a frightenedIt letsDAUD's camel.CLOSE UP.529

-0 knee deep in it.They arethe dune. of soft sand at the bottom ofThey run into a basinCLOSE SHOT.528

· downwards.and plungemomentum as they gather

The CAMERA PANS with themdown the slope.the crest,overit

and pullscamelof histhe reinsHe takesDAUD. CLOSE SHOT..527 'G

to FARRAJ and they move on.as LAWRENCE beckonsin reply

his hand half raisesUDDA DAUD to go down.he signalsimpatiently and wearily LAWRENCE turns;th.enhard,breathinga moment, for still They standdust.by greyar.e maskedfaces and that their 0 badly crackedarelips We now see that theirCLOSE SHOT.instop

of the dune andthe bottom LAWRENCE and FARRAJ reachdown.

straightor go to join themefforttheto makewhetherwondering

looking down at LAWRENCE and FARRAJHe standsaway.yards

C Continued526 ) ___: ('-

•

Au:rens. Aurens ! DAUD ) ____\,.~ \ I as he repeats::with frightmouth quivers

His him in background.towards LAWRENCE and FARRAJ strugglingC with in foreground, head and shouldersDAUD'sSHOT.MED.'548

it. over disappear Two of them

of the rise. up to the cresttearcamelsThe threeMED. SHOT.547

u Aurens! DAUD

He screams...DAUD QUICK CLOSE SHOT.546

•·•..I They spin out of screen . FARRAJ and LAWRENCE.ofThe camels QUICK LOW ANGLE SHOT.545

running. of LAWRENCE,The face FLASH SHOT.544

running. of FARRAJ,faceThe FLASH SHOT.543

of our low angle.becausemonstrousthem,towards

-~ and -CAMERAbehindfromdashes DAUD' s camelAs they come, us. towards They run flounderingThey turn.the slope.upaway

LAWRENCE and FARRAJ ploddingLOW ANGLE.LONG SHOT.542

does so.

as she loudly bellowingand away,sidewaysleapa tearingmakes The CAMEL DAUD's viewpoint..Angling up fromCLOSE SHOT.541

sink in the sand.forefeetand herreinstheDAUD grabsmoment 0

In one forward. She edges DAUD and the CAMEL.CLOSE SHOT.540

? ... . . . ArukaAruka DAUD

chest. He is up to hisDAUD. CLOSE SHOT.539 '

too· far.stillThey are

reins.thefor DAUD reaches DAUD and the camel.CLOSE SHOT.538

puzzled. her. head,She lowersThe camel. CLOSE SHOT.537

? ... . . . ArukaAruka DAUD

winningly.to speakhimselfand forcescamel round to face histwists He his panic.he controlstimethe lastForDAUD. CLOSE SHOT.536

C

.. -···;--

to kneel.camelthe

and taps a decisionHe takesdown. FARRAJ lookingCLOSE SHOT.560

casts. like plasterfaceswith theirit, 0

from They emerge and LAWRENCE walki.ng.mountedFARRAJwith moving forward,out the camelwe can dimly makethe gustsBetween .. white powder is full of whirlingThe screenTRACKING SHOT.MED.559

camel. the singlethe rise,

the head ofat In the backgroundfigures.The twoLONG SHOT.558

back. FARRAJ's sand from LAWRENCE brushesatonement,

"'·--"

of gesture In a futile into picture.comessandand moreMore ·;,'

to move back and upwards.The CAMERA beginsgone old and bitter. whose face hasLAWRENCE,away fromturnedhis facerelaxes,

suddenlyFARRAJ him down.and holds him to the groundthrows him, trips LAWRENCE forward.dashesFARRAJ CLOSE SHOT.557

to choke. and he beginshis mouth

towards The sand mountsagain. on the cloth and slipslipHis hands to whimper.He begins will be insufficient.strengthhis·once that we see at The same vi.bration is repeated,DAUD.CLOSE UP.556

j

'· t-' exercising.he is showing how much strengthvibration

The cloth. on the taut Taking the strainLAWRENCE.CLOSE UP.555

with both hands. to get hold of itmanagesHe justinto picture.cloth fallshead to sink as the end of theHis chin is beginningDAUD.CLOSE UP.5540

DAUD. end towardsthe freeand flingsit,

unwinds off his headcloth,He ripsLAWRENCE.CLOSE SHOT.553

his neck. The sand aroundDAUD.CLOSE UP.552

safety.back to to pull himmanagesand barelybellyon his forwardhimself LAWRENCE flings in above the knees.he too sinks of his friendyardsor four but within threeforward,rushfrantic a lastmakes FARRAJ and LAWRENCE.FARRAJSHOT.MED.551 I

()

shoulders.his begins to lap roundblowing sand

and theto sink but he continuesout his arms,by stretchinglevel his to sustainefforta desperateHe makesDAUD. CLOSE UP.550

breath.formg the sand gaspthroughforward

lurching LAWRENCE and FARRAJ CLOSE TRACKING SHOT.549

C

j

Aurens? FARRAJ \_) \ ( ····,.. and halts. in among the buildingsit rides(;

trot, at a brokenas, CAMERA PANS with the CAMEL,MED. SHOT.565:

does not change.his face

but and conscientiously,the camel properlycontrollingit,accepts At once LAWRENCE to kick the camel into a trot.himselfupoμittakesu FARRAJ a glance at LAWRENCE,After CLOSE TRACKING SHOT.564

(This is what we heard)

flagpole. its blisteredagainstrhythmicallydrumshalyardfrayedA another.one of dust chaseSwirls and a flagpole.hutmentsarmy

,L

of collectionA viewpoint.theirFrom LONG SHOT TRACKING.563

Look!•• •I Aurens FARRAJ

boy and see him point.theofvoicethe clearwe hear Above the drummingus.towardsridingcamel, and FARRAJ on their

LAWRENCE It disclosesus. bank of dust sweeping away fromA 'lrRACK. on the SOUNDdrummingis a strangeThere LONG SHOT.562

DISSOLVE

FARRAJ.withto ride He moves made point. one taking a wellaslittle,asmilesevennods andLAWRENCE

is room for both. there--- no purposeIt servesWhy, Lord? feet) LAWRENCE'sindicating Eagerly,face.vs LAWRENCE into of awarenessreturn some brings (the note of fear Aurens! (sharply) for both; is room But there?... . . . But 'Y!!)7,Lord had) ( / as though he FARRAJ speaks

(LAWRENCE makes no answer. Why do you walk?...Aurens (hesitant) FARRAJ

but unseeing. as though for instructions, --✓..·,, LAWRENCE looking at FARRAJThe camel kneeling.MED. SHOT.561()

'(

---,---

swingingthe up to and throughhimto leadinto his face,uncertainly who smilesFARRAJ,He allows LONG TRACKING SHOT.MED.575

) a lifetime.last is one which willitwas,itifor we know that this was no trance,0 has not changed andexpressionand hiscamel1hefromAnd he alights

all right.It'sFarraj.All right LAWRENCE

he merely but insteadtrancehisofoutjet){LAWRENCE expect. to see We face. into LAWRENCE'sof the water FARRAJ clashes some

Aurens! FARRAJ

I,

he repeats:of fear,return

and with aUrgentto kneel. LAWRENCE'S camelFARRAJ causes

Aurens !Aurens ! ~RACK) (on SOUNDFARRAJ

as before. LAWRENCE, CLOSE SHOT.574

The swinging door.·his angle)(froinCLOSE SHOT.573

dreamy,not concentration,inwardwithbut

tranced expressionhisas before, LAWRENCE, CLOSE SHOT.572

The swinging door.angle)his(fromCLOSE SHOT.571

of the wind.moanand the of the halyardthe slappingalsoasbanging,which we heardoor, on the swingingthe noticerega-rdingLAWRENCECLOSE SHor.570

THE NOTICE. CLOSE SHOT.569

illegible)perfectlybecomes (Here the wording"...an offence isIt Army Property.arebuildings"These(now gray)in black Under this, (now pink) 'WARNING".in redone word,except for readable and so faded as to be barelysplitnownotice,woodena It bears behind him. The door swingsin,He goesCLOSE SHOT.568

'

,.

to the CAMERA PANS with FARRAJ as he runsSHOT.MED.567

to kneel. for the camel ground without waiting

to the and slips But with quick tact he compromisesCLOSE SHOT.566

(

···-··

;() you?areWho (shouting) MOTORCYCLIST

human. C becoming partiallyhis mouth,fromthe mufflerpullsthe engine,

off then switchesCanal,theacrossHe peershim.sawas we first of LAWRENCEfigureanonymoustheposstble,him as like asmakewhich variations with individualN. C. 0.Britishof athe uniformand wears no helmetHe wears as to be anonymous.goggled and mufflered :0

'

He is so The MOTORCYCLIST comes to a halt.CLOSE SHOT.5.81

· · down. throttle He begins to along the far bank. MOTORCYCLIST approaching

the we seecanaltheacross P. 0. V. FARRAJ'sFrom LONG SHOT.580

i .( Aye-aye-aye-aye-aye!! FARRAJ

and calling: down waving his arms

up and FARRAJ leaps LAWRENCE. FARRAJ and CLOSE SHOT.579

picture.ground of

· the fore-1nnow along the roadwayapproachingof dust fasta trail and we see is the sound of a motorcycleThereand its humanity. extentin its marvellous away into the distance,Canal stretching the SHOT disclosing PANS OFF the TWO FIGURES into a LONG

the CAMERApause a moment'sAfterside. FARRAJ on the far of LAWRENCE andfigures Bank) on to the small(from the African the Suez CanalacrossshootingisThe CAMERALONG SHOT.578

to another.cement and the comm ento a problem,solution that what he see is aascertaincan justhis face we perhapsof

expression the very faintFrom LAWRENCE stares.the blue sky.

they come to a halt in CLOSE SHOT againstuntilBACK and UPWARDS bank the CAMERA CRANESthecli.mbAs theypicture.theground of

in the fore-a sandbank the hand towardsbyhimdraggingFARRAJ '(0

FARRAJ and LAWRENCE leave the hutment.LONG SHOT.577

door. open the far ahead and flingsFARRAJ runsshadow again.

i shadow to light and intofromso that he passessky,.therevealing

inwards, iron have fallencorrugatedofsheetsthe curledsome places

C

In noti.ces. up dehydratedand curled of office furnitureremnants

we glimpse In the officescorridor. lead off a dusty central

Doors the sunlight.after INSIDE THE HUT, darkMED. SHOT.576

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

Continued575

I

-,--

~' ,_-··--1

at him. and apprehensivelysha:rplyuplooksown cry,echo of his mentalthe hearing FARRAJ, struck. as though LAWRENCE looks

Daud! FARRAJ

warning. of desperatecrywith asleepout ofstrugglesFARRAJ with a crash. down the tailboardthe DRIVER throwsSHOT begins As the big building.to a verybelongingof a porticoa glimpse we catch the awning in background,and throughhas haltedThe truck of picture. in foreground LAWRENCE and FARRAJCLOSE SHOT.591

foreground.inflag with a BritishCait·oofThe skylineLONG SHOT.590

upright.boy the sagging and LAWRENCE holdsto the side, swerves The truck and FARRAJ.LAWRENCE CLOSE SHOT.589

with MOTOR BIKE following.street,CAffiOathe truck,

awning at gap in the flappingthe narrowThroughCLOSE SHOT.588

truck.

of the the reartowardseyeshis LAWRENCE idly raisesfaces. sun- bakedtheirfrom been removed and the dust hasof a washsort

have had someBbthtruck. the sway of theagainsthimsteadies mouth open and LAWRENCEhiswithThe boy is asleepFARRAJ.

and LAWREN CEare In the back of the truckCLOSE SHOT.587

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

it disclosesthe pictureacrossAs it passesCAIRO.instreetnoisy a crowded way throughits A TRAMCAR rattlesSHOT.MED.586

DISSOLVE

you? Who areyou? Who are

bankments.

em- the betweenechoes· the MOTORCYCLISTofThe voiceside. on the far insignificant LAWRENCE and FARRAJLONG SHOT.585

you? Who areyou·? Who are MOTORCYCLIST

again. He calls THE MOTORCYLIST.CLOSE SHOT.584

in silence.armshiswaves

then FARRAJ at LAWRENCE who does not reply.looksFARRAJ

the water.across of LAWRENCE and FARRAJfiguressmall

th.e we see P. 0. V. the MOTORCYCLIST'SFromLONG SHOT.583 ()

j.

hand,the him byholding LAWRENCE,hutbackwards FARRAJ glances

Here! CORPORAL

;.r----,

other.thebefore recoversonebut surp:dsed~They are CORPORALS. the twopast LAWRENCE and FARRAJ wanderSHOT.MED.598

The CORPORALS salute.way out. the CORPORALS on theirTWO MAJORS passCORPORALS on duty.

two M. P.arehimNear at a desk.seatedis PROVOST SERGEANT a center an opening in thebyoff andis ropedPART of the patio

opening out into a patio.doorwaya largethroughand passbuilding,

of the the lengthrunning a long open corridorcrossfew steps,

AND TRACKS with LAWRENCE and FARRAJ as they climb the last The CAMERA PANSup.starttrucktheWe hearSHOT.MED.597

hims elf into the cab.and swings

nods this not being his problem,The DRIVER,SHOT.CLQSE596

Yes. "-).• LAWRENCE

not stop.doesbutpace LAWRENCE slows his LAWRENCE and FARRAJ.SHOT.MED.595

sir? there, You going in sympathy) and some (with curiosity DRIVER

and LAWRENCE (off screen).0 with one eye on FARRAJcab,hlstowardswell out if it, " saunters

but "keepingamused,touched,puzzled,DRIVER, CLOSE SHOT.594

of. sure one duty he werethe FARRAJ as though this were one hand onCE keepsLAWREN to the steps.themselvesaddress and LAWRENCE and FARRAJ have dismounted,CLOSE SHOT.593

now.

doingare chargesstrange to see what hisface)Englishordinary an all,after up to reveal, his head (goggles now pushedHe twists behind.from stationary, THE MOTORCYCLIST,.CLOSE SHOT.592 ()

sir. here, We're to LAWRENCE)(puzzled, DRIVER

•' 0 Continued591 ()

_; ___

"-..J [',

to have round again but LAWRENCE does not appearFARRAJ turns

si.r. in there,h.lmtakecan'tYou C PROVOST SERGEANT

him: after and calls PROVOST SERGEANT is shocked

The him. FARRAJ beforepropellingand goes, LAWRENCE turns

Yes. LAWRENCE

si.r?bar, Are you going to the Officers' FARRAJ) - and clothesin his(fa.king PROVOST SERGEANT

Yes. LAWRENCE : ..' it?·is Lawrence,Mister PROVOST SERGEANT

gently. He speakschanges.

His expressionhard.staring The PROVOST SERGEANT approaches,

thirsty.we're...Er LAWRENCE

He is not "mi.ckey taking. "patio.off theleadingcorridors

one of the vaguely towards LAWRENCE gesturesSHOT.MED.599

Mustapha? going you'rethinkdryouhelltheWhere quite kindly)(rising, PROVOST SERGEANT

intrusion.harmless and evidentlybizarreat this by amusementis softenedHis indignationshout.SERGEANT's '· ,.. at the PROVOSTturn LAWRENCE and FARRAJ obediently

You! Here! PROVOST SERGEANT

desk.

his up from the PROVOST SERGEANT who lookshim on pastleads

/':o C) Continued598

C:

not particular.we~reri.ght;allThat's burden} unavoidablean whom wit isfor.-(as one LAWRENCE i. ,,. Officers.Britishforis a barThis lost) (utterly BARTENDER

of lemonade.glasses We want two large LAWRENCE (j silence.this and Oxford inclearvery

He speaks is venomous.anger.The responsesituation.to his of responsesortshow sometohegjnsface LAWRENCE'sposition.

him back into his firstturnsan.dhimLAWRENCE gripssuddenly

but to round the bar,in orderpicturea move acrossmakes !()

The BARTENDER in the background.with the OFFICERSshoulder CLOSE SHOT. LAWRENCE and FARRAJ over the BARTENDER's602

Get out!get out!You mustGet out! BARTENDER t)

officiously.his voice

and raisesOFFICERS at the thunderstrucknervouslyHe glances

go! Go, Effendi, (hissing) no. no--no-- no ---- you must You mu.st ---No.No. confiding) urgently (leaning forward, BARTENDER 0

him blankly.who regardsbehalf, on LAWRENCE'sown, and partly on hispartly and embarrassmentalarm is flung into instantaneous 'BARTENDERThe Arab of the bar.in front come to a standstill

PANS with LAWRENCE and FARRAJ into a CLOSE SHOT as they

The CAMERA Nobody moves.Arab. for they look completelyfalls, silence incredulousand absolutesee them One by one the OFFICERS

the bar. and make towards . I

ARRAJ enterf LAWRENCE andIn backgroundsequence.billiards the the CLUB SECRETARY fromwe seeAmong othersquietly.0 conversingare The OFFICERSvacant.itselfthe bartables,at or standingseated A DOZEN OFFICERSTHE CLUB.LONG SHOT.601

who can anticipate: the PROVOST SERGEANT,to dawn withinbegins

pleasure but a certainshocked,andastonishedAll arethem.after 0

The PROVOST SERGEANT and CORPORALS st.areMED. SHOT.600(J

(.

j

out! Clear OFFICERS

the OFFICERS.from J

vocal reactionvi.olenta moreact triggersThe physicalit away.

FARRAJ and flingsfromhandSECRETARY'Athe LAWRENCE tears

anyway.out,~ne have thisWe'll SECRETARY

tight-lipped:·

says,arm, upper on FARRAJ'sgraspa firm The SECRETARYplaces

(wearily) Lawrence. Oh go away, (peremptory) Lawrence! Get that boy out of here, voice) (in a no-nonsense out! clear go on,Yes, THE OTHERS 'r;

you!will out clearjust Lawrence,look here?fow CAPTAIN

overlapping.join in,out and othersOne of them callsdrawn.

must be with-Toleranceescapade. gone too far with this latest has reallyutterancesand cryptic oddity with his self regardlittle The disapproving. and spontaneouslybut displeasednot enraged They arefeet.theirri.sento OFFICERS have One or two more

not.I'm. oddly enoughNo,. LAWRENCE

in. The CAMERA begins to trackeyes.shine in histobegjns Hatred and the ref ore beginning to be indignant.uncomprehending

©

English, faces,puzzled LAWRENCE looks about him at the decent,

Are you off your head!

comes up to LAWRENCE and FARRAJ.He e Lawrence! SECRETARY

as the SECRETARY gets upfrom the backgroundis a clatterThere0

Continued602

'(

deliberately.a breath to BRIGHTON, takinghrrnsthenFARRAJJone toLAWRENCE passes

LAWRENCE.before of lemonadetwo glasses The BARTENDER passes

yourself!Explai.nWell! C'· BRIGHTON

barks:and BRIGHTON goes up to LAWRENCEinto action.The BARTENDER jerks

ice.with Lemonade, (softly) LAWRENCE

the BARTENDER.addressesaway and

deliberately at LAWRENCE, who turnsand staresBRIGHTON stares

sir. Lawrence,It's indignation) blend of discreet with a nice(murmuring SECRETARY '.\

him. BRIGHTON as he passesforwaymakingback,steps The SECRETARYto the bar.walks fowardas BRIGHTONsilence is an awkwardand thereceasesbabbleoverlappingTheground.

in the back- BRIGHTON and the OFFICERSat the bar.foreground4

FARRAJ and SECRETARY in theLAWRENCE,MED. SHOT.603/

going on?What's (cold and sharp) BRIGHTON

and displeased.frowning BRIGHTON walks in and stops,

Imshi! Imshi! · Imshi! 'Q of you! the pairImshi, wog ! --little WOJ the little-- wog out! Take that little ImshU go on,Yes, C Imshi! off! Clear Get that wog out of here ! Lawrence!off,Clear (Cont) OFFICERS C (~) Continued602

) C

r--.-···

--,-y..·------•~

j

next time. it better- manage - too many reallythem of some - we killedtruenotthat's--No, (off) LAWREN CE )____C ".. - - garrison The entire unwi.nd)must nerves overworked(but his we took them prisoners.--sirPrisoners, tone) ordinarya morefor (he tries (J no boots.they'vebuttherestillNo, they're LAWRENCE

have gone? You mean the Turks BRIGHTON '(; and fantasy.fact to differentiatetryinggently,7

and intelli-hard BRIGHTON looks at LAWRENCE,CLOSE SHOT.605/

have-.We wogs have. The in the war has.Our sideWe have ... LAWRENCE

Who has?Akaba;?Taken BRIGHTON

serious. and somethingsomething to see that he meanssensitive

he is sufficientlyforbe meaning out what LAWRENCE can really

to find He is tryinghis brow. BRIGHTON wrinklesbe taken in. to too.unexpectedis stillwords The content of LAWRENCE's

your lemonade.He likes 0 BARTENDER)(to LAWRENCE

the considerablesave forall roundsilencecompleteaisThere 0

distance. at a discreetround OFFICERS have gatheredSeveral

Hm? ( BRIGHTON

in. taketo for him is too outlandishof the wordsmeaning

The precisegrunt. interrogativean irritableBRIGHTON gives

taken Akaba.We've LAWRENCE

Continued603/

(.

..r--

j.

:

of courseYes, BRIGHTON I•.--.._ ) ( of admiration.nings C

the begin-and perhapssympathy, him with some BRIGHTON regards

sheets. With With a bed. I want a room.But first LAWRENCE

violently.is shakingHis handon the bar.his glassHe places

direction.the rightina stepthat'sWell, flippant) not interested,(unwillingly It; LAWRENCE i

gone. Murray's in command now.He'sYes.

BRIGHTON

'1◄ Allen by?General of interest)(with a flicker LAWRENCE

talk to Allenby.You'd better BRIGHTON

at him. BRIGHTON finds all the OFFICERS lookingis a pause.There

it. I didit is·.Yes

LAWRENCE

possible..isn'tIt BRIGHTON

BRIGHTON and the OFFICERS.LAWRENCE,CLOSE SHOT.609

true. all perfectly it'sdi_e, and hope tomy heartCross LAWRENCE e appraising.is still BRIGHTON's stare

and another.way Been a lot of killing one LAWRENCE

LAWRENCE and BRIGHTONCLOSE UP.608_j..l' 1.J"I •

t (

OFFICERS.on thea momentHold for )____\.

staring. quite still,standing GROUP OF OFFICERS,ASHOT.MED.611 ·-,'(

C enquiringly. He cocks his head and frownsfades.His smileunfathomably. but LAWRENCE looks at himit,ofenjoy the preposterousness

him to expecting at LAWRENCE'S rig,smilingBRIGHTON nods,

C get into some trousers.And you'd better (smiles) Yes. BRIGHTON

shave? I better u faintly)smileshis jaw,(rubs Do that then. LAWRENCE

I think so. • • (looking at him with interest) BRIGHTON

- me? Will he seethough. See Allenby first, (nods) LAWRENCE

don't you? You want a bed yourself, at LAWRENCE)glance(with a sharp BRIGHTON 0

OFFIC:ERS and tables.

the throughway BRIGHTON and FARRAJ as they ;make their

The CAMERA TRACKS with LAWRENCE,CLOSE· TRACKING SHOT.610

<O the bar. the way fromhe leadsinitiativ~,.theTaking

All right. BRIGHTON

at FARRAJ.glances BRIGHTON hesitates, 0

him.forIt's a challenge)but hard,(quiet, LAWRENCE

Continued609

J

much in the tone of a good barristerbut verynot even sharply,

not hectoringly,Then he speaks,it on the desk.and putsthe dossier

ALLENBY closes ALLENBY and LAWRENCE.CLOSE SHOT.615

respond. the look but does notDRYDEN feelsat DRYDEN.quick glance

a BRIGHTON gives DRYDEN and BRIGHTON.CLOSE SHOT.614

doubt about it. no there'sman, an interestingYou're '_) ALLENBY

he is satirical.whetheror his voicehis expressionfromtell

to up and it is impossi.bleHe looksALLENBY.CLOSE SHOT.613

of ... Knowledge of . . . knowledge

house. of a countrypony in front child on a New Forest

and a bonny link of pearls,and a singlefacedependenta discreet with gentlewomanan English a rubgy team,areThesegraphs. photo-three desk we seevacant On the otherwisecautiously.

the desk at ALLENBYacrossHe looksclothes.in Arabstill CLOSE SHOT OF LAWREN CE,on acomes. to restThe CAMERA

(he browses) ... . . . literaturemusic of . . . knowledgelanguagesseveral. . .

CAMERA) and BRIGHTON.DRYDEN (nearest

seated we can see In the backgroundof his desk.sidethe opposite

off ALLENBY towardsslowlyvery:PAN~TRACKS andCAMERAThe

untidy. unpunctual, undisciplined,... ALLENBY

he is checking. be a shopping listit mightifasof comment,with no traceflat, <O

· His tone isdossier.a personalconcentrationwith quietreading He is humble.anddaring, commanding,shrewd,lated power, assimi- thoroughlywho hasOfficera General sel.f-respecting;and erect a gentleman,and fit;burly ALLENBY is a footballer,order. in apple-pie with everythingatmosphere office now has an airy The was. never and probably which is no longer,Englandbucolic 0

month by month adepictinga calendarbehind him hangswall

theOn ornamentation.and otherwith pictureschanged together has beenfurnituretheMost of by MURRAY.occupiedpreviously officethe at his desk inHe is seatedALLENBY.SHOT.CLOSE612

GENERAL ALLENBY 'S OFFICEINTERIOR.j__..·· (1

(

So? J__( ALLENBY

to Gaza.forwardgonefveBut weI know. LAWRENCE

Beersheba. coming throughThey're Not any more. ALLENBY 0

route to the Canal.s the TurkishIt

LAWRENCE

Why is it important? ALLENBY

's important.Akaba LAWRENCE

:◄ Then why did you? ALLENBY

Now the pace goes ding-dong between them.dispassionate. quick and his tone being light,examination,of forensicsort

a commencesand to LAWRENCEsideways ALLENBY now turns

SU'.."'!'':"'- LAWRENCE

down. let himself his behaviourby LAWRENCE shouldlest 10 concern a fatherlyas it werebut not for his own privilegesconcern shows a'It to be observed.are that the courtesiesindicating but gently on his own rightsnot insistingindignation,personal

without a shade ofquietly,and rathera pausethis afterHe says

Sir.--- ALLENBY

Nobody. \ ,,--. LAWRENCE

Who told you to take Akaba? ALLENBY

facts. eliciting

Continued615

(

the.re.them I think we should leaveNo. LAWRENCE

now? out of Medina You think we should shift them C (off) ALLENBY

linked with Medina.Akaba'sYes. LAWRENCE

() LAWRENCE CLOSE UP.618

Anything else? ALLENBY

arid Suez.El Arish It threatened

behind my right .AkabaVery well. ALLENBY C at him full of keen interest.I

looks forward and leaningCE,LAWRENfaces the smile,missing and then: dis-and quickly,gentlyALLENBY smilesconsideration a moment'sAfter LAWRENCE. ALLENBY over CLOSE SHOT.617

to notice. with his own thoughts BRIGHTON, who is too pent-up at DRYDEN glances BRIGHTON and DRYDEN.CLOSE SHOT.·616

be angry. that he mightit seems

and or two quite immobile,this for a secondALLENBY considers

Yes. LAWRENCE

Am I going for Jerusalem? ALLENBY

when you go for Jerusalem. right behind your And it will be further LAWRENCE (

True. ALLENBY

right. So that left Akaba behind your LAWRENCE

Continued615

•

(

as he g:ropes for words.chairhisinaboutslowly

and he twistsworksHis face contradi.cti.ons.htsofin the griputterly LAWRENCE Now we see ALLENBY.over LAWRENCE CLOSE SHOT.621 !C

Why not? ALLENBY

No thank you, sir. C LAWRENCE

on the good work.carry-- banal phrase)the most for searches (deliberately I want you to go back andask you.I didn't C· ALLENBY

good idea.verya I don't think that's LAWRENCE ). ... you Major I'm promoting I brisk) (suddenly ALLENBY

Yes. LAWRENCE

Already? ALLENBY

I know.Yes, 0 LAWRENCE

Lawrence. awfully dangerous,_urs...Not really ALLENBY

all times"? at initiativetheir"useOfficersShouldn't LAWRENCE

LAWRENCE smiles.ALLENBY.A:t-U)LAWRENCE CLOSE SHOT.620

you know.orderswithoutYou acted ALLENBY

the tone of aand adoptschair,hisswivelsthen relaxes,two, 0 )-~,,,.t"''·

or a second at LAWRENCE forHe looksALLENBY.UP.CLOSE619 0r

on his features.and disbeliefignorancemask of conventional

a slapseffort an almost physicalwithat LAWRENCE, andGlances He comprehends. face is aged and gloomy.ALLENBY'sCLOSE UP.624

I enjoyed it. ,{). a pause)(after LAWRENCE

What then? (off) ALLENBY

Something else.No. LAWRENCE

beginning to shake.His hands arehungrily. He is looking at ALLENBY almostLAWRENCE.·CLOSE UP.623

warning.abeitlet all right;Well that's uncomfortable) he is (He looks away- I see. ALLENBY

ALLENBY CLOSE UP.622

Something else.No. face) into ALLENBY's(staring LAWRENCE

r Well naturally. (watching him carefully) ALLENBY 10

about it I didn't like.was something

I had-- anywayAkababefore-- me see oh let • . . the other was a man - - that was,

surprise)of(in a tone was this was a boy --One I mean two Arabs.

rush. comes with a convulsiveitAnd now0

two people.--killedI --now ... see let's..•-ermIt'...erm Well I ... LAWRENCE () Continued621 "i~-.•..•·,., ()

(

it? 'forTit think: I'm I don'tI ... trying to say is ...What I'm (taking it slowly) LAWRENCE

it. you keepHere, quietly)··. handing it back (looking at LAWRENCE and ALLENBY

sir. Damn ridiculous, (stiffly) BRIGHTON.

Harry? look in this,~think 'you How d they wear.gearFascinating

interest. them with apparentexaminingthe kafia and argyl,He takes

it is. that - hat - or whateverLet me see (holds out his hand) I.• ALLENBY

Entirely.sir.Oh yes LAWRENCE

temptuously.

con- His eyes flashnature.of his glacial back into the fastness right has retreatedvulgarity,calculatedofonslaughtthisunder

very uprightchair,hisi.nbackhimself LAWRENCE has thrown

dramatics?Amateurlike that? 0 dressed by coming in hereWhat d'you mean ALLENBY

up. now standsHe LAWRENCE.

fo facechair round in his ALLENBY has wheeledLONG SHOT.627

~u ,,ff'\ tired. You're and nerves.RubbishRubbish. (off) ALLENBY

and astonishment.in horroris frozenface 0

BRIGHTON's LAWRENCE with a deep look of pity and admiration.

DRYDEN is watching DRYDEN AND BRIGHTON.CLOSE UP.626

of: of the presenceaware

becomes He suddenlyviolently.now shakingwhich arehis hands to controland trieseyeshisHe drops LAWRENCE. CLOSE UP.625

C

_J ____

downstairs.No, no, ALLENBY

--.\ sir. Thank you, surprised)(a little ,c DRYDEN

have a drink.Let's ALLENBY 'U

without.fromroar answeringimmediateanisThere LONG SHOT.630

Maj or !Sergeant (bawling) ALLENBY if>

the door.towardseyeshis then raisesor two,momentafor

LAWRENCE covertlyHe watchesALLENBY. BIG CLOSE UP.629

of love. a declarationofis almost upon LAWRENCE of BRIGHTON'S wordsThe effectcommences.

softly theme, MUSIC, EnglishLAWRENCE. BIG CLOSE UP.628

bit of soldiering.a brilliant'Twas

were. what his motivesit mattersthinkI don't sir. a decoration, I think you should recommend

officially) that he speaksemphasise to to attention(standing BRIGHTON

Oh, I know what he thinks. (wryly) LAWRENCE

Brighton? ALLENBY

LA\YRENCE.tovalueof no greatis evidently DRYDEN'S praise

( be done.couldn't I'd have said itsir,he did it,Before 0 DRYDEN

Dryden? What do you think,Really? (briskly) ALLENBY

Continued627

, 130

__J_ ---------

his chair.fromrises--slowlytnen

his protest,registermusthe is lost,though he knowsLAWRENCE, BY., LAWRENCE and ALLEN MUSIC CUTS ABRUPTLY.CLOSE SHOT:631C

cue.their DRYDEN and BRIGHTON take

Come on then ! (boisterous) ALLENBY

(and goes} Sir. (roars) R. S. M.

Major. l:>ergeantThank you ALLENBY

and swallows.helplessly,smilesLAWRENCE , ( ,.,► Well done sir. LAWRENCE)(to sir. Bloody marvellous, R. S.M.

it'tabout What do you think ALLENBY

Sir! Yes, R. SiM.

LAWRENCE)(indicating Major? l:>ergeantthis,aboutheardYou ALLENBY

Sir! R. S. M.

strength. is gatheringMUJ::>ICTEEto attention.stands ( SERGEANT MAJORREGIMENTALA-.veteranopen.fliesThe door

sir. good,Very BRIGHTON

on. but they catch---is not usual

tough actruggerthis---surprisedare DRYDEN and ,.BRIGhTON

,,,0 (J Continued630

(

j

D'you know a better? smiles) eyebrows,lits(raises ALLENBY

Clausewitz. LAWRENCE

dissipate. not... must concentrateIto Jerusalem, J0 through If I'm to breaknow.Look here

ALLENBY and his PARTYTRACKING SHOT.CLQ<3EREVERSE634 :1.

looking as they standfiguresrecedingof theirshotPANNING into a

CENTRES ON THEM as they pass,CAM:ERAThethe G. O. C.who salute OF OFFICERSPAIRaThey pass and ALLENBY who listens.---

gesticulationwith some-- it is LAWRENCE who talkscan see that

what is being said but wehearWe cannotin step)not marchstroll,

individually that they shallhe is careful(e.g.informaldeliberately·is ALLEN BYbacks. following on their with them and TRACKS behind,

The CAMERA PANSthe gardens.overlookingflooron the first

corridor the GROUP out on to a galleryon ALLEN BY as he leads-'

\;.,J

them.after his hand and grinsHe lowersby.passALLENBY

r

and as LAWRENCEat the salute R. S. M. , his hand quivering

up of the beamingon a closeto restThe CAMERA comesDRYDEN.

BRIGHTON andin behinda desk and fallsfromoverhurriesA. D. C. 0 An the OUTER OFFICE. LAWRENCE as they crossALLE.NBY:and with PAN~ CAMERATHE OFFICE. 'OUTER... MED.SHOT:INT632

': it open. the way to the door and flingshe leads as AL~ENBY, THE CAMERA PANS withAGAIN.RISU{GMUSIC

surely?fair,That's No, but I know a good thing when I see one. not officially)personally, this to answer the trouble I and takes (he has the courage 0 ALLEN.BY·

sir. man, a cleverYou're face) into ALLENBY'sbitterly(rather LAWRENCE

Continued6~1

as they approach. the wall -in awe an.d amazementagainstflatten A PAIR OF JUNIOR OFFICERS LAWRENCE walk on down the stairs. as ALLENBY andto full pitchRISESThe MUSICSHO'l'.MED.638

role. adoption of his avuncularwhole-hearted as by the Old Man'sthe pleasantrybymuchsonotamusedbrows,

his eye- DRYDEN raisesin behind. DRYDEN and BRIGHTON step and of picture They laugh again as they move on out of bottom

we? shouldn'twell, We should do very LAWRENCE

fight like Saxe - - - and you ClausewitzfighLlikeif IWell, L) ALLENBY.

ALLENBY and TOP FLIGHT OF STAIRSCLOSE SHOT637

him. after the men staringto the stairs, way between the soldiersf,' the and leads ALLENBY salutespicture. and LAWRENCE enter

as the CAMERA STOPS TRACKING and ALLEN BYto attention

them noisilycallso.The N. C to the gallery.tmleadingstairs qf flight the top of areached of an N. C. O. who have justcharge in a group of half a dozen soldiersThe CAMERA is approaching AIRS. OF STTO:J? GALLERY LANDING ONSHOT.TR.A,-CKINGCLOSE636

t They both laugh.

Do you know a better? 0.. LAWRENCE

Saxe. Marshall (smiling) ALLENBY

not concentrate. dissipateI mustthrough,breaking If I'm to occupy them while you're LAWRENCE

by the GENERAL' s side.

apparition of the outlandishthe meaning in dumb show enquiring

to the A. D. C. we see him speak the following dialogueDuring him by. OF ALLENBY and LAWRENCE as they passSHOT it PANS with him into -t.CLOSE TRACKINGCAMERA astowards C

hastily He salutes an office as the CAMERA APPROACHES him. out of ELDERLY COLONEL comesAn CLOSE TRACKING SHOT.635

_J

pleasantly: to CAPTAIN,ALLENBY

do)

of thems,ome(Orsit. hesitatinglythey his Sam Browne asoffRe takes

Please! gentlemen.!Easy ALLENBY

feet. C

leap to their ALLENBY' s presence,byabacktakenOFFICERS,The .. Bar the Officer'senterGROUPand hisALLENBY LONG SROT.646

BAR OFFICERS'THE

:•~.} father. of a respectedapproval '~ in the meritedproperly as of a young man who relaxeshappy,deeply

it is rather not over-excited,butexcited,is of courseexpression LAWRENCE's and LAWRENCE.ALLENBY CLOSE TRACKING SHOT.645

study.afacestheir of them,in front GROUP passes (}

as the and the CORPORALSSERGEANTThe PROVOSTSHOT.CLOSE644

the CORPORALS to attention.and bellows

his deskbehindup fromleaps PROVOST SERGEANTThehall.the intowaythe The CAMERA PANS with the GROUP as ALLEN BY leads643

HALL. ENTRANCE

approaches.G.O. C.

as the to attentionslamstepsup theMEN comingandwalking

MEN GROUPS,inMENhall. ,entrancefor themakeandgallery floor swing on to the ground ALLENBY and LAWRENCEMED. SHOT.642

CORRIDOR GROUND FLOOR HALLWAY AND STAmS/GALLERYINT

on out of the picture.passes

as the GROUP stand like statues'stairson theOFFICERSway and the hall:;. SMALL GROUPS of MEN in theSTAIRS.OFLAST FLIGHTthe·

ALLEN.BY and LAWRENCE descendingabove we seeFromLONG SHOT641 ( behind.from join themothersaswards 0

looking down- GROUP OF MEN at the top of the stairsCLOSE SHOT640

looks upwards.LAWRENCEwall astheagainst

flattensOFFICER At~0TBERso.dojnghim to registerslide over

and ALLEN .BY's eyesin such company,the effect of his passing

to registerthemtowardsslide overeyess LAWRENCE' OFFICERS. TWO the as they pass ALLEN BY and LAWRENCECLOSE SB.OT639

-~--··-···---------..

ALLEN BY LAWRENCE is absorbed.what followsThroughout

the fish pond.by BY and HIS GROUP seatedALLENSB.OT.CLOSE649~)(,_

····-.....\ to his astonishment:CLOSE UP and sees, 0

jnto he edge.suntil the commotionto understandalossatan.dis

proceedingsthe foregoingmissedwho has CLUB SECRETARY,

theby joined They arefaces. OFFICERS' the window on to the throughthe patiofromshootingis·_ The CAMERA CLOSE SHOT.648

C him. made for

is and a passage behind them with a trayappearsThe A. D. C.

the windows to look out.liningthemaftercrowdThe OFFICERS

and pool with goldfish.fountaina small

of the sidebyof chairsgroup an. informal. windows towardsFrench the out throughhis party The CAMERA PANS as ALLENBY leads

Shall we go outside? ALLENBY

patio.

the sunlit the windows enclosingthe view throughnoticedjusthaving apparently to LAWRENCE, ALLEN BY turnsSatisfied,CLOSE SHOT647

silence. the thunderstruckis to deepenof the speech -Bv

and the effect°Major"onemphasiscalculatedis a beautifullyThere --~ acceptable.everythingmake will of coursecharacter known and popular

of such a wellthe invitation as though to say thata littleHe nods

Lawrence. of Major:invitationon thehereI'm 0 ALLENBY

silence. of the thunderstruckunawareseeminglyround convivially,smiles

ALLENBY in a murmur.drinksand ordersto the barmovesTRACY

Tracy. ) C.·. A. D(to ALLENBY

sir! Of course, CAPTAIN

drink?to us somethinggiveyou,Will, ALLENBY

....'\__/·-' Continued646 ) ,~/ r··--\,...

(

...1

charm. self-mocking and runs over ALLENBY with equivocalhe laughs, ,~----'

Then. blank pause. LAWRENCE is given a moment's.SHOT:MED652

going back then?You are ALLENBY

small point of infoi;-mation.0

up a as one clearingmildness,with deliberate.BY repliesALLEN

in chaos! weeks I can have ArabiaIn thirteen (off) LAWRENCE

ALLENBY CLOSE SHOT.651

t.

else. smash them somewhere r11 mending·themhe!sand whilerailways I' 11 smash hisround.turningTurk' s still while JohnnyArabiaWe can crossrifles. thousand crackaandhigh explosive.ofpacks that means a thousanda thousand camels; It means day or night.anywhere,delivered knives; thousandamean.s A thousand Arabs LAWRENCE

' threatening. BY he were as if it were ALLENalmostleaning forwardfanatically, and ends with enthusiasmHe commencesLAWRENCE.UP.CLOSE650

With a thousand .Arabs? mockery} a shade of(i:iow:infuses. ALLENBY

Yes. LAWRENCE

Army. Desert hold down the TurkishSo you'll in his tone)of comment(with no trace '· ( ALLENBY

and every face we see looks out.

go, begin to break up but throughout the following scene they come and the patio In the background the OFFICERS at the windows surrounding

non-committal. and looks carefullyis out of his depth,the A. D. C.

a little, DRYDEN smileslooks uneasy,BRIGHTON.be,toappears C

Continued649

o Dryden?A.r.a.b.'iaambitions in Have we thank God. not a politician,I'm ~.guard)offlittlea( caught ALLENBY

we? Have penetrat.i.on)with great. ALLENBYup,at he looks(suddenly· Arabia.ilJ-ambitionswe have nothat false, I've told them that that'sourselves.

them move the Turks out and then move in that we'll let They've only one suspicion; (slowly) LAWRENCE

LAWRENCE looks down into his drink.it.forswimu

The fish the fountain.'.into He throws a small piece of potato-crisp

Oh surely. (deadpan in the silence) ALLENBY I )◄

why they' re fighting.and that'sthey think, what That's what I told them anyway.That's LAWRENCE

to the other.onelooks from

LAWRENCE and DRYDEN drink.ALLENBYis no response.There

now. Arabsthefor Arabia'swill.No-one LAWRENCE

I wonder who will ... BRIGHTON

again~ get backnever he gets out now he knows he' 11IfEmpire.. part of hisArabia'swithdraw.He daren't LAWRENCE

he'll· .withdraw.handful of bandits,aofffend to Divisionsusing four he finds he'sIf so can the Turks.If we can see it,Hm. 0 ALLENBY

I'm going back.Of courseYes. LAWRENCE

Continued652

(

j ;/

like paper.don't They have to be sovereigns.It'llMoney. LAWRENCE

Right. :tC; ALLENBY

five. 1 need not enough.armssmall Two thousand LAWRENCE C:

DRYD~N fascinated.watch BRIGHTON and A. D. C.bargain. as theyforward and LAWRENCE leanALLENBYCLOSE SHOT657

PATIO.!BAR. OFFICERS'INT. i I to understand.trying

He is by him. all rightit'sALLEN BY,byrightallIf it'seffort.

r

1 mental of simplebut of disapproval, is his frown the productNor

:,◄

amazement.comic-:rather is not now one ofHis expressionback.

l

drawn~but is the window;He leavesof it. the indecorumrealises and left,rightto hisglancing The SECRETARY,CLOSE SHOT.656 I

staring..the club,of

t windows alo~gthegathered The OFFICERSSHOT.PANNIN'G.MED655 i

Certainly. ALLENBY

down his glass.He plonksduty.hishe does

before only fractionallyALLENBY hesitatesCornered,CLOSE UP.654 \

in Arabia. we have no ambitionsname, in yourthem can tellIif want to know sir,I to ALLENBY)steadily,(very LAWRENCE •.O

it. have But LAWRENCE won'tof the diplomats.hands in thesoldiersimple with the him to sympathiseinvitinghands, 0 his at LAWRENCE and spreadscharminglyverysmilesALLENBY

sir. question,Difficult '► J a little)(flickers DRYDEN

I,.,___,,c,:► Continued652. r(~

J j I I \ (0

says: windows, the open Frenchthrough his voice to be heardraising and deliberatelythe bar LAWRENCE towardsaway frommovesBrowne, his Sam ALLEN.BY, bucltlingslowlyonslowly.but moreLAWRENCE too,i,·

il)

with him.riseD. C.A. BRIGHTON and theDRYDEN,in intention. -i

1t so that the word is ambiguousas he saysto his feetALLENBY springs

Right! (pauses) ALLENBY

Artillery..Fielliand LAWRENCE

Right. 1(: hesl.tation)a(after

I cars? couple of armoured.A

LAWRENCE

sir. It can be done, DRYDEN

Dryden? ALLENBY

· later. more A lotnow. thousand Twenty:.five (thinks) LAWRENCE 0

How much more? ALLENBY

LAWRENCE

Right. ALLENBY

guns. for the LewisInstructors LAWRENCE

Right. cautiously)more(a little ALLENBY

Continued657

('>

J

theirraise and tentativelysbeepii:.hlyratherOne or twothe MUSIC. underneathforwardto comeb~ginTheya smile.essay the OFFICERS

One or two of RAIDING PARTY).smil:in.gby thesurroundedrobes

the in which ALI presentedshottheas possibleas closelyrecall to and arranged(to be grouped in the background.OFFICERS 0 with the in the foregroundheadLAWRENCE'sSHOT.REVERSE664

argy I.hisadjust his hand to

He raises standstill.ato LAWRENCE as he comesCLOSE UP.663

c· the bar. and enters

the windowsthrough and LAWRENCE as he comesbetween' themselves distancea back leavingstandtheyforattitude,gauge theiryetwe cannot him coming;to watch change positionas theyof the OFFICERSbacks and headsthe and TRACKS acrossPANSThe· CAMERAwindows. Frenchthe towards and walks---scene he did in the robingas--- hand righthis aroundabaya the end of histwirlshe with a quick flip, then, garments,Arabhis He fingers of the film.beginningat the which we sawexpressionand stoicalhopelessmocking,with the same his onlookersregardingHe standsthe glass. in LONG SHOT through LAWRENCEwe seeof heads a foregroundThroughSHOT.REVERSE662.

at LAWRENCE throughpeeringA GROUP OF FACESUP.CLOSE661

stillness. fades to an apprehensiveHis smile~AWRENCE.UP:CLOSE660

well up again.

-to begins The MUSIChim.atlookingthe barof round the windows crowding now openlyare The YOUNG OFFICERSCLOSE SHOTMED..659 I

► by: caughtis~ye"His smilingt..· them, i

after looking the fountainbystandsLAWRENCE CLOSE SHOT.MED.658

C.; DRYDEN and the A. D.by BRIGHTON,followedHe goes,

l~

gentlemen!hospitalityyour_Thankyoufor ALLENBY f

as he does so:

to the OFFICERScallingwindowsFrenchthethroughbrisklyHe walks ro

and thank you!Congratulationsit.use i I know you'llbecauseLawrence,can Major thing I you every blessedgiveI'm going to ALLENBY

Continued657

(

j

e

not:. hope we' reLet's (dryly). DRYDEN

the whirlwind.riding·sHe' C: backwards)headhi.s(jerkfog devil 1 . . Not like that poor.Godthank to obey, I've got ordersnot..it'sNo ALLENBY ·.o sir.say, .you toFor · (deprecatingly) DRYDEN

can I? give them artilleryThen I can't ALLENBY

I

independent. made them and you've Give them artillery t (softly) DRYDEN ,0

it back again.gettodifficultdeuced Might besir.that. I was wondering r BRIGHTON -ed sir? to give them artillerygoingyou reallyAre DRYDEN

look at one another.

and they do notecbostepsTheirand in step.brisklywalkthey

This time corridors.the silentof back along onewalkingThey are

DRYDEN and BRIGHTON.ALLENBY, CLOSE TRACKING SHOT:665

CORRIDOR: GALLERY

MUSIC STOPS.

suddenly:untilloudly,verycontinues about him and the music to surge They continueat all.smHenot a real ish as to be a repellent, spinster-so almost withdrawn,so which is so superficial,with a smile0 off fending themhe can,as bestthemaway fromHe shrinksrefused. and --- offereda drink his hand shaken,congratulated,the back, on the CAMERA LIFTS AWAY, we see LAWRENCE begin pattedAs

and congratulatory.smilingquickly, suddenly they come forwardThep,

BACK. UP AND THE CAMERA STARTS TO CRANEto him.glasses

Continued664

J

:()

i(J

I

j ,,

·I

·O

INTERMISSION

ONE PARTOF END i

'(0 ~

i

off into EXTREME LONG SHOT down the corridor.0:

walkand picture as they enterbacks Shooting on theirMED. SHOT666j ___..Ir!

Feisal. To Prince SELIM

Then: SELIM looks at him gravely.

belong to? bags Who do thesefriend.me,'Scuse BENTLEY

his hat.raisingSELIM, He accosts

curious. but sharply by the insult to himself,BENTLEY is unruffledt in the boat.etc.bags, in the stowing of the camelquarrelsomely to help dumped and his MEN rushbags areBentley'sceremony, Without (the RECITER).SELilv1the file comesofAt the endpause. 0 BEARERS BENTLEY'Scarpets.and rolled inlaid boxes,bags, woven camelhandsomely STEVEDORES, bearingis a file of ragged direction But coming down the beach in the contraryCHILDREN.

among them a few indolent MEN and donkeys and unoccupied

and as beforebuildingsdilapidatedThe same palm trees.scruffy

of Akaba among itsof the village-townfringeWe see the seaward

FOREGROUND

in BEARERS, MEDIUM LONG SHOT from behind BENTLEY and3

the beach.

them upoff after by TWO ARABS and he setsshoulderedarecases The two man who wants his bags.gracelessof a ratherbut simply

nor the humanitarian,sahibthethat of neitheristo the Arabattitude

His baggage. the landing of his scantyBENTLEY superintends

it and haul it up the beach a little.The Arab ROWERS skip from0

THE BOAT GROUNDSMEDIUM SHOT2

whereupon:it in,to take no longer than is neededshot lastsThisis alive with curiosity.face

humorous and cynicallyalerttough 9Hissteadily.shoreapproaching the Clutching the gunwhale with one hand he examineswill again. and before situations He has been in unlikelierso.to be lessattempt

in a light suit and trilbydressedcases,with camerafestoonedoars)

the we hear (it is a rowing boat; awkwardly to the motion of the beat Jerkingbags. travellingof leatherpaira At his feet areabout it. lighters with one or two dilapidatedsteamercoastaland rustysmall a leaving in the distanceboat,of a longin the sternHe is sitting

BENTLEY CLOSE SHOT1

II-1

Bentley.Mr. meeting,our glad we effected I am your letter.so fromI understood FEISAL

America. throughout but my work is syndicatedpaper,particular is my ownCourier" The "Chicago BENTLEY

it away.puttingbeforecard

wagging the BENTLEY says, FEISAL hands back the card.in it. with a seat to hand by a window embrasureconvenientlycoffee set a metal A SERVANT placescamel bags.moreout somecarry

BODYGUARDS In background,card.BENTLEY'sexamining

FEISAL is In the fore ground,of furnishings.strippedAlmost

FEISAL'S QUARTERS IN AKABAINT.4

CUT

following.

BENTLEY away up the beach,and startssilentlyhe beckonscard, the having readThen, him a look of mild surprise.SELIM flickers

Can you read? BENTLEY

tact: and with dreadfulit he pausesIn the act of offeringpocket. a card from and lugs a business BENTLEY nods comprehendingly

I am his servant.He is my master. SELIM

the baggage)(indicating You know him though? BENTLEY

No. SELIM

ignorance. by such ample SELIM is not shocked but is interested

by any chance?Feisalnot PrinceYou're BENTLEY

A knowing smile.him.A thought strikesBENTLEY grunts.

Continued3

II-2

'- r

there.are - the TurksAvoid MalaalBuldulla.

you I should tryIf I werea mule.Take FEISAL

tried.neverI've BENTLEY

a camel? Can you ride you have a long journey.I fearOh yes. (smiling) FEISAL

Ghira~ horror) (incredulous BENTLEY

El Ghira.near week they wereLast

BENTLEY stares.

I don't know. I' FEISAL

find your army? will IWheresir. what I meantThat's. BENTLEY

Bentley.Mr.army.!!!!_ with Lawrence Well you will find Major (dry)' FEISAL

no ...sir, Not altogether up) (covering BENTLEY

Is that what you have come for? going) (the smile I FEISAL

Lawrence? can I find MajorWhere BENTLEY

i ? Now ••. FEISAL

FEISAL smiles: looks the courtyard. The window over- and they both sit in the embrasure.He gestures

Continued4

II-3

__J

Q

Allenby? Do you know General _____,.,,... FEISAL ) (

directly:

him very FEISAL addressesthis. can be no mistakingThere

intended to.It's BENTLEY

us to small things.It . . • restricts (deprecatingly) FEISAL

handicapped.You're BENTLEY

That is so. FEISAL

artillery. ,•(. ·,, that you've been given noI understand

word. his last BENTLEY amplifies and keeps silent.turn, it is now BENTLEY'sFEISAL feels

Yes. BENTLEY

kind. of a different work for me thereisThere C FEISAL

Yes. tone instantly)of he has caught the change (looks up from his pad; BENTLEY

as you know. I am going to Cairo,MyseJf, then says:) (he hesitates, will find. But not so fast as we do youThey do. FEISAL

They move fast.In Malaal now? BENTLEY

Continued4

II-4

are you not? Now you are "talking turkey"Ah. in his turn) (is amused and approving FEISAL 'C

story to tell.awant I badly You want your story told.sir. are the same as yours,my interestsAlso, appreciation)

and amusement laugh of sheerpulsive a genuine im-(laughs, BENTLEY

Very gratifying. () FEISAL

motive.seriousathis as even pretend to considerFEISAL doesn't

freedom.for their struggling with any people anywhere who are sympathize We naturally a Colonial people. were once we Americans Your Highness, hawk on the job) of the news-insincerity sincere (with that curious BENTLEY

Bentley.Mr. sympathetic,... You are being very then says:) (he considers, 0 "watch out for" him.I shall certainly (to BENTLEY) very good. "Slim customer"; moment)a for (the scholar 0 FEISAL

man. \cleverA BENTLEY (

Excuse me? (inclines politely) FEISAL

A slim customer. Watch out for Allenby. BENTLEY

Continued4 •

II-5

(

···-·--~·-·-·--·-···--------·-······-·············•-··-················-·········•••··•····--------

of the repetition)mindless murmurs,and then (he is silent for a moment beyond every other man ... (sadly) 'C

... is prizedin battle the man who gives victory

Bentley,Mr. country,In thisrightly. ·And and looks out) (he goes to the window Yes. (sharply) 0 FEISAL

Lawrence though? Your people do think very highly of Major insistently)(looks up; u BENTLEY

by the Tri.bal leaders..ledare The Tribes My army is made up of Tribes. coldness) )◄ bent head with some (pauses and looks at the FEISAL

all this is he? is in charge ofMajor Lawrencesir.Yes, scribbling)(head bent, BENTLEY

..• railwaysTurkish the know of course that we are destroying

You small but many.done many things, You will find that we havepaper for you. i.gures put onand f will have some facts

his lips) watch, pursing a fine goldconsults off and (he breaks ... leave here And before I And a letter.guide. ( I will give you aBentley,Mr.Well, FEISAL 0

cheerful. and walks about a little, swiftly from his chairFEISAL risesin others.liking shrewdness each in his own way being a shrewd man andgetting on together,are to find how well theysurprisedand And now they are both amused,

Continued4

II-6

('

I see. BENTLEY

you can imagine.'hopethan IMore harshly FEISAL

How harshly? BENTLEY

harshly...• and are treatedthe Geneva Code,byprotected not wounded or whole areAnd rebels, but rebels.not soldierseyes we areIn their (more moderately) u I mean we leave no wounded for the Turks. FEISAL

? You mean ... (gently) BENTLEY

no wounded for the Turks. We leave we ourselvesld.11.bring away,

to woundc.!d those too badlyThat is because

FEISAL ,._/' k7·rl

many.as four timesYes; even awed)(wondering, BENTLEY

wounded.andour dead 0 between the disproportionYou remark

double take. this down but does a horrifiedBENTLEY is scribbling

dead. and fifty-six wounded, one hundredhave lost thirty-seven this campaign four months ago westarting Since my head. it never leavesbecause I can give you from my head;One figure( own thoughts)hisback from

and this draws his attention I His eye lights upon the pad facing BENTLEY.sits~and he returns (abstractedly ... Myself I am going to Cairo FEISAL (Cont)

Continued4

n-7

) C

by: he is arrestedwhere D and goes to the doorwaynods smilingbit rebuffed,aBENTLEY,

Bentley.Mr. ,.,1/'....'..., that I have said,I will do everything ('-\ (quiet reproof) C FEISAL

and ...letter the be able to manageD'you think you'll the door)towards away (he moves f_) sir. Thank you,Sure. immediately)(rising BENTLEY

... And now perhaps watch again) out the (he half pulls morereliable.is themotive You may judge whichgood manners. With me it is merelyis a passion.mercy ◄) Lawrence, With Majorso. That is exactly FEISAL

of bloodshed.horrora . • .hasthat the Major in Cairo,heardI...justit's...IWell personality)Royal of the full impacttime for the firstreceiving at thus (a bit thrown BENTLEY

so? Why should you suppose FEISAL

and jealousy.anger snap with a directeyesFEISAL'sThis time

Lawrence?of Major Is that the influence again) (off-hand sir. I do, (scribbling) ( BENTLEY

like you to notice that.should I to the Code.accordingus of them, can relieve of, until the Britishcaretaken are Bentley,Mr. prisoners,ownOur FEISAL

Continued4

Il-8

(

_J ___ i

/'__(,, war? your country towards ···----._ who will draw looking for a figureYou are FEISAL

flatly. He interrupts FEISAL is looking out of the window again.

... it more than Nobody deplores war does wear such an aspect.Highness, After all youraspects. more adventurous But to show it in itssir.Hardly that, BENTLEY

Enjoyable? u FEISAL

(he hesitates) will show our people that this war is ... which I have been sent to find materialNow, and Turkey....Germanyagainststruggle {,' the patriotic add her weight to the ... to believe the time has come for America men back homeinfluentialBut certain (again the "sincerity") Oh no. BENTLEY

man? You do not seem a romanticIndeed? (is amused) FEISAL

hero. I'm looking for asir.very simple,It's BENTLEY

<O caught out.

like a boy disarmingly, but BENTLEY grinsis serious,FEISAL

Major Lawrence. ( and in in my people,your interest of me truly the natureYou will tell 0

turns. BENTLEY

If ••• FEISAL

~ ......'• (7 Continued4

II-9

(.

J --

C

to fall.startsand debrisnoise is a whistlingThere ) (

HORSES. ARMOURED CAR and a group of CAMELS andis the second

---...., In the backgroundof picture. of an ARMOURED CAR in foreground ,L

on the turretThey are BRIGHTON and ALI.1ST CLOSE SHOT:17

to fill the screen.startsas steamengine

up above the ONE OF THE CARRIAGES looms2ND MEDIUM SHOT:16

top of dune. (_)

over the LINE OF ARAB FACES appearingA2ND MEDIUM SHOT:15

derail. carriagesthree top of dune the frontfromLONG SHOT:2ND14

BENTLEY. disclosingis lowered

camera THE SHUTTER CLICKS, theCAMERA.A1ST CLOSE UP.13

dust.withit obscures

and camera towards THE ENGINE slithersCLOSE SHOT:2ND12

AUDA reacting. 1ST CLOSE SHOT:11

the embankment. and plunging overthe railsTHE TRAIN leavingMEDIUM SHOT:2ND10

flying upwards.

the explosion THE SKY . . • .THE DEBRIS fromCLOSE SHOT.2ND9

of train. EXPLOSION goes up in front2ND8

the plunger. LAWRENCE'S .HANDSpressing1ST CLOSE SHOT:7

THE TRAIN chugging along the line.LONG SHOT:2ND (SHOT)6

to explosion).reacting.

and plunger to pressingthrough(Carryover.whistleTrain

LAWRENCE and FAR.RAJ waiting by the plunger.1ST CLOSE SHOT:5

yes. All right, some dignity) hence with(simply; BENTLEY

Continued4

11-10

C

----,.-.J.----

a VEREY PISTOL along the ridge.He firesof the dune.the rim

up oversteps exposed, LAWRENCE frightfully1ST LONG SHOT:31

up out of picture.he rises1 continuesThe racket C

"STOP". din) (yelling above LAWRENCE

AS 13)(SAME LAWRENCE AND BENTLEY1ST CLOSE SHOT:30

slaughter.withtrancedfaces LAWRENCES P. O. V. ) theirfrom

A LINE OF ARAB LEWIS GUNNERS (roughly1ST CLOSE SHOT:29

gunners. the Lewistowards LAWRENCE glances dead pan to the killing.reactsby BENTLEY,closelywatched LAWRENCE LAWRENCE and BENTLEY.1ST CLOSE SHOT:28

carriage.

the back insideslumpinghP-ada bloodyofglimpsea we now catch gone the reflectionshattersThe WINDOWsky. window reflecting ..·◄ a carriageacrosspicturethrough A BODY falls 2ND CLOSE SHOT:27

fires.and over the gun himselftakesthe way,

out ofgunner an Arab Lewis AUDA he pushes 1ST.CLOSE SHOT:26

one of the windows.froma pistolfiresOFFICER

TURKISHA on the side of a carriage.the plankingchips from of yellowclouds A LINE OF BULLETS splash2ND CLOSE SHOT.25

panning.anq AN ARAB LEWIS GUNNER firingUP.CLOSE2ND24

picture.anotherhe takes BENTLEY,UP: 1ST CLOSE23

of impacttheunder ·shudderingTRAINTHE.SHOT·:MEDIUM2ND22

LEWIS GUNNERSARAB: ANOTHER LINE of 2ND CLOSE SHOT.21

(

of NEST at the rear A TURKISH MACHINE GUN2ND CLOSE SHOT:200

A line of ARAB LEWIS GUNNERS open fire.2ND CLOSE SHOT:19

LEWIS GUNNER opens fire.

A on the dune. DEBRIS falling in the backgroundmovementslast

The TRAIN in its ARABS lining the dune in foreground.scene.

of the wholethe geographyDisclosingLONG SHOT: 1ST EXTREME18

II-11

C

I\1

I as the CAMERA TRACKS into a positionin the backgroundbe seenj I DEAD and DYING canthe engine.aroundthe wreckagethrough,J___\ \ ( ,,

walks of BENTLEYS presence,unawareLAWRENCE seemingly ··-...,,

LAWRENCE and BENTLEY. MEDIUM TRACKING SHOT:43it)

it anyhow.overand swarmthe train BEDOUIN reach

of avalancheAn WITH ENGINE IN FOREGROUND.LONG SHOT:42

following· him with interestopicture :O

into as BENTLEY runsthemHe walks afterside.him on either

I

past THE BEDOUIN rushingLAWRENCE. CLOSE PANNING SHOT:41

the train. LAWRENCE towardsovertakingdown the slope I (AUDA ALREADY UP) AND rushTHE BEDOUIN riseLONG SHOT:40 f, the train. to move towardsHe starts

Come on then. gesture) (with a violent LAWRENCE \ i ◄I

away.dies The racket LAWRENCE. CLOSE SHOT:39

feet. to theirrisingsomefire, Raggedly they cease

AUDA. A GROUP OF LEWIS GUNNERS around1ST CLOSE SHOT:38

Stop it. Stop it ..• LAWRENCE

racket. continuingstill

lost in thehis wordsshoutsHE 1ST CLOSE SHOT:. LAWRENCE.37

faces.

into their FIRES ANOTHER VEREY LIGHT at a low angle almost HE fire. by the sight to ceasearrestedsufficientlyof whom are just one or twomen,o,mhisand between the traingunners,Lewis '40 of the down the dune in frontLAWRENCE dashes1ST LONG SHOT:36

continues. BENTLEY watching him as the firing1ST CLOSE SHOT:35

'·

again. his VEREY PISTOL and fires

into cartridgeanotherHe crams LAWRENCE. 1ST CLOSE SHOT:34

by bullets. being spatteredwhich aresandbags

over the of the TURKISH GUNNERS sprawledThe DEAD bodies

THE REAR MACHINE GUN NEST on the train.2ND CLOSE SHOT:33

before.

as THE BEDOUIN LEWIS GUNNERS exactly1ST CLOSE SHOT:32

II-12

l ('

He looks with shaking venom at:

dark. the screenon all foursthe trainbyOfficerThe Turkishtrack)

on the soundcontinuesdistantmore(the yellingMEDIUM SHOT:

ovation.

to the reacting the blue sky; LAWRENCE againstCLOSE SHOT:

or chanting. The cry is taken up but not yet like a full adulation

Aurens. AU~A

AUDA. CLOSE SHOT:

down.·. hands on hips smilingthere,and now standsthe wreckage

up on to the top of AUDA) He has scrambledLAWRENCE (P. 0. V.

towards:

he looksabove, down fromthrown of white tableclothsa shower in entangledbecomes immediatelyand almost level with the Pullman

AUDA drawsaway. and run aimlesslyout onto the tracktumble

in city clothesdressed some incongruouslyPassengers,windows. from the suitcases,valises,trunks, in are throwingsome already doors, smashed in the alreadysome beatingwindows~ ments through the

shinning up into the compart-Some areabout at top speed.rushing

are ARABS gone quite mad,along the train.of inspectiontour· a CAMERA TRACKS with AUDA as he makesthe engine).towards of trainrearfrom tracking - TRACKING (CameraSHOTMEDIUM

tea urn.splendidaandladles

hot plates,flambeaux,kettles,spirittureens,copper pans,shining of trove a treasurecollect'BEDOUINThe ·over unconscious.

a CHEF doubledthe dining car;ofTHE KITCHEN MEDIUM SHOT:

looting to be worked out on the set).(Simultaneous each of them.fromremovedCOAT are SWORD and CAVALRY ·O

A as they died. TWO TURKISH OFFICERS lie huddled together removed. his boots are The STEWARD lies unconscious,HOLDERS. FLOWERplated CUTLERY and silverAnotherTABLE CLOTHS.

of FINE LINENan armful One is collectingCAR.IN THE DINING GROUP OF BEDOUINA INSIDE THE PULLMAN.MEDIUM SHOT. 0

to the destruction.LAWRENCE reacting CLOSE TRACKING SHOT:

and DEAD SOLDIERS).TURKISH OFFICER

the introduce(Possiblythe train.ofsidethe otherdisclosing

j.. Continued43 , l (\_·

ll-13

C

r

I i again.fires OFFICER ___..(I The TURKISHunseen. the TURKISH OFFICERapproaches ,.I ·-~)..:

He in the background.round the locomotiveAUDA comes

LAWRENCE will not move.

glass. A SOUND of splinteringLAWRENCE.CLOSE UP.

again. shot and firesanotherforhimselfprepares

He at LAWRENCE.staring THE TURKISH OFFICERCLOSE UP:

him.past ricochets shot as it is the sound of a thirdThereTURKISH OFFICER.

the regardingmotionlessHe stands LAWRENCE. CLOSE SHOT:

in sobs.

coming his breathlonging, one of desperatehis expressionagain, his pistolraisesshakily about 40 yards)(the distanceOFFICER

The TURKISHDARK.p.a. v.) (LAWRENCES MEDIUM SHOT:

towardsgravelystaring He stops, next to him.carriage

of the the side A BULLET SPLINTERSLAWRENCE.CLOSE SHOT:

is the sound of a SHOT.Therehe fell.

whichfrom of the carriageto the sideup the embankmentclambers he a rough joke in good part,as one who takesHalf laughing,

upright.himself and wrenchesbreathHe gulps for

Good. Good. Good.

LAWRENCE

(

at the foot of embankment.standstillatoHe comesroof.carriage

the of his fall fromstages LAWRENCE in the lastSHOT:CLOSE

the engine.towardspicture

out of fall and hurryingto LawrencesAUDA reactingSHOT:CLOSE

the Bedouin.away fromcarriagetheoffrolls

and his feetfrom LAWRENCE is pitchedBRIGHT.CLOSE SHOT •

fires.

aim andtakes THE OFFICER THE SCREEN DARK.SHOT:CLOSE

his pistol. OFFICER shakily raisesThe ruinedyouth and success. of the blue sky 1 the incarnation LAWRENCE is white and gold against

tQ in the background. LAWRENCE on top of the trainpicture.

of the in the foreground THE TURKISH OFFICERMEDIUM SHOT: 0:iI

11-14

'. (

·1·--·--·

--·---·---··-·-·. ·-·r-·-

:.:o Auda ... (quietly) LAWRENCE

grasp.his it from and with one huge hand snatches-himto

up and AUDA stepsstartled,his camera BENTLEY looks up from

No!

roars: •U

(off) andfuriously AUDA points LAWRENCE can answerBut before

How is it with thee Aurens? AUDA

:ff', and: feet, LAWRENCE on hisas he seeswith pleasureAUDA grins.laughing.

and the BEDOUIN murmuring1 of his robeon the skirthis sword wipingthem, between thrusting AUDA, who now appearsthe returning

moved past them both towardshave meanwhileThe BEDOUIN looters

Wish I had. (undisturbed) BENTLEY

a picture? Why don't you take (sourly) LAWRENCE

before! with a sworda man killedseenNever

interest) even pleasedWith tough, (he looks at LAWRENCE. Jimminy? BENTLEY

off. staring, LAWRENCE is,where of the carriageround the sideBENTLEY peeps-CLOSE SHOT45

CAMERA! down into theswordhisAUDA swingsOFFICER. QUICK EXTREME CLOSE SHOT - ANGLING UP POV TURKISH44·.0

slowly.he turnshim,

upon A shadow fallshand.with the otherhis wristgrippingpistol, holds up thenow weeping, THE TURKISH OFFICERBIG CLOSE UP:

enemy in danger.to warn his poormade with himself

he has of the bargainIt is not partLAWRENCE. BIG CLOSE UP:

II-15

I C

-··-_j

picture?yourif I takeAll right 0 (looking up) BENTLEY

J.-·,,.''-•~ thief.ofa sortyou're He thinks \ looking down) LAWRENCE adds, as put outbita: who is not9BiNTLEY helped byagain~age (he is mounting the wreck- his virtue.will stealthingstheseHe thinks ....',_ camera)other BENTLEY' s(he taps old-fashioned.a bitAuda? · He's LAWRENCE

company you keep.Charming of his instrument) the wreckage(regarding BENTLEY

··..'- again.

of looting risingThe noiseand laughter.approvalamidstgoes,And

quickly. very using up your nine livesYou are AUDA

reproof:and

admiration with a blend of affection,shoulder~a hand on hislowering to LAWRENCE,he sayscorrected,hashe boy whose mannersstanding by- a small though he wereashis mi.ndBENTLEY fromdismissing

,O

and thenbuffer, the carriageagainstthe cameraAUDA shatters

Yes ... (innocently) BENTLEY

Did you take his picture? (translating) LAWRENCE ( ~o Eh? BENTLEY

Am I in this? (to BENTLEY) AUDA

Continued45

II-16

C

, r~-

C

CUT TO "-----···'! \ ( ·-,' we climaxits reaches As the adulationous the better. L·

incongru-The moreetc.etc.pearl,of inlaid with motherscreenfire a papiermachebottles,water with folded legs?tablea cardsaddles,

a sewing machine,blankets,armyof tinned food,boxesof'-kerosene,

drums a phonograph,tools, a box of carpenter'soil lamps,tackles, and blocks cocoons, tied in clatteringkettlesrackets,tennispiping, of metallengthsrolls, and haberdashers'bundlesin billowing u of silklengths of new white rope,coilscane chairs,smallas:items They have such and they join in the adulation.as LAWRENCE passes triumphantlyof loot,or items up and shake riflesBEDOUIN holdtrain,

All along thethem. being tipped fromarewooden cratespliμn

open and have been brokencompartmentsLuggageof any value.

ii ; and baggage which isof clothingof any itemsrelievedareand dead,

living without exception, All the PASSENGERS,dead or wounded. the though fleetingly,clearlywe seecompartmentClassthe Third

TRACKING PASTheads.over theirthe rackfromcoatscavalry

their up and removesreachesone arm a bundle of clothing under

A BEDOUIN withupright. riddled windows as they died,behindsit TWO TURKISH STAFF OFFICERSthe loot.collectand eagerlyby The BEDOUIN standcustoms.othercountries- otherimportance

and outragedsurpriseof comicbe a minimumlet therea cheroot; smokingcalmlyindeed the one in shirt-tailsdignity,theirpreserve

\__).·

three let these in his shirt-tails;·one alreadybreeches,their -8-~ with must part of CAVALRY OFFICERSA trioand shoes.coats of themselves PARENTS quickly disrobingwith theirCHILDREN of a pair PASSENGE,RS, includingwell dressedglimpse:thus We along with him.rollsof acclamationa mounting roarcarriages)

(lightly leaping the gaps between the coupledalong the wreckswiftly him so that as he moveslook up and heraldoff,breakthem they

approacheshis feet) But as LAWRENCE (i.e.the BEDOUIN at work. We see MEDIUM TRACKING SHOT - along the length of the train.46

as he does so.of him,all we see 'O

which isfeet,sandalled and the CAMERA TRACKS his swiftly pacing

along the length of the wreckto walk swiftlyLAWRENCE commences

walk.Just 0. K. (technical) BENTLEY 0

All right. shrugs)down, looking (hesitates, LAWRENCE

Continued45

II-17

I (

Colonel.payment.~It is their . ..,./\~ \ ' (explanatory) Auda.to I would not say that (softly) ALI

thieves.makestheftAndtheft~It's BRIGHTON U.

• . • • customaryIt is discomforted)(a little ALI

got to stop!looting hasThis ·.f BRIGHTON

is dark.face BRIGHTON'swatching.car,armouredthe other by of the dune BRIGHTON and ALI standCLOSE SHOT - on the crest51

upon.fallenisand bags) fallsGladstone

cases, (trunks,luggage of passengers'showera:van - and

- it is the luggagewithinopen fromis bursta double doormoment

And at that to the job in hand.attentiontheirreturngo,herotheir

the BEDOUIN seeingside of the train- On the other·sHOTMEDIUM50

to descend. and prepares acknowledgmentof decent

gesturea little LAWRENCE makeson it.crossand redwhite circle box with the loot) an olive-greenup theirholdin:g{like the BEDOUIN holds up by the DRIVER an NCO who,In frontFARRAJ.In the rear,

up by the train •drawscarsarmcured MEDIUM SHOT - One of the49.o

operates. The shutter

my baby.that's•••Yes sir TRACK) ► o on SOUND satisfaction with dry (murmuring BENTLEY

camera. in BENTLEY's"caught"posenatural

magnificentahis walk)he started seen of him sinceshot we have 0

down (this is the firstand looks MEDIUM SHOT - LAWRENCE stops48

Lawrence~Major BENTLEY C raised: his cameraurgently,CallsARABS.feware (~

there where of the trainsideon the far MEDIUM SHOT - BENTLEY47

II-18 •

--~'..

,:o

hundred~than two- less you have left d'you know how many menLawrence~Look, .)____\. ) ( ......-·-:-1· BRIGHTON

discreetly:says,andclose BRIGHTON draws

Aurens.year, Not this ALI

Will they?bac.k.comethey'llHe says BRIGHTON

BRIGHTON.1ollowsALI

come back.They'll (mildly) LAWRENCE

of. last seen theyou'velotanotherThat'sWell. BRIGHTON

shortly: BRIGHTON says

but the DESERTERS,his gaze fromtakes LAWRENCE quickly andup BRIGHTON floundersseriously.them,looking after

LAWRENCE isup.drivescararmoured CLOSE SHOT - The other53

the open desert.away towardsis riding well laden with loot,of camels,caravanAMEDIUM LONG SHOT -52

of the LOOTERS.in the directionangrily,BRIGHTON looks off

to. not free They are ALI

paid! been go home when they'veThey don't BRIGHTON ( paid? soldiers not BritishAreTruly. · (innocent) 0 ALI

Payment. (contemptuous) BRIGHTON

Continued51

II-19

C

-(. -. -···--··-..

j

line of the front Becomingaware very quiet in the fine white room. It is apprehensively.a littlesuitj The Admin COLONEL follows

at the GENERAL.sharplyand glanceshis weight irritablyshifts

COLONEL at once the frontlinebutthemseewall map when we first at thelookingAll are one Admin. one is frontlinetwo COLONELS, theOf white hair.and croppedfare benign and dignifiedwho has a

COLONELS and a MAJOR-GENERAL,two TurkishstanddistanceaAt55

of: reactions

to see thecuriositywith calmand looksturnsHe such already. manyare there We see thatrailways.theon one ofa crossmakes he carefully on the photographwritingat theglanceconfirmatorylast With a crayon.reda thickhe takesof thisthe surfaceand from desk big ornateahim isbeforehim, The wall map is behindor rage.

i

of excitement he is not in a statedeliberately;movesHerailways.

)II

"Arabian wall map oflargeato the informationpace to transfer a and moveswritingtha MAJOR who looks up fromTurkishaIt is54

CUT

dust.in its obscured and ALI are ·,◄

of BRIGHTONfacestroubled The unrespondingaway.roarscarThe

with a golden bullee

\

They can only kill me ··you know?Didn't he adds)ously, not portenu-1miscm.ef of sheer (in the spirit at all. Not "hurt" LAWRENCE

badly?hurtYou gruffly)(nodding, BRIGHTON

Now a bit concerned. BRIGHTON is helpless.denial.It is mere

the DRIVER' s shoulders.He taps

back~come I said they'll LAWRENCE

Well then? BRIGHTON

and seventy.A hundred LAWRENCE

Continued53

II-20

(

and laughs. back his head in admirationBENTLEY throws

( I have a country.when.9thatyouI will tell gravely)then(thinks; 0 ALI

You going to have a Parliament? country?in this You going to be a democracy BENTLEY

eyes him speculatively.is interested;the wheel,againstat ease

BENTLEY, or "Latin". one might say "Geometry",asthissaysHe

Politics. I ALI ii 1 i this?from learning,youWhat are ·: :: BENTLEY I I

again. to learn I have set myselfchildren.It is for ALI

glance upon him. uncomfortable;slightlybutsternfinds ALI'sup,BENTLEY looks

And so on. And how has it come about?"mean?What does thishas the vote.

Englishman"Every The text begins: OUR PARLIAMENT."TWO. CHAPTER CITIZEN. "THE LITTLE and the page is headed:is large the print folded back; it is a limp book,- EXTREME CLOSE SHOT58 :o

a book curiously.BENTLEY regardsa wheel,leaning against

Within, shelters. many otherwithWadi,of a dryglimpsescloses

in the wind dis-spasmodicallyheaving,flap,Thecars.armoured

one of theagainst made lean-to,bivouac,a MEDIUM SHOT - Inside57

r<:o shut.slams drawerThe the railways.against

campaign of Lawrence'sresultsthedepictingphotographssimilar

half full of otheris alreadyThe drawer EXTREME CLOSE SHOT.56A.

without looking.still 0

in it, the photographHe tossesin the desk.flat drawerlarge a opens without looking at it,them,regardingstillThe MAJOR,56

shrug. patricianfaint,in a his shouldersand raises

look him an inexpressive the GENERAL returnsglance,COLONEL's ,'-...)

'-···'1.0 \ Continued55 / ,___.....}

11-21

Fine. LAWRENCE

How's the hurt? BENTLEY

down. himself le>

and plumps BENTLEY who entersholding the flap forFARRAJ goes,

I / All right. LAWRENCE

The man. FARRAJ

hastily: flap and says

the through FARRAJ pops head and shouldersmerely.and plaster lintfor is now a matterwoundHiswhite.all verytrousers,camel a vest andHe wearsis a map.his feetAt on an idea.focussed his eyes His head is back,of a teacher.in the attitudecross-legged

LAWRENCE sitsyellow wool,unbleachedoftentIn a smaller59

CUT

Yeah ... to rise)He begins

him of a (This reminds Yeah! 0 BENTLEY

I have a good teacher. and respectfully)(gravely ALI

agreeably)and says, (he hands back the book, politics.that's I

anything; without sayingYou answered BENTLEY

well? Did I answer (smiling) ALI --,-I() )__\ (°'i Continued58

11-22

) C

:o -but he encounters- mouth open for a wise-crack,and amusement,

surprise BENTLEY looks up betweenof thisegoismAt the superhuman

going to give it to them. '\._i I'm Bentley.Mr.it, going to getThey're LAWRENCE

vehemently.

and looks at himat this"freezes"LAWRENCEBENTLEY,byUnseen

minute.every one bornThere's ... freedom they hope to gain their••. even sadly)dryly, saying (scribbling~ BENTLEY

Freedom.

looks at him cautiously.BENTLEY

freedom. They hope to gain their lightly)(quiet, LAWRENCE

war?this hope to gain frompeople do these in your opinion,·what,One: BENTLEY ea

clean. virginally

should be by contrast LAWRENCE is wearingWhateverand a shave. both a haircuthe needshis skin chapped,and frayed,greasybecome have clotheshis not stood up at all well to the campaigning:has BENTLEYsee thatwe shouldsequence,in thisAlso, scrupulosity. ,O destructive by LAWRENCE's as BENTLEY is fascinatedprinciple from freedom and absolute BENTLEY' s intelligenceforrespect of We should see that LAWRENCE has a sortBENTLEY chuckles.

Bentley.Mr. straight,question you put ato hear I'd be interested at him)(grins LAWRENCE

straight?to you,questions

may I put twoglad to do,be veryshall which I to the fleshpots,I returnBefore pocket)breast his from many pencils and one of a side pocket (tugging his notebook from BENTLEY Continued59

11-23

C

f.::J•• '

I ()

him~ I robbed "Fair~" AUDA

A fair bargain. at BRIGHTON) but glancing(judiciously, ALI

clock for two lamps. One I gave Muhmid Taud two lamps for it. AUDA

He holds it up.it as loot)

to identify to have seen this item before,(we ought perhapsdulums.iO

clock with swinging pen-a stationHe carriesboisterously.enters,

AUDA also. is now thereBRIGHTON car shelter. In the armoured60

CUT

picture? May I take one farewell and says invitingly) (he takes up his camera answer. a very illuminatingnow that'sWell, BENTLEY

thoughtful:

and he says in a voice that is dispassionateInstead,resentful.

pad and pencil and when he looks up we expect him to be at least He lays down his BENTLEY lowers his gaze to his own garments.

clean.It's 0 LAWRENCE

and says: deliberation

insuiting up and down withfigure LAWRENCE looks·the disreputable

to the desert?you personally that attractsLawrence,MajorWhat is it, manner firmly) his professional(he regains C. I was going to ask ...well ...Oh .•.

BENTLEY

And the second question? (softly) LAWRENCE

flummoxed. and shuts it again, LAWRENCE's poisonous regard (J Continued59

II-24

C

r---

,l.

\-_.) coming out of engine.STEAM startsNEST in background. I,.·-\ LONGER SHOT OF LOCKED WHEELS with FRONT MACHINE GUN62

around. HORSES stumbling61g

WHEELS LOCKING AND STARTING TO SKID.61f

on brakes. ENGINE DRIVER jamming61eC.s./

to explosion.gunners REACTION OF machine61d

EXPLOSION goes off ahead.test)

than higher slightly(Camera low camera. RAILS coming towards61c

it)

in background).is visibletrain

so that the shot on a curvethis(Try to arrangeof engine.in front carfiat FRONT MACHINE GUN NEST onMEDIUM CLOSE SHOT.61b

Rig sun cover). (,

Gunners-Machineamongst of boredomsense(A slight foreground. GUNNERS inMACffiNEwithof traintop rearFrom LONG SHOT.61a

angle. into reverse with STALLIONand panninghorsesDisclosing OPENING SHOT.61

lion. of a hungrynobility And his face has the mindless

honourable.somethingfindI must out 'Righton.is runningThe yearYes.

AUDA

He explains.back again.lies

Then he BRIGHTON carefully. his head and considersAUDA raises

Honourable! BRIGHTON

honourable. 1·must find something C

on his "bed".lieslie C

Trash. (cont) AUDA

him. the clock fromtossesliebrooding.dark

by one of and is replacedhis facegoes fromof pleasurepression The ex-stops. Then the movementhappily,the fingersHe spins

ll-25 Continued60

i ---·-·----·r----------

··------·-··---'!;

..;....- ,1

MEN BEHIND HIM.

HORSE- the train. AUDA galloping towardsCLOSE PANNING SHOT.64f

to what they see. whinnying and reacting LINE OF HORSES in train,CLOSE SHOT.64e

down dunes. HORSEMEN tearingMEDIUM SHOT.64d

unimpressed. BRIGHTON watchingCLOSE SHOT.64c 0

looks up grinning.

LAWRENCE on all sides.thempast etc - HORSES LEGS rushing plunger collecting LAWRENCE and FARRAJ on groundCLOSE SHOT.64b

on sand.lightvereyofShadowsides.all on dunes fromappearing HORSES· of picture. TRAIN in centreLONG SHOT.EXTREME64a

out of picture.and moves looking up at the sky - he yellsbackground is in horsemen stationary AUDA with some BIG CLOSE SHOT.64

in the sky. VEREY LIGHT explodingMEDIUM SHOT.63g

VEREY PISTOL.

- fires the turretthrough BRIGHTON emerges·CLOSE SHOT.63f

opens Top of turretfiring.CAR stopsbackground.

TRAIN in in foreground;CAR FIRST ARMOUREDLONG SHOT.63e

HORSES PANICKING.CLOSE SHOT.63d

FffiING. ARMOURED CAR MACHINE GUNCLOSE SHOT.63b

in foreground.- or possiblyin backgroundoff trainleaping with MACHINE GUNNERSto gunfireHORSES reactingMEDIUM SHOT.63a',ff)

opens fire. the ARMOURED CARThe TRAIN stops,of picture.in foreground to a halt with ARMOURED CARTHE TRAIN skiddingLONG SHOT.63

- but not backwards. beginning to look round left and right

and crater GUNNERS watchingMAClllNEFRONTSHOT.CLOSE62c

background.fromPIT nearing

with EXPLOSIONof picture FRONT MACHINE GUNNERS in foreground62b

c---10 i~: balance.their PANICKING HORSES regaining62a

ll-26

] j°

up to the ARMOURED CARS with the TRAIN in the background.

his STALLION AUDA as he leadswithCAMERA PANS MEDIUM SHOT.67e 'I

,, , I J..l,,,:1 ALI at the back. \ ,.-·:1 ARMOURED CAR.of firstturreti.nstillBRIGHTONCLOSE SHOT.67d - I

car.

armouredof secondon back LAWRENCE and FARRAJCLOSE SHOT.67 c

] to a standstill. ARMOURED CARS drawingCLOSE SHOT.67bI iO him back.and turns the lead rope the STALLION byand takesthemthrough with HORSES as he rides

filled completelythe screenwithAUDA CLOSE PANNING SHOT,67a

them. encircling of AUDA's horsessemi-circle and showing thetrainleavingof horsesWith rowsLONG SHOT.67

out of picture.and movingAUDA laughing BIG CLOSE SHOT.66h

HORSES CLOSE SHOT.66g

BIG CLOSE SHOT AUDA66f

train.fron;i HORSES jumpingCLOSE SHOT.66e

than 66b)(Closer CLOSE SHOT AUDA watchi.ng.66d

the train.fromjumpingHorses CLOSE SHOT.66c

watching.AUDA ... CLOSE SHOT.66b

t()

train. to jump from (MASTER) HORSES beginningLONG SHOT.66a

legs. of horses'line and disclosing down into picture,wagon fallingof theThe sideCLOSE SHOT.66

TIE ROPES being undone.65d with with Horses THE BACKGROUND filled65c CLOSE SHOTSTHREE'65b

to undo ropes.and startsideeitherfrom

up - HORSEMEN gallopdown on the trainLookingMEDIUM SHOT.65a

dune. behind ARMOURED CAR appears SECOND to move foreward. FIRST ARMOURED CAR begins the train.reaching of AUDA's men areThe firstbackground.

in train FIRST ARMOURED CAR in foreground,MEDIUM SHOT.65

reacting. in backgroundhorsesotherwithSTALLION CLOSE SHOT.64g

II-27

I ('

home! will go want Y£_uy:ouve got whatWhen you

BRIGHTON) to (encouragingly - - will go home! he wants,he got whathas When Aurens on the knee)affectionately ,(; LAWRENCE(he pats

AUDA

not angry. .c but is as yet puzzled,is wrong,that somethingto seebeginsAUDA

it? is that going home; so you 're ve got what you wanted,But you

winter.this campaignwill Lawr.enceMajor BRIGHTON :'·

mate.form and AUDA an erringprefect

a school if he were for his own safety thanfeardoubt and no more with no more He will take AUDA to taskto his feet.BRIGHTON rises

... do you seetoo,my toys,carryThey will

with laughter)(he roars my toys!carryThey will satisfaction} deep withbreathingagain back turns the scene, in and takes(he turns Oh, now I go home! AUDA

And what will t2,_udo? (hosti.le) BRIGHTON

on AUDAremains

his attentionone another;to understandown modestoo fixed in their '(() each AUDA and BRIGHTON areknowing thatin the discussionpart no He takes self pity upon AUDA.and withoutbut keenlywistfully isfixedattentionon, histhis pointFrom down at his feet.and looks

i

littleasmiles LAWRENCE merelywords:At AUDA'sthe train. ,· away alongdrawingbooty,chaotic Behind AUDA is hisis addressing.

and LAWRENCE whom AUDAFARRAJALI,BRIGHTON,on which are

or in cars, by one of the armoured MEDIUM SHOT - He is standing69

AUDA C

He is in ecstasy.into CAMERA.He turns CLOSE SHOT - .AUDA.68

II-28

C

___J_ I

)•___-....\:I

car. in the armouredthe groupbywatchedaway,He rides ··\

•1'0 too! my toyscarrywillThey AUDA

All gloom forgotten.

He swells.He turns. a cloud of dust.under and out into the desert of the train away and away down the lengthbeen drivenhaswhil ethis0 which allbootyhisafterHe looks CLOSE SHOT - AUDA mounted.71

... wall to a brickLike talking BRIGHTON

BRIGHTON sits.quicldy.his horse, And he goes towards

blood. with a fool's myselfI soilBefore go Aurens.I must _AUDA, ';,·,f.. rascal. impudentanYou are BRIGHTON

tough. perhaps) sheepskingear-desertand (in hisforbidding, hard,cold, at AUDA, He look straight but he is affronted.outraged,

He is not comicallyand shoulders.head CLOSE SHOT - BRIGHTON,70

face. he gave you a fool'she made you a fool, whenthat Brighton,to God, Give thanks

AUDA

quitely:verysays

Then he his lips.and lickshe blinksstiff,quitegoes's faceAUDA

not a deserter.I'mMaybe. BRIGHTON

a fool. Then you are it) apprehends ' ✓- and he unmistakeable 0 (the tone of it now is AUDA

Auda. Oh no I shan't, BRIGHTON

Continued69

•

II-29

(

) fitfully.pipe,a little

one blowingthe wind, or crouc.h againstdispiritedly,watch,Others

busy on the line.areFARRA.ILAWRENCE andSHOT.MEDIUM74

and without purpose. _.../

slowlymoveorstill, They standanimals.their OF BEDOUIN and a GROUP on and about the line,haphazardlyScatteredof an Arab pipe. and fallrise ~melancholy and in the wind themoanjng,A windhorizon. the from approachingcloudsdull greylandscape,a dull greythrough gleaming stretcheslineA railway✓N.DOV LONG SHOT - ANGLING73

DISSOLVE

Won't we?

for BRIGHTON to hear:to him,says

and the engine,him towardspropelling·FARRA.I,a hand onHe puts

in Jerusalem.he'sbeforeDeraa in ·be up or I' 11 Allenby to hurryTell LAWRENCE

adds: slowly,more LAWRENCE followingfor him.and waits

it. takeI' 11where Then that!.s LAWRENCE

linger.

of his forcethe remnantswhere LAWRENCE looks along the train

behind DeraaArmy" Allen by wanted the "Arab 0

{scoffing despair) BRIGHTON

wants? Allenbywha:tthatIsn't...go northI'll LAWRENCE

quietly. He speaksthe car.fromgear demolitionto collect

He beginsAUDA. the vanishingfromhis attention LAWRENCE tears (

- do? What can you So what will you do now? BRIGHTON

realised.arefears one whose worst

of satisfactionwith the bitterand speaks BRIGHTON nods to himself0

AUDA.after steadily LAWRENCE looksTHE GROUP. CLOSE SHOT.72

II-30

j..'"'-. at: \,(

glances up the rearALI bringingto the line.near behind a hump very

away and disappearingwanderingTHE RAIDERS areMEDIUM SHOT.82

.. my friend Hide yourself LAWRENCE

saying: them to MAJID,and handsbox,

the red of tools,satchelwaterproofa smallof tape,rollcoil of fuse, a together He collectsthem. LAWRENCE joins MEDIUM SHOT.81

· work.

goes on with his:·andI think) (EXTREME CLOSE SHOT of this,band into his waist-ithe slipsman,the explosiveswhich marksdexterity and with that blend of carelessnessthenthe plug to see that it fits, into it carefullyslidesdetonators, half dozen gleamingtheone of the boxfrom FARRAJ takesgo. and the MAN let'sthen they smile

both holding it, startled;face to face,a second they areso and for not the man but the box; he doesFARRAJ is on his feet to secure

Swiftly, on the edge of a sleeper.Doing so his foot slipsback. it it up and bringspicksit,tooverMAJID stepsMEDIUM SHOT.80

of reach.

out on a sleeper wooden box liesred paintedA smallCLOSE SHOT.79

what he wants.sees

about andHe looksplug.theinserts and with the otherone hand, in bricks the secondarysecure of the tape which will be used to both endsholds to the rail,brick taping the pilotHe has finished

Aurens.Ya, (without excitement) FARRAJ

FARRAJ CLOSE SHOT.78

Farraj!""Train, LAWRENCE says:SOUND TRACK,

On visible.is barelyof steamplumethe EXTREME LONG SHOT -77

( It is routine, even much excitement.

nor shows apprehensionNeitherhim in frame.LAWRENCE joins softly. He grunts down the line.straightALI looksCLOSE SHOT.76

him with grudgi.ng admiration.watchescrouching,MAJID,

before.itdone and has obviouslyconfidently him but FARRAJ works

LAWRENCE watchestape).adhesivewithgun cotton securedofcharge

(a self-ope.ratingthe charge IT IS FARRAJ who fixesCLOSE SHOT.75

II-31

'

I.., ,..

ji ···\..,,.

_)

is nearer.trainTheblows..The wind ALI watches. him and the hump wherebetweenis the stony landscape,RENCE sees

All that LAW-not appear.doesBut FARRAJthe wind.ofthe noise

_/__-

under a thud, - a bang,not sureare- we - do we hear?We hear into the ditch.half falling,slght,fromawkwardlyFARRAJ plunges

another.Fetchof time.plentyThere's (kindly impatience) LAWRENCE

I ... Aurens. Pardon, FARRAJ

turns.he the hump and the ditch;the line towardscrossesFARRAJ

fetch another.All right, and reassuring)(calmly, LAWRENCE

-n The TRAIN NOISE...guiltyagain, irritated,his waistbandto search to his feet and beginsHe risesfor its loss.responsiblethe more

as effective,and lessurgent FARRAJ the more for the detonator, the ballastsearching LAWRENCE AND FARRAJ areCLOSE SHOT.87

the train. ''puff, puff" oftime the distantfor the firstand we hearsilence,

to him sharplyALI hissesfitfully.continues,The PIPERwatch.

Only ALI is. keepingof his mount.leein thecrouchesn1anbut each

necessarily,is tension,Therefor an attack.not poisedRAIDERS are the This time, behind the hump.arrivesMAJIDMEDIUM SHOT.86

further.

and searches embarrassedlywho smiles and back at FARRAJ,the line, to look down still. crouching,turns,,vRENCELA He looks worried. for the detonator.and feelsinto his waistbandhis fingersslipsFARRAJ

Detonator. LAWRENCE

· no urgency.Stillbricks. taping the secondaryfinished has FARRAJ, LAWRENCE, having taken over fromCLOSE SHOT.850

side.otherthe scalingbefore into which he disappears

ditch We see that to do so he must plunge into a steepthe others.

FARRAJ and LAWRENCE to followMAJID leavesCLOSE SHOT.84

distance.greatstillnoise at itsno audible n

makes though nearer,of steam,The plume EXTREME LONG SHOT.83

Il-32

(

__J_____ I \

by shouts . The singing is replaced,./__\,.. ) \..·

on the line.conspicuouschargeunprimedThe QUICK .CLOSE SHOT.94-··-'\•I•

/.. ouL dies and the singingof metal

with a screambraking WE HEAR THE TRAIN, now near,him.towards

ALI AND MAJID lookblow in the face.a greatbyas though hurled

He riseshim. LAWRENCE goes down besidetime.see for the first which we garments the blood soakedstomachthe BOY'sfromHe lifts

Look.: Aurens, He cannot ride MAJID

the BOY. MAJID looks up fromthe ditch and run.

of up the side THE TWO BEDOUIN scrambleQUICK MEDIUM SHOT.93.

The singing nearer.

horrifed.heads,their LAWRENCE AND ALI turnCLOSE SHOT.Q.UICK92

alarmed.

facestheir They turn This penetrates.singing.OF TROOPS, the SOUND NOISES we hearTRAIN Mingling with theBOY.fallen the MAJID and the TWO BEDOUIN obscureMEDIUM CLOSE SHOT.91

to where:swiftly LAWRENCE turns is much nearer.noisetrainThe

... A detonatorDetonator. LAWRENCE

What happened? (horrified) 0 ALI

LAWRNECEALI AND TWO SHOT.90

what they see.byarrestedand aresidethe other into the ditch from themselves ALI and TWO BEDOUIN hurlMAJID,face asstrickenhis raiseshim; down beside LAWRENCE plunges QUICK CLOSE SHOT.89

his mouth opens wide.His eye glare;ditch.

of the on his back at the bottomisFARRAJQUICK CLOSE SHOT.88

Farraj! (sharply) ? ... Farraj LAWRENCE

Continued87

•

II-33

:o

The wind moans.load.soap among itsc,fwhich has a net bagcamel,

s FARRAJ LAWRENCE leads BEDOUIN who look morose.remaining')_____\I

of theahead LAWRENCE and ALI ride MEDIUM TRACKING SHOT.101··-,.\.,.

1'-·· :,,- DISSOLVE

· fragmented.

his facethem,afterand runsthe ditchfrom LAWRENCE scrambles I

:U and run.the ditchof up the sidethey streakout, I

crashes the pistolturn,away, ALI AND MAJID winceMEDIUM SHOT.100 I

·I I eyes.his not closedo-esbutawayhis headHe turns

God will give you peace. ,_:j' kindly) (prompting FARRAJ.

closer.draw SOUND TRACK the shoutsOnHe cannot do it. \◄ him for me.Salute LAWRENCE

with you. Daud will be angry FARRAJ

go. and letssmiles

Then he instinctively.his wristclutchesFARRAJhead.FARRAJ's towards the pistolbrings LAWRENCE stealthilythe TURKS.from orders Shouted by FARRAJ. LAWRENCE kneelsCLOSE SHOT.99

MUSIC LOW. on the pistol.himself LAWRENCE hurlsCLOSE SHOT.98

scream.aend in which mustrhythmrising

with a rapidly and more to come morebeginsbreathingFARRAJ's

'<O FARRAJ. away from his head and risesshakes comprehendingly,smilesat the pistol,MAJID looksCLOSE SHOT.97

MAJID.

to his pistol away and throwsCE backsWRENLA CLOSE SHOT.96

will do. you know what they If they take him alive, ALI

him at a loss.seenwe havetimeIt is the firstabout wildly.he looks ·G

··_../I

but ALI AND MAJID look to LAWRENCEIn the ditch.MEDIUM SHOT.95(J

II-34

c,

- r---

face. with a graveALLENBY, ) \_ he hands them to When he concludes,reports.sheaf of official ·-.,

of a the lastthrough is Jabouringelbow,his of whisky and soda at

C and also has a glass flung his Sam Browne on the back of his chair, BRIGHTON, who hastriste.littlethoughtful and alooks unusually

he in placefi'rmlyma.skis BRIGHTON and though the professional regarding He is silentlytumbler. a whisky and soda in a largeswills and he shawl thrown over his shoulders,ALLENBY has a light plaid scene.hwiting with an Olde EnglishDecembercalendarproclaims 0 Life the CountryALLENBY, mantlepiGcfi)byOn thethe grate. in is a fireand there we have seen them spinning)before(whereas motionlessfans areThelit.are and cosy lampsIt is night time

one of which BRIGHTON is sitting.i.nchairsand a few upholstered which ALLENBY leans,against to the CAMERA a fireplacenearer

and desk and chair,a workingend,at the farroom with,A spacious in Cairo. apartmentsprivate ALLENBY'sInterior MEDIUM SHOT.103

DISSOLVE

What would you recommend? Ali? me to do, What would you recommend LAWRENCE

to ALI andHe turnscracks.mask LAWRENCE's CLOSE SHOT.102 -ec

l.\ in going on.purposeis anythere in his mind as to whetherexercisedsee that ALI is genuinelyWe must

With twenty?

ALI

•,•-........-~...,..,_..,,.....,...

for a beat or two. ALI jogs on in silence

Go north. LAWRENCE

flatly. and answershis throatclearsLAWRENCE

now? What will you do, ALI Q

as these:stances

such circum-even under which cannot brook postponementa question

as one who has with much sympathy, looks at him again and says,

He of it.betterthinks is about t.o speak,CE,ALI looks al LAWREN

-.. 'C n Continued101

11-35

(

Good God! BRIGHTON

i 1.,.,.,.-.·•'\ pounds for him .twenty-thousand \ ( "".. offeringThey'reit.believe the Turks I bel i.eved it andis:What matters curious.I'm just...matterDoesn't -(reassuring) ALLENBY

CIDEF. by the mood of hisHe is puzzled

sir.this, Not my line of country (uncomfortably) I think. doubt) of self- (with a flash He would if he could. inspiration)of(with a flash -o-o. N-n-n-o (his brows puckered) BRIGHTON

Harry? gone native Think he's...armyFeisal'sPrinceIt's (shortly) ALLENBY

I suppose.his army,It's (with a half smile) BRIGHTON

Any idea why? ALLENBY

He has lied about that.No, sir. (considers} BRIGHTON

North Army".'~rabis anThen there ALLENBY

done . to have done anything he hasn't0 claim He doesn't...siryes and no,Well, BRIGHTON

sir. so many men,one-tenthHe hasn't BRIGHTON

Continued103

II-36

(

sir. know, I wouldn't (uneasy)

TRACK) (On SOUND BRIGHTON

/"__\.,. ' ( in it.crack soundinga harshhashis voiceAnd again

it? isn't poetry, That's with it". we will blow up trains and "Send us an Aurensbehind Damascus; old beggarsomefrom had a letterDryden a kind of machine.he'sthinktoThey seem ;_)

back as he goes:

calling with him,the papertakingdesk away to the workingHe walks

They do or he does? (harshly) ALLENBY

kind of prophet.some They think he'ssir.be surprised,Shouldn't BRIGHTON

come back to him? theyWill what about next year?Well,

indulgence. off an improperof one who breakswith the airbrisldyHe turns

...me much forthatofferif they'dI wonder

(brooding) ... guts lack he doesn'tmen,fiftywithNorth, goingstill . . . If he'ssurelyOh surely, impatiently) rather (interrupting ALLENBY

I he ...sir,else Whatever (impulsively) BRIGHTON (

you? 0 long to live wouldsay he'dShouldn'tYes. toe) with his at the fire idly CLOSE SHOT - prods away - and(turns ALLENBY

Continued103

0 II-37

C

at which: a light flickers,

some aperturelnbut hump of stone,than a grotesqueIt is nothing more of El-Jamal.of the ruins make out the silhouettewe graduallysnow,

Moving through thewind.is a shrieking and ON SOUND TRACK there

snow is full of drivingThe screenNight.EXTERIOR.LONG SHOT.106

CUT

Quite like home ... ALLEN'BY

and again we see the calendar.ALLENBY by the fire,CLOSE SHOT.105

sir. Yes, BRIGHTON

again. Nice to have a fire (approaching) ALLENBY

sir ! Thank you, of it)ness of him by the unexpected- out (a laugh is jerked BRIGHTON

Harry. a good chap,You're familiar) eclion for thingsaff of (with a sudden rush ALLENBY

chief. be in time with histathe effortwith

creased innocent face, BRIGHTON, his care-worn,CLOSE SHOT.104

sir. Don't quite follow, BRlGHTON

poems. Not lies, down) them throwingbefore (he wags the papers are. what theseAnd that's ALLENBY

Continued103

II-38

-~~....

alone. you will find yourself and one more failure,Truly . . Aurens, (calmly) ALI

it takes me differently. a sneer) (attempts ... I' m tired. All right, (impatiently) LAWRENCE iO You are tired. (flatly) ALI

I'm not .tired. (in· a dead voice) LAWRENCE

We are all tired.

patiently.He speaks a point he has been trying to make before.ALI is evidently repeating

Yes. (cool) LAWRENCE

I speak?mayNow (quietly) ALI

· on a cloth..handswiping histask, from his LAWRENCE straightensand there.·.hereinsnow spurtof

in spite of which flurriesgrass·earth;been stuffed with bits of rag,

in the walls haveCracks ALI looks about, patiently.waiting for him.

LAWRENCE knows ALI is which we have before seen only incipient. sober independence of LAWRENCEastanding - in other words it shows by caution and under-anger temperedhis face shows a distincthim,

watches smoking a cheroot,also in undress,MEDIUM SHOT - ALI,109

keeps them effective.controlhis movements;of

speed merel·.the·in• is revealedNervousness nervousness.controlled He works with a to dry before a fire.sticks,offrameworkimprovised

his newly washed white robes over a carefullyis arrangingwarmth, torn grey blanket forain CLOSE SHOT - LAWRENCE, wrapped108

is lying on a clean slab of stone...le,'

of yellow soapbarsOne of the EXTREME CLOSE SHOT - Interior.107)(

,---·~

ll-39

C

-.~...:...----..-..~----...lol.....ll....&....~·-·------------.

,.) ir

wall. the interior a broken opening in backing from ALI towardsthe cloth,He drops i(. that if you don't ...l{now. theyall.

that's I ask them to do, can be done,Whatever

you'd be back in 'Yenbo now, and nowhere! If we'd done what you thought could be done be done?ean Who are you to know what ()

arms.

inup personality··wholesLAWRENCE'faceinustnow and weakness and

him at the mingled root of his strengthALI has challengedUnwittingly, •· friend) on histurned pale face is still but his set,handshison wip:ing of going a pretencemakeshe ...right ! .. That's(ightThat's LAWRENCE

· speech. s A.LI'of to the last phrase He nods affirmativelyfrom ALI' s.ignites.- distress, more personalbecauseracking, own much moresLAWRENCE'

1 you, they must walk on waterfor_ they must move mountains,no, no,you ...But to do that can be done!Give them something immediately) and grows excitedurgently iO (he begins to appeal more · be thrifty with them. to The more reason So say they love you. ALI

argument: with his patient

before continuing ash from his cheroot,and tapsreasonablyALI nods,.

I do not include the others.( LAWRENCE <D

.. I do not include myself ALI

plane of emotion.

on the answeredargument man who finds his logical_aofthe irritation with respondsALI LAWRENCE looks at him.CLOSE SHOT- on this,110

ll-40

C

'J \ ( be in Jerusalem. when they would Arab Revolt would be in. Deraa

the... Generals I told the EnglishBecause

LAWRENCE

Why? MAJID

if I have to. I'll go by myself LAWRENCE

_against two thousand? Wi.ll you take twentyis garrisoned.Deraa HARITH ELDER

it. of his intention and discussedheard evidently they havetake them by surprise;notdoesThis suggestion

Who will come with me to Deraa? LAWRENCE

tone. in a quiet and reasonable

his question· fashion and repeatsleisurely the doorway in a deliberately against LAWRENCE leansthroughout.his rifle except that MAJID cleans and immobilecloselymost All follow the ensuing debateveterans.. defeatedgrimj· They look both wild andand sheepskins.:saddlestheir

about the room amongin undressseatedthemselvesThe BEDOUINdry.

to of the BEDOUIN hanging on cordssodden robesthefire,charcoal·.

with a room of the FortA small MEDIUM SHOT - what he sees.111

reasonable.~ at any rate

own way he mustthat to get hisHe realisescautious.alert;becomes He His ·expression. changes.than he supposed.criticalis more that the situation the doorway and looking in he realisesBut reaching·:Q

with me? who will walk on waterMy.friends,

of fear: (

undemote warm and confident with an unconsciousin a voice ostensibly

from him:towards the opening and callshe turnsBefore ALI can reply,

Do you? Ali? anybody, D'you think I'm just... LAWRENCE (cont)

Continued110

II-41

••

and goes)(he turns

· . . . argue.. . . . while the Arabsinto Deraa

I will take the Arab Revoltafternoon,This them) (he lashes Oh, argument! (his face pale) LAWRENCE

is not an argument.That, immediately) the spittle(regarding MAJID

onto the ground.LAWRENCE spits

Rumour. but troubled)(apologetic ALI

MAJID looks at ALI.They avoid his eyes.

Who says this.? LAWRENCE

challenging:But then,

them. that he wilLleaveseemsItshocked. LAWRENCE is profoundly·

Generals? for the Englishhereyou areOr perhaps (softly) MAJID

so. It begins to seem (cheerfully) LAWRENCE

They avoid his eyes.round slowly. CLOSE SHOT - LAWRENCE looks112( I you the Arab Revolt?And are 0 persists) he bμt LAWRENCE look at (he can't MAJID

Continued111

II-42

I. '(

talk. LAWRENCE slowly moving into it as theyit,towards

with LAWRENCE and ALI walking THE CAMERA TRACKS backwards

them. and pass () turn out of an alley:PRIVATES A TURKISH SERGEANT and TWO

with him God.Be patient up) ey~shis (casting ALI :o

to announce myself.Some way LAWRENCE

for? lookingyot;tWhat are Madness! ALI

i'

grins. LAWRENCE- CLOSE SHOT115

ALI and LAWRENCE.They areto leap for safety.the roadhas on the crown ofarrogantlyotherwal,l,theOne walks by theit.into

FIGURES turn TWO DISREPUTABLE the end of the street,we reach beforeJust the viewpoint of the BEY.fromstreetdown thisWe travel away. and speeds into it in the foregrounda cornerturnsThe staff car 1· in DERAA - LONG SHOT - ANGLING DOWN.streetA desert114

CUT TO

and conscious.cultivated,alciof,.face is ascetic,

His type. similar but of very man than LAWRENCE,olderanHe is salaaming. people respectfullyside,flash by on eitherBuildings

of Deraa. swiftly through the streetsin his open staff cardriven

i

is beingidol,anas motionless CLOSE SHOT - THE TURKISH BEY,113

I i CUT

clothes! If one of you will lend me some dirty at them) and hissesdoorway into thereturns{he Yes. (calling back) 0 LAWRENCE

Arab town? Arab in ananfor Can you passAurens! MAJID C /..,I

I

ll-43

CUT

You .•• _;_- :1--,

friendly) very nearlyknowing,harmless,grinsTheir LAWRENCE.

THE THREE TURKISH SOLDIERS looking at(CLOSE SHOT.119

Imshi! No-o-o~ Then contemptuously) ·D (looks at ALI appraisingly. TURKISH:SERGEANT

and turns. MEDIUM SHOT - ALI stops118

And you! !~:, '

PRIVATE.the other SHOT - behind him we see the SERGEANT coming up withMEDIUMl117

You! n TURKISH SOLDIER

and he is spun about.shoulderhisupon CLOSE SHOT - A hand is placed116

Walk on. LAWRENCE

Halt! TURKISH SERGEANT (ON.SOUND TRACK)

Walk on. LAWRENCE

Halt! TURKISH SERGEANT (ON SOUND TRACK)

I am invisible.Ali,Peace, LAWRENCE

into the shadow!comeAt least·

LAWRENCE walks on.

Do you not see how they look at you? (urgent) ALI () j ____,i~ Continued115

II-44

(,

:Jo I

You have blue eyes. BEY

closer. behind him move a little

·TWOThe The BEY walks up to LAWRENCE.the wall.against three AND FIVE TURKISH SOLDIERS, two behind LAWRENCE, they standwhere one another LAWRENCE and the BEY confronting leaving the room,fromhustled THREE are Like light the other !O

You. BEY

and turns.stopshe

tablehis But half way back toawkwardly.awayand the BEY turnsman,

by the evil in thefrightenedflinches, LAWRENCE microscopically LAWRENCE andbeforeHe pauseson.quicklyBEY passestheand

smile a nervousassaysCLERKThe LEBANESE CLERK carefully. the He considerspausing.hardlyon,and he passesanimals,diseased

for hopelesslyrone feelsdisgustof horrifiedeach evoke the sort The TWO FILTHY SYRIANShis response.registerfaintlyfeatures and his controlledeach man,beforefraction.allyHe pauseshim to.

inured which habit had not quiteduty to perform,had some distasteful as though hewistful,almostand is indeed dignifiednor even insulting, is not truculant,His attitudethem. MEDIUM SHOT - The BEY inspects124

.. to inspect round the tableand walksHe risesto them.matterlaughing

we see that he is noto attentionand stiffenfacestheirfromthe grins

· wipei the way in which the SOLDIERSand fromburning,arethe eyes

lo

whichinface his melancholy SHOT - Suddenly the BEY raisesMEDIUM123

I

~ fully.

and fear- uncomprehendingthis, CLOSE SHOT - LAWRENCE observes122

back of the BEY. •e over the motionlesssly grins CLOSE SHOT - The TURKS exchange121

All wait.

SOLDIERS.TURKISHother.1stand side and behind themAt eitherability. of respect-remnants LEBANESE CLERK with the lastSPECTACLED

C

a and the depthsfrom RAGGAMUFFINS, absolutelyTWO SYRIAN LAWRENCE,are Facing the tablecommander.immaculatefrom their of creaturespecies they might be some differentat attention;the room about stand:: COMMON SOLDIERSofA numberof desp·air.an attitudein

motionlesshands, window, with his face in his long and sensitiveat'the BEY is sittingThe: sky beyond the window.sunsetbeautifulcalmly....fc

In

a lit, lamps INTERIOR the working room of the BEY' s apartment,120

i

II-45

me to the darkpostedtheyIfnow.years and a halffor three I have been in Deraa

again. minutely and is stillHis face twitches

face from a sow' s belly.an interesting He wouldn't knowby cattle.I am surrounded BEY

of his own.crisis a.bsorbed in some inner emotionalalone~he is talking for himself

but has a whine to it,·a1mostHis tone is pleading,to LAWRENCE. 'turns The BEY stupidly. TURKISH SERGEANT stiff ens· his attention

) i ◄ face. It is an interesting SERGEANT)TURKISH(to experience ... you have had a lot of...You look older BEY ,f; a man of any kind._nothe is an object,

To the BEYbother.He need notsmile. an ingratiatingHe assumes

I think. part)hi~ remembers(he Effendi. Twenty-seven, LAWRENCE

How old are you? (nodding) BEY :o

Effendi ..Yes, LAWRENCE

Are you Cii'cassian? 'ti~ BEY

Effendi.Yes, his part) (remembering LAWRENCE C

I say you have blue eyes. BEY (Cont)

at the BEY.fascinated LAWRENCE swallows and stares lo\,.- Continued124 ) ' (,,\!

11-46

Effendi!No, LAWRENCE

des~rter.You are a No, no, this is quite recent. and clinical) (examining it, off hand BEY

to buy it)wanted this almost as if they ·1_,,( his confusion he says(in It is old, Effendi. (grinning helplessly) Oh •.. LAWRENCE it) that?get Where did you BEY

scar. ••

and sees his LAWRENCE to the waist,strippingunwraps his parcel, The BEY be needed.. as men who will presentlyfrom the wall a little,

The THREE OTHERS stand away the TWO TURKS who grasp his arms.

mto back instinctivelyLAWRENCE startsthe waist.to,shoulder_the from LAWRENCE's garmentrips as a man opening a parcel,much veryand,out, he reachesover Before it is quite-fist.leftgloved

politely behind his of coughing which he screensfitquietahasHe

lucky. that would be too ...No, that ...

BEY's eyes film again.The:.does not reply.LAWRENCE

Have you? BEY

surprised.eyes, time the BEY looks him in the:firsttheEorbeen too quick.hasHe

No, Effendi. LAWRENCE

about, have you?

idea what I'm talkingYou haven't the least smile) (A faint dreamy isolated. side of the moon I could not be more ... BEY (Cont)

Continued124·

II-47

'(

Their the BEY' s desk.cane fromplainup a the SERGEANT picks while room,of the to the centrewallthe draw a wooden bench from)__\

The SOLDIERSdoorway.this WIDE ANGLE MEDIUM SHOT from132,-~----..., C we have failed.)swampedsimply

is of the audience so that the understandingtop"theover"goes If it to the sequence.entrya nerve-stormingas againstritualistic a somewhat for advocating That is my reasonits point.makewill"not that itis,thatelse,nothing; that it will be seen asis a dangerthereC is violence;of the incidentThe material (ABOUT WHAT FOLLOWS:

it ajar.

leaving carefully he has landed,wherea door nearHe goes through

Beat him. BEY

clearly:very then saysof going,verg,eon the

he hesitates, and d.ntroverted;controlledagamishis facebutpain,in anq.hard. he is breathing CLOSE SHOT - THE BEY getting to his feet;131if)

• into LAWRENCE' s face.his fistdashesSHOT - THE SERGEANTFLASH130

onto his back. SHOT - THE BEY fliesFL.ASH129

the BEY in the groin.out and kicks FLASH SHOT - ·LAWRENCE lashes128

THE TURKS.· QUICK CLOSE SHOT -127

THE BEY.~ QUICK CLOSE SHOT'126 Q. - LAWRENCE .SHOI' QUICK CLOSE125

fair~ skin is veryYour BEY

it. to kneedbegins thumb and finger~betweenmuscle LAWRENCE' s pectoralglove and takinghis rightHe removes

( in uni.form! A man cannot be always feeling) (with strange 0 · at all.matters Not that it which army?but from archly)(smiling ..• a deserteryou areYes, BEY

Continued124

II-48

_l.....

'- with alarm.and almost at the SERGEANT with surprise,'-.Jii CLOSE SHOT - the MAN .looks blankly at LAWRENCE and up again142'·)(!/ C and the MAN. between himself and contemptof superioritycenturiesputting severaldeliberately

very donnish,again,his eyebrows CLOSE SHOT - LAWRENCE raises141

LAWRENCE.

at and significantlybrieflygrinsanimal,domestica.offeatures

and rudimentary CLOSE SHOT - This SOLDIER, who has the wooden·140

so that he and LAWRENCE are face to face.arm

s LAWRENCE' the legs of the bench pulling onagainstbracedfee.t his on the floor facing him,and sitsSOLDIER has his two wrists',It One LAWRENCE is.on the bench.MEDIUM SHOT - in profile.139

us •.meet ..bench comes up tothe__CLOSE SHOT,138

him face downwaras.~jerkand ankles andhis· wrists- seizeviolence '(_:: - but no superfluousskill and some violencecome and with technical

Four of them MEDIUM SHOT - the SERGEANT nods to the SOLDIERS.137

but complete:.confidence.resentmenthealthyaexpressmgfhis facehands, the edges with hisgrippingit,astridesitsso that.hehis shoulder, ee him at the end of it and pressesOne-handed he gently propelsby him. SHOT - he looks again at LAWRENCE, now quite intriguedMEDIUM136

Then: unnoticed by himself.hithertot.might be some flaw in it,th9ugh thereas He looks at the canebefore.encounterednothe hasexperience,wide0

~ a in which, CLOSE SHOT - the SERGEANT is puzzled by a response135

though at some piece of very bad manners.indifferenc~,asand at the SERGEANT a look of cold contemptand directshis eyebrows

He raises. thing as this. evil has dwindled to such a little. unidentified that is relievedin pain, SHOT - LAWRENCE the specialisteLOSE134

- of that?" like the prospect

how do you"Andsay:.: as much as tohalf-smile,queryingsignificant,

CLOSE SHOT - the SERGEANT shows the cane to LAWRENCE with a133

called.greetinga going past,and cartbarking,

dog a distant float through the window;everyday noisesfriendly..,

this sequence,and throughoutnot sinister;practical~isattitude

Continued132

II-49

',I

moves. Nothing elseof steam. ing engine sends up a softly hissing pillar shunt- a stationary In the middle distance dark on the glowing ground. are the rails In the sunset, in a wasteland.yard railway marshalling.-.___I

\\'i he has come upon a MEDIUM LONG SHOT - at the end of the street152),,I ·,''( I :c outraged).alarmed, (But NOT shocked,His face is blank. I'

now swiftly.but SHOT - he is walking away againCLOSE TRACKING151

shot of ALI until:No "reaction"silence.

.... A single voice says one phrasea door shutting .......conversation

noise stops • . . a pause . . . Now the noise of heavy boots . . . muttered

and the Two more strokes SHOT - the door and window.MEDIUM150

it and :hearcan walks back until he

hesitates,his ears,straininghe halts so soon as it is, inaudible,But

the sound diminishing.before him,CAMERA TRACKINGstreet, more he moves away down theAfter two or threedeterminedly.

his hands then claspsrestlessly, he unfolds his armsstrokesor three ;two After folded. the wall with his armsagainststoicallyALI leans

widens into a small yard with stables.Opposite the doorway the street

perhaps.rearthestreet, in the narrowotherslikeit is a housesky, in the evening flag which fluttersApart from a Turkishclea~ly.comes s torture wall through which the sound of LAWRENCE'in the blue-white rectahgleor~ge s working room is an The open window of the BEY' outside. ALI in the streetdusky sunset. CLOSE SHOT - exterior,149

We hear the cane again and heayy breathing.and waiting.listening to his mouth He is leaning against the wall with a handkerchief in. the half open doorway.- the BEY has appearedSHOT_.MEDIUM.148

s eyes. :LAWRENCE'in and dawning alarmof surpriserunt

is a tμereand strongerarereflexes. This time thecane again. 0 The EXTREME CLOSE SHOT UP INTO LAWRENCE'S FACE.147,.

to the job at hand.self seriously

him- The SERGEANT settles CLOSE SHOT FROM HIS VIEWPOINT•.146

the SERGEANT. He looks up again atthe bucket empty.anciffudsknows to be full as a man will look who draws a bucket from a well which hepuzzled, He looks at LAWRENCE again, CLOSE SHOT - the SOLDIER again.145

exactly as before.remains his expressionreflexesrmerebut these arehis head,slightly raises and he down. LAWRENCE's eyes darken a littlecane whistles ~

The EXTREME CLOSE SHOT UP INTO LAWRENCE'S FACE.144

I 1I the cane. his legs and raisesbraces The SERGEANT shrugs, UP FROM THIS MAN'S VIEWPOINT.CLOSE SHOT ANGLING143.,-,,~Q (;I

i

II-50 •

r---

' j

Sleep.! .t> ALI l

· He repeats:at ALI.bandaged)back, :·'\",; I\,( 1·1, LAWRENCE (we see the top of hisoverREVERSE SHOT - shooting160 -,,-.1 p Sleep! (brusquely) ALI

him.over ALI standsfire. into a littlestaringon a rough bed,side, on his LAWRENCE liesNight.the fort. CLOSE SHOT - inside159

DISSOLVE

on his friend.of his clothingsomewho has bestowed

is ALI The other motion of the beast.to thepassivelyjerking

bundle of clothingshapeleSSLa MEDIUM SHOT - one of them is158

a snowy landscape.

way through Two CAMEL RIDERS make theirLONG SHOT - DAWN157

DISSOLVE

his head away.slowly turns LAWRENCE fiercely.staringhim,towardsface LAWRENCE's

•:· He turnsfriend.by hishimself CLOSE SHOT - ALI throws156

and: footsteps soft runningWe hearsettle.Snow flakesrubbish. the through hand dragging EXTREME CLOSE SHOT - his senseless155

what they have done to him.downward~,

slidesbodyas his them we see,afterthe door shutsbeforeJust 0 heap. on the rubbish MEDIUM CLOSE SHOT - LAWRENCE lies154

return.andya:rd heavy which they pitch into the stablesomething out with in which four MEN staggerof lightwedgeth~owi:J!g:aopens

the BEY' s roomofThe doorthe street..-down LONG SHOT POV ALI153

to: directions)changefulof theirequivocation

~the emphasizingwith us,travelslinesinterlacingthe;.inreflection

the moon'shim, (CAMERA trackingthemback acrossALI moves

in the moonlightmaze.a'dark,theagainstlight.shinenowlinescross I :0 now fully night and the criss-again to ALI we see that it isDescending

ceases. out and the soft hissgivesthe steamasbluedark

to red from up into the sky which changesthe steamCAMERA follows

'>-..J0 Continued152 ' ( (\

II-51 I

I ' ► '•.(1

r--

Ali. I'm going, him) robe towardshisdraws he painfully,(crouching all right.learntDh I've C QuI~tly) (looks at him. LAWRENCE

Can you not learn?rest.Rest, ALI

impatience: With admiringan arm.ALI extends back the covers.He throws

right.wereYou better.Much LAWRENCE

Better? (pleased) ALI

:f; mildly. lJllnk:ing: behind his back,on his armssupported up in the "bed" his weightLAWRENCE: is sittingNight.The same.163

DISSOLVE

Then sleep.Good. ALI

mollified:ALI, begins to eat.andthe billytakesword~,sALr

to he attendsproperlY.; LAWRENCE respondstime,firsttheFor

men. like otherbody,aYou have hisses)(he ..Eat! ALI

up the billy.picksby him,ALI crouches and exasperated,

Anxious response;no othermakesslightly, LAWRENCE frowns

ALI

.. He puts it downand meat.riceo~billytin

a with wrapped~well LAWRENCE is sitting,Day.The same.162

eyes ·wide open. CLOSE SHOT - LAWRENCE as before,161.J•,~·•":c

,

II-52

f

i

with total conviction:but rapidly,quietly,still

and speaks,be)mayasas nearlythe BEY thumb (SHOT to echoa.rid

between fingermuscle his own pectoral LAWRENCE suddenly takes

it! You proved -ALI

I thought it was true.I.'.msorry. LAWRENCE iO

You said. " he wants. be whatevercanman"A•- (immediate) ALI

Arab~ I'm not even an feeling)surface (with the first- Ali. Revolt,Arabnot therm (mild protest) LAWRENCE

Arab Revolt. And the end of the (harsh) ALI '··"' I suppose.myself.endrnf I've come to the · answers)truthful to givetryinghe isbecause

LAWRENCE

I dangerous)(barks, ALI

away expressively) (he lets his voice trail Heavens •.."Why?" arm into robe)(inserting LAWRENCE

ALI

sharply:Then; He goes quite still.he has feared.

a strugglecommencess,of ALI'a fear We see that this confirms

Continued163

II-53

(

C

make easy stages.I' 11 i,___\.I

i ,c) is in Jerusalem.Allenby ALI

man can do. back to Allenby to ask him for a job that any I'm going Any man is what I am.Well. ](J LAWRENCE

so would any man..And (gently} ALI

I tr.ied to. are, would have told them where youIam.I I would have told them whothem anything. would have toldIas well know.m~yYou LAWRENCE

and are watching and listening, and: taking in the BEDOUIN who have filled the wall openinghimself,braces

Stops,· in dressing.rfartherHe gets a stageat him.stares-ALI

decides what he wants.This is the stuff that flesh again) ownhis touches(he what he wants.wattt,- He can't (grimly) 0 But. can.·He Then) (pause. LAWRENCE

You said. ....,.·~ " he wants. "A man can do whatever ALI

- do about it. nothing I canand there'sme;• . . That's pure white flesh) 0 of the foldreleases(he is it? What colourme!That'sLook.Ali.Look LAWRENCE

Continued163

• II-54

•i ;(: -- ,----

I

'·~--- ) C expectant:arid scene is tender-.this so that the last note of drawing away, with more than a hint of beseeching,adds to ALI,And

your own people!Trust LAWRENCE

not looking at them:He calls, 1(;

yours. They're You lead them. LAWRENCE

widerstanding.in his newstrongBut he isLAWRENCE.This touhhes

,1() no care for them?you Having led them here haveAnd these? ALI

CLOSE TWO SHOT, the BEDOUINbehind.insee them,I.

we and him assists.ALI With his stiffened back he cannot get it on.►

s warm.but·.it'No.;. (laughs at an old folly) LAWRENCE

I It is not 'clean' .

sneering:)almost(harsh,

I ALI

I Can I tak.ethis? I LAWRENCE

a huge sheepskin cape and hood.LlP LAWRENCE pickswon't answer.orand can'tgoinghe is}tnowsALI

being •••a way ofseeIthinkILook, Ali, to him) goeshe face, troubled darklysALU (seeing.

Easy stages.Oh yes. LAWRENCE

you? ALI , 1C C.ontinued163 j\.,._i : ( I i~

II-55 J

j (

)....\ ,\ 'I ',..,· wave of the hand.by a friendlygesture .,,C( '

LAWRENCE'·, 2 PLAYERS acknowledgehis foot, whiletheotherball under the The GOALKEEPER traps MEDIUM SHOT - the FOOTBALLERS.168

(,TORDAN) JERUSALEMEXT.

which it came.fromin the directionback neatly

it and kicksstops,He coming to a stop by his side.LAWRENCE, after and rolls into picturebouncesthe footballsalutetheirto return ab0t. LAWRENCE isAs to attention. two BRITISH SENTRIES who spring by The gateway is guardedQ.H.to ALLENBY' Sthe main gateway :-

CAMERA towards walking away from:lsLAWRENCEMEDIUM SHOT.167

LOCATION)(SEVILLE JERUSALEM HEADQUARTERS.· EXT.

continues. The band musichim. them but they do not noticepasses

at the FOOTBALLERS as heHe smilesseen them.than we have ever).

relaxedmoreare and his featuresheld awkwardly,arehis shoulders although the scene, easily throughwalksHe· is LAWRENCE.uniform Officer'sin British We now see that the figurethe pillars.between

at the GOALKEEPERground are potting SOLDIERS on the parade

The up by hanging a rope between two pillars.riggedhas been

A goal post with a football.-playingareand khaki trousersbraces

shirts, .TH.REE SOLDIERS in collarlessSHOT - TWO orMEDIDM. 166

baton and the bandornamentedhiswithsmartly DRUM MAJOR signals

The the open space.its way acrossmakesuniformOfficer'sin British

a SMALL FIGURE.b~ckgroundthetinwhileforegroundin the near

marchee:MAJOR led by a .DRUMThe band,of Jerusalem.and minarets domefthe ground beyond which areparadeimprovisedAnLONG SHOT.165

of a MILITARY BAND at practice.·sectionthe brassform

They in step blowing lustily.marchingall of whom aresome DOZEN, is one of BANDSMAN and that thisuniform,in undressBANDSMAN an ARMYbyblown in full blast,TUBA,as aitselfaway revealing draws The brass onto the SOUND TRACK.crashesmusicand brass brass shiningwithis filledthe screen By way of answerUP:CLOSE·164

CUT

And let me go back to mine ...

--•......

LAWRENCE

Continued163

11-56

()

up to them LAWRENCE who runssee.th~yasThey turncourtyard.

to an innerleadinga gatewayenteringarecorrect,facestheir

papers, carrying CLOSE SHOT - the SECRETARY and CAPTAIN,171

Hey! LAWRENCE

up. lights LAWRENCE' s faceSOUND TRACK. () on the upper-middle-classof the Englishtonesthe incredible

We hear side of the courtyard.the othertowardsof brisklymakes as he to respond is too preoccupiedmen,of busy clericalmanner in the but the SERGEANT,not sychophantic)(quite dignified,smile

nod anda brief into LAWRENCE who essaysbumpsHe nearly

Right! SERGEANT

Bill.fives, P stroke And get me those (off) VOICE

· within. voice froma

by walk in his is arrestedearbehind hispencila SERGEANT with A of typewriters.a clatterreleasingA door opensO."D.S. Smith,H.T. "Brigadier (Mechanized);'"Transport"area.Forward "Signals.occupants: and orderedsecuretheirproclaimingwith notices

PANS with LAWRENCE and we see doorsCAl\iIERAThepastoral.

and most nostalgicitsattheme to the Englishmutatedhasmusic The band it with a half smile. seen the look and acknowledgeshas

LAWRENCE reputation.ahe hasEvidently excitement.some

to him withof the otherthe attentionhim and drawsrecognisesup,· - lookspictureof in the foreground the CHESS PLAYERS - who are One of glance.at a that he is set apartstrangeness,his inbornfor

disguise inadequateis a totally that his uniformunawarethem, to be amongbut pleasedor pleadingly,wistfullynotat them,looks-

he groupsthese LAWRENCE passesAs C. O. 's in shirtsleeves.N..1(1)r by two and washed Royce being polishedis a big Rollsis walking

which .LAWRENCEthroughthe courtyardofIn the centrelaughter. behind it the sound ofleavingindoorsAnother group vanishesbook.

in a And individuEμ is absorbedchess.playsOne pairgreenery.

sit on the low wall among theof OFFICERSSmall groupstrees..0 and orangejasmin with pillars,open courtyardAnLONG SHOT.170

he does so.as. the two GRINNING SENTRIESsalutingthe gatethrough

and goes onthe wavesHe returns MEDIUM SHOT - LAWRENCE.169

,C H. G. (SEVILLE. LOCATION)JERUSALEM.EXT.

Il-57

I (

···-·-,-

i C

eyebrows.hisraising SECRETARYglance,a The CAPTAINS exchange

·•,,_~~-.,.... ,I \ \ / ........-----... .. ·wrong time of year: desperately)adds and it worse,made(he has much. Oh, nothing (looking away) LAWRENCE () sir.ye~, Well (dryly) SECRETARY

Arabia?. . .erm-Oh, LAWRENCE

lips.his The SECRETARY pursesmodesty.but it is taken for false reputaticm;from hishimself to disassociateattempt It is a misconceived

Where? .~' a pause)(after LAWRENCE

out there?doingWhat's deferential)(pleasantly sir. were,youheardWe (as before) SECRETARY

Jolly good to be back.

LAWRENCE

at him.glancescurious

sidelong the CAPTAIN casting ahead and fidgeting with his uniform,

LAWRENCE looking moment they walk in silence,aForcourtyard:

the inner TRACKS with the THREE as they walk acrossCAM:ERAThe

sir. Honoured, courtesy)forward with straight-(smiBng Oh! 0 SECRETARY

Mind if I join you? LAWRENCE

Continued171

II-58

(

-·--

()

him level with a window-likebringsteps.A fewthe archway.leaves REVERSE CLOSE SHOT - the CAMERA PANS with LAWRENCE as he172

inside. wall while LAWRENCE turns The CAPTAINS move off along the outer.() LAWRENCE nods back .to leaving. The SECRETARY nods preparatory

good about theJollyprobably.Yes, LAWRENCE

paint,ully.He smiles for humble pie.is starving

But he face goes stony.LAWRENCE'shalf. a secondFor perhaps

Bloody wogs. I j'II of the colon)viciousness >,I/,. automatic(with the SECRETARY

mine. pinched to have Someone seemsborrowed.It's LAWRENCE

uniform.

of his the buttonsand checks back at them defensively,He looks

looking at LAWRENCE.CAPTAINSthe They come to a standstill,

Well I have to go up there. LAWRENCE

" Commanding.Officer"Generalreading, pointing upwardsa notice

-0

with open archwayanreach but can think of nothing to say until they desperately LAWRENCE thinkscourtyard.side of the innerat the ·other SHOT MEDWM as they walk on into a The CAMERA PANS with them

Oh jolly good. LAWRENCE (0

built aWe'vesir.in, settlingWe're (comfortably) SECRETARY

· doing here?What's (eagerly) LAWRENCE

Continued171

II-59

()

end. He opens a door at the far J'.......... I it is.reallyNo, LAWRENCE C

(roguishly) R. S. M.

(./ nice to be back.It's office) on through the(passing LAWRENCE

sir! Good morning, >(I R. S.M.

LAWRENCE is a hero.Evidentlysmiling.rises and promptlywho it is,sees M. looks up indifferently,S,The R.

Morning! (cheerfully) LAWRENCE

S. M.R. among them the CLERKS work at desks,Two or threes defence works.of ALLEN BY'

ring It is the outerroom. into a LONG SHOT of a stone-walled

with himPANS The CAMERA on the first.floor.open corridor doorway leading off anglassa MEDIUM: SHOT - LAWRENCE opens174

two at a time.up the stepsand hurriespictureofthe foreground 0 from view as BENTLEY entersand disappearsto an upper landing,

on the comerturns to the top,few stepsthe last LAWRENCE climbs

is shooting up a stone staircase.CAMERAthe-SHOTMEDWM173

BENTLEY.comes fast pace,awalking atit,Acrossbelow.courtyard 'O

a SHOT OF THE WINDOWwith theleavingwalks on out of picture it from his face andhe pluckstahgiblesomethingit werethoughas

but almostsecond,aforappearscontempt look of defensivefamiliar The old them as they disappear.looking afterLAWRENCE pauses

he? Lays it on a bit thick doesn't SECRETARY

side. on the other CAPTAINS are walking past The two opening in the wall looking out over the courtyard.

Continued172

II-60

·--~---,

I C: '

ALLENBY and DRYDEN.towards LAWRENCE and moves The CAMERA PANS with FEISAL as he leaves~T~,,.....\! i \ \ ·, Ah. ,/(. his hand)(dropping ,. FEISAL

CLOSE SHOT - FEISAL and LAWRENCE.l'I9

() on LAWRENCE.eyes'J;heir SHOT - ALLENBY and DRYDEN.CLOSE178

Sir. formally)(saluting: LAWRENCE

Lawrence? or is it Major FEISAL

and suspicion.sadness

by is replacedandhis facefromglow fadesso theas he doesbut hand,the him by LAWRENCE in CLOSE SHOT and seizesHe joins

Aurens! pleasure) (spontaneous FEISAL

courteously. LAWRENCE smilingtowardshe walks The CAMERA PANS with FEISAL asalso present.and DRYDEN are

ALLENBYand that it is FEISAL,we seeandturnsfigurethisaway. die of the cymbals As the: reverberationsgarden.aover-looking

out on to a sunny terracelettingan open archwayagainstsilhouetted0 or lessis more Arab regaliafullin SHOT -a figureMEDIUM177 I

of cymbals.dissonancebarbaricaon ends abruptlytheme The English his face blank.short,He stops LAWRENCE enters. room) ALLENBY'sinside(From CLOSE SHOT - the door.176 'II:'.)

is the SOUND of a door opening.Thereeyes.

hi~ LAWRENCE withHe followsanxiety.arousedalreadyhasbehavior s LA.WRENCE' him we see that with which he regardsthe keenness and of tonewarmth the sympatheticFrom CENTRES on BRIGHTON.

The CAMERAwave. with a friendlythroughswiftly LAWRENCE passes

in. to go rightYou're BRIGHTON

I as LAWRENCE enters.turnsof picture,foreground10 ·•,.,_/I

in BRIGHTON standsroom. MEDIUM SHOT - the penultimate175(,,-,'

II-61

) (

the door to ALLENBY and DRYDEN.. He looks fromis a silence.There CLOSE SHOT - LAWRENCE.184 C

He sweeps out through the door.

Arab, an almost- he's But then of course (bitterly) () General. than you, He does it better FEISAL

CLOSE SHOT - FEISAL183

sir? Treaty, LAWRENCE

LAWRENCEUPCLOSE182

does exist. 4, treaty.thisI know convincingly.notBut you have lied most bravely,General,Yes, FEISAL

FEISALUP CLOSE181

exists. such treatynosir I've told you, ALLENBY

.. He is exasperatedALLENBY.UP -CLOSE180 0

now. the French,forgetmustn't we too of course,interestThe French door) (by.the ·· · interest.British In the the need to keep them weak.And weakness.and their About my people; FEISAL

his salvoes.to deliverbut pauses<!'orridor, out on to the opendoor leading directlya glassHe goes towards0

to make. has reportsdoubtlessLawrence Major General. Well I will leave you,

Continued179

Il-62

t (.

·,

,--·

is a FrenchPicot and MonsieurServeant Civil Sykes is an EnglishMr.now,Well DRYDEN

delicately.fingershis DRYDEN steeples (;

Tell him. (to DRYDEN). Don't guess . (sharply) C ALLENBY

ALLENBY and DRYDENCLOSE SHOT187

I can guess. (wearily) No. LAWRENCE

LAWRENCE CLOSE SHOT186

Treaty? Sykes-Picot heard of the Are you sure you haven't (suspicious ) For what reason (angry) ALLENBY

sir. from Arabia,for releaserequestmyIt's correctness)ofshell in a thin exhaustion 0 totalof (his tone is one LAWRENCE

in his fist.scrumpled He holds up a paper

this? devils Then what the ALLENBY

concerned.looking sion but he is already

incomprehen~-completeto demonstratehandshis LAWRENCE spreads

don't know?You really DRYDEN

and keenly at LAWRENCE.looks curiously

DRYDEN DRYDEN.and LAWRENCE ALLENBY, MEDIUM SHOT185

.. 0 (:,

II-63

j_

opposition:anticipatingalmost,tone of threat but with an under-officially ALLENBY and says with a change of tone,

to LAWRENCE turnsand cautiously.curiously DRYDEN looks at him,

and DRYDEN OVER LAWRENCE on to ALLENBYMEDIUM: SHOT.191

{) Dryden.that, You might have told meman.an ordinary is I'm The truthit was. showed me where who day; But I met a man the otherRight. LAWRENCE ·-'( ..··• LAWRENCE CLOSE UP190

he put it.where

(softly) ;4 hides the truth.merely me ---like---lies And a man who tells ... told half-lies If we've told lies you've

the garden,over-lookingthe archway walks away towardsan~He rises

certainlY:but you You may not have known, of indignation.have no displayslet'sAnd he is quite deadly) he is stung,now,(when, as DRYDEN

ALLENBY and DRYDENCLOSE SHOT.189

/ none in politicians.there's 0 but may be honour among thievesThere LAWRENCE

LAWRENCE CLOSE SHOT188

effect. to that--- Agreementansir,a treaty,not-~ ALLENBY) at (he glances - signed an agreement They Arabia...:IncludingEmpire.Turkish 0 the and England should shareFrancewar, the afterthat, they agreedAndPicot met. Sykes and MonsieurMr.Civil Servant. DRYDEN (cont) C Continued187 0

11-64

it. of part And you're push on Damascus. April I'm making my big.16thon the (off) ALLENBY

LAWRENCE CLOSE UP.194

.. Look Lawrence ALLENBY

to contain himself. CAMERA, making and effort__,._r~, his back tosilently,He stands side of the room from DRYDEN.

opposir, with him to the window on thePANNlliGCMv.IERAthehis chair,

and he leaps from ALLENBY has his own strainsCLOSE SHOT193

too! my reasonThat'smad!~ not No, and if you don't mind I'd rather LAWRENCE

high and strained.and his voice comesbody is rigid,

in his muscle HE is sweating and everyLAWRENCE.CLOSE UP192:,'.

I• Are you mad?Personal?one!

a damned importantit happensasAndField! in theOfficer a ServingYou're Personal? through)breaking indignationincredulous but quietly (starting ALLENBY·

sir. Yes, LAWRENCE 0

Personal? not speaking clearly).was though LAWRENCEas {softly and irritabli ALLENBY·

effort. physicallittle his voice by a desperateLAWRENCE raisesand

<D! interrogatively,and gruntshis face irritablyALLENBY wrinkles.

for resigning .reason my That'ssir.job, And I want an ordinary LAWRENCE

Continued191 )...'I (~I

Il-65

•

Lawrence. clear) offhand but very(carefully

(off) DRYDEN

hurμanity. of common want my rationI justI've told you; (quieter) LAWRENCE '()

Lawrence?you want,~o What in hell quietly)(more ALLENBY

He has opened the wounds of his flogging. too tight jacket. the back of LAWRENCE'sacrosshave appeared

of bloodstreaksRegular him at the window in the background. facing with ALLENBY standingof pictureback in the foreground LAWRENCE's ot view we seeDRYDEN's pointFrom MEDIUM SHOT.198

DRYDEN'S eyes widen and he stares.

want Arab friends I don't Arab friends!no --I have -- I\___./ (off)CE LAWREN gQ

about them? What Arab friends? And what about your (off) ALLENBY

his head slowly. to look at the two men.but now he turnsgarden,t He has been looking away out into theDRYDEN.CLOSE UP.197

i I - big push!

-- of your want to be -- part--don'tI -- LAWRENCE

his sides. up and down atfistsclenchedhisword he jerkseach separated

out shaking and as he pumpsHe·isLAWRENCE.CLOSE UP.196

of the big push!partimportant an You'rethat? Can you understand

(explosive) ALLENBY

j ' I LAWRENCE.to faceHe turns ALLENBY. CLOSE UP.195 I II-66

I

···-~'-•

No. LAWRENCE )...\ \,I 'you want a doctor?D (;

to LAWRENCE. complimentarycalm which isabut withsympathetic

continues,ALLENBY up behind his back.hand fliesLAWRENCE's

with blood.coveredYour back's (quickly and discreetly) 0 ALLENBY

in the background.

the door We see DRYDEN shutting The CAMERA PANS with them.

? why don't we ...·Er, ALLENBY

terrace.theon toleading the archway

him towardsand propels WRENCE by the arml,AALLENBY takes

sir. Thank you, DRYDEN

s office. BRIGHTON' the door to as he goes swiftly towardspictureDRYDEN crosses

Dryden. Mr Thank you,. . . er. Quite all right ALLENBY

shocked but thinking furiously.of tone,I

changeutteranwithhim towards ALLENBY who moves forward

back toturns LAWRENCE, wary and puzzled,background. ALLENBY in foregrowid, LAWRENCE in MEDIUM SHOT.200

sir. I interrupted,sorryNo, nothing, 'e DRYDEN

that ALLENBY has seen.He seesCLOSE SHOT DRYDEN.199

I what DRYDEN has seen.ALLENBY sees 0

Yes? (turning) LAWRENCE I JI Continued198 '~1'(c·,I'

II-67 •

..r··

,(IJ

BENTLEY follows. ) 1.-\.. \ (

Nothing. DRYDEN

to walk away from him.DRYDEN commences

Say, what goes on in there? BENTLEY (

the door. DRYDEN closes

Not you ...No, Harry. DRYDEN

Will I be wanted? fearfully)(rather BRIGHTON

:. No. A doctor? DRYDEN

Shall I get a doctor? BRIGHTON

at DRYDEN, shocked and anxious.staring

He is the open door in the background.BRIGHTON seen through

DRYDEN and BENTLEY in the foreground;SHOT.CLOSE202

basket. a waste paper BENTLEY than if he were0

of no more notice and gloomy and he takesshockedHis face is

DRYDEN.by This is opened suddenlyBRIGHTON'S OFFICE. at the door ofto hearopinion,to theirand indifferentopenly,

quite the R. S. M. and ORDERLIES, is tryingbycontemptuously watched BENTLEY, The ORDERLY ROOM.SHOT.'MEDIUM201 0

and newspapers.magazinesdrinks,table,smalla chairs,are They go through on to the TERRACE where there

happened. Well tell me what's

seriously) to check his condition,face a quick glance at his(after ALLENBY

Continued200 , ....·C I (

II-68

I (

(.)

he wants! over that boy can be anythingwar'sWhen the claim) righteousa (as one who advances hero.a boy that I've made--stuffmyreadYou've shrug) (deprecating BENTLEY

What claim? and sha,rp) contemptuous(cold, DRYDEN

got a claim.I'vein the man. got an interest ' I. I've in trouble.the man'sifmetellJust BENTLEY

budging.

but notof it, the offensiveness coaxing tone of voice to mitigatea adoptinghis way, him round a desk and barsBENTLEYovertakes

vale of troubles.a Life' all in trouble.We'reOh I expect so. lightly) bland as he murmursless shadea his face isfeelings; the quick of hiscome near s question has(BENTLEY' DRYDEN

Is the man in trouble? BENTLEY

nothing at all.No really, meant to be believed) which isn'tinsouciance (with an exaggerated DRYDEN

Ah come on.

discretion) of the formalities dismissing(brisldy, BENTLEY

Continued202

II-69

and begins to unbutton his jacket..swords,,crossed glances at his crowns andthe look,ALLENBY noticesepaulettes. on the General's LAWRENCE's eyes areis a short pause.There

not going back.11mAnd (hard), glimpse. of sanity.No, a LAWRENCE ,'re·, pit. of the Well you've had a glimpseYes..... ALLENBY

railing. his bottom on the terracepillar,'I.

a ALLENBY leaning againstin a chair.LAWRENCE is seated

MEDIUM SHOT. THE.TERRACE outside ALLENBY'S OFFICE.203

the door and goes out into the sunlight.He reaches

-- wholly unscrupulous.And the other but adds)there (he had intended to finish half mad.s One of them' Inevitably. going on in there.that'seraments clash of temp-a littleIt'sI'll tell you.Well, hesitates)little,afrowns this,pf penetration for the unprepared caught (at the door, I DRYDEN !o

you? aren't walking away, Always walk away.Dryden,Walk away, BENTLEY

him. after

deliberatelyspeaks lounging deliberately,but,BENTLEY does so,

Will you ldndly allow me to pass? i (suddenly incensed) somebody else. ,0 well at the moment he wants to beYes; who foils him) BENTLEY, (trying to side-step DRYDEN

Continued202

Il-70

-- -----~--------·----•·--·-

the table.frommatches cigar ,cutter,collectinghimselfHe busies

_,./..\ quite naked .I feelthat funny,Isn't l 1. ··-,.", ALLENBY

ruefully. chuckling a littlehis jacket,He regardsbrusque.

to be they can even affordthat·of such long standingand friends and friends,equalsbetweenthe tone usedon he adoptsthis pointfrom and chair, over the back of an emptyALLENBY puts his jacket

C made. ) he had justjudgementtechnicalsmallsomewere ( as though this to keep his voice matter-of-fact,(Again he is careful

I think so.Yes, (taking off his jacket) ' ( ALLENBY

Me? to work) beginning see the poisonjust but we can(sceptical, LAWRENCE

or so. years hundred for one man everyis,There (mildly) ALLENBY

nothing else.There's LAWRENCE

have. thing you can't the one Common humanity'sthe moon.for cryingyou're humanity""common you ask for When thing.another And here'sOh yes. ALLENBY

(but he is pleased) Oh no. (grimly) LAWRENCE C mind. got an ironYou've (quite indifferently) Lawrence. You won't go mad, ALLENBY

Continued203

•

II-71

There. ' I ALLENBY !c

in the background. of cabbagy flowersout a patchpointingat it,He peersand offspring. photo of his houseathe tablehe takes fromon impulseApparently

C my self. I grow dahlias comfortably) back (he settles it is. 'Course ALLENBY

of luck. not a matterIt's LAWRENCE

ALLENBY assumes.of understanding the degreeby amused and quite surprisedlittleaLAWRENCE is''

Hard luck. (nods sympathetically) ALLENBY

Bad. No. LAWRENCE

Any good? ALLENBY

Yes LAWRENCE

don't you? You write poems (quite idly)

ALLENBY

to be offered.that seems

embrace above all longing to accept the paternalcomforted,flattered,

but looks at him suspicious,LAWRENCE does not answerhis cigar. with the condition oftotally preoccupiedand seemsALLENBY sits

it. nothing you can do aboutThere's because God made you one I suppose. (shrugs) leader,aYou're 0 someone pins crowns on me.because a leaderI'm the difference.And that's ALLENBY

Continued203 ·

Il-72

'(

:o

man it isn't. Not to an extraordinary ALLENBY ,.'.........·,~ ') i\·· a man. thing to say toan extraordinaryThat's (_) LAWRENCE

Yes. ALLENBY

merciful.be ALLENBY toaskingisHe

and me? Nelson, and reproachful) tremuloushis smilebut (his tone sceptical LAWRENCE

... another I think you're Nelson was the last.... Hannibal Xenophon was one.generals. have been poetBut thereare.generals Most of general.sort I'm a gardening (he grins) So be a good one.. But I don't have the luck togardener. a conscientiousAnd I'mgood plants. buyI good compost,got good soil,I've ALLENBY

keys of his citadel.the

-- ALLENBY object he has handed tophysicalalikeAnd it is almost

I'd like to. but says) cautiously,·hesitates(he '® LAWRENCE

afterwards. You must come and see us,my lad.That's ALLENBY ,0 and smiles.the photo, as he replacesHe pauses conversation.theofin the subject innocently absorbedseemsvictim, looks once at hisALLENBY never they study the photo.Together

Continued203 ,C -•~"·1,,-. (;:

II-73

►

-- Leave me alone. (quick and low) LAWRENCE C --What? (quick and sharp) (off) ALLENBY

leave me alone ---- () (quick and low) LAWRENCE

ever met. man I the most extraordinaryYou ·a.re BY (off)ALLEN

LAWRENCE CLOSE UP.204

incarnate. it is temptationbut very steady;confidential,low, His voice now becomes.very deliberate.this statementHe makes

Museum to find who Allenby was. Warthe word when you'd have to go to I believe your name will be a household without them.happy -- and I don't feel e-a. (rubs his shoulder} off -- I've taken those thingsLook, Lawrence, tone of irritation) adopts a (in his cunning

ALLENBY

No! (almost desperately) LAWRENCE

You must know it? of-fact) matter- (remorselessly ALLENBY

No. No. from him) it away (thrusting LAWRENCE

C Continued203 _/_.n

II-74

experience? Are you speaking from

smile)·co,lda little with smiling(almost LAWRENCE (_J his chair. ALLENBY walks back towardsMEDIUM.SHOT.208

if he has. to funk it, thing for a man,terribleA Lawrence.destiny.a Not many people have and kindly)(gravely ALLENBY 0

positions.theirof not yet caught the reversal

but has WHENCE,at LA He is now lookingALLENBY.CLOSE UP.207

What of it? LAWRENCE

lmowledge.superiorafrom tone quietly mocking,a very different again and looking at ALLENBY he says inhe freezesit,accepted

having . . . But then abruptlylamentA tone of desperateI"got cancer I've right"All saying, His tone in saying this is as though he were

extraordinary! I'm extraordinary!I'mAll right LAWRENCE

out: and he cries-- to a thumbscrew much as a man might respond--stressesby muscularin his chair He is thrown aboutapart.flies Suddenly LAWRENCE's immobility

not what I'm saying.That's (short) 0 (off) ALLENBY

... I'm not ordinarylmowI LAWRENCE

He prevaricates:and is lost.hesitates

He back longingly. LAWRENCE looks at ALLENBY'sCLOSE UP.206

( · bad. your poetry's No wonder a feeble thing to say.That's

ALLENBY

father. the very image of a disappointed turning his back looking out over the garden,feigned hostility,with

moves awayand and the CAMERA PANS with him as he risesshrugs, ALLENBY After a pause, ALLENBY over LAWRENCE.CLOSE SHOT.205C

()

II-75

"/.-··

Artillery? 0 not looking)(still LAWRENCE

of money. give you a lotI'llit.Can you doYes. C ALLENBY

the 16th.April LAWRENCE

subordinate.a 0 as though he were but not looking at him,ALLENBY quite politely He addressesturns.Hecautiously.him,watchesALLENBY

yes. I said, LAWRENCE

the General. his back to in an archwayhe standswhere along the terracepaces and walking a fewchairhisfromhim rising LAWREN CE interrupts

---it'sall, After ,o ALLENBY

Yes. LAWRENCE

right. We both know I'mthat?Why suppose his unease) over scrambles(briskly ALLENBY

wrong.you're Suppose LAWRENCE

in a deadly voice. LAWRENCE saysto be uneasy.and begins ALLENBY is nonplussed

then. guessingYou 're LAWRENCE

No. 0 he sits) -- (caught in mid-air ALLENBY

Continued208 ,C --·'••·,I

-~

II-76

; (

r-······

---...--·~---.·····---··--·······~---~-··-·--

lot of money.a I shall want quite of fact) ..!...',,._ I and matterquite brisk (looking at him again, C · going to happen . . .It's got to do with it?"fair"What's"Fair". LAWRENCE

he can.

if for ALLENBY to pick uphis pearlsthrowingidly,almostspeaksC·

ALLENBY and He looks away fromLAWRENCE.CLOSE SHOT.212

enough!Fair boisterous)(spuriously ALLENBY

now. paper,ofbit to burn theirthe politiciansYou can tell (off) LAWRENCE

(i ALLENBY CLOSE SHOT.211

it. ke~ they'llgot it, And when they've you do.before get thereWe'll Damascus. going to give themBut I'mRight.Turkish the holding down. All you want is someone LAWRENCE

LAWRENCE CLOSE SHOT.210

all I want.That's ALLENBY

immediately.but recoversHe blinks,

his chair.from LAWRENCE looking up atALLENBY CLOSE SHOT.209

'() going to give them.I'mWhich (very steadily) be coming for Damascus.They'llthem.of the best They won't be coming for money, (now looking at him) LAWRENCE

I can't. ALLENBY

Continued208

II-77

j (

I.

UDA.A ALI andare The two horsemencamera.tripod

with a The man on the roof is BENTLEY,MEDIUM CLOSE SHOT.216

...,.~··......--.... ') ( Shakespeare.) - vide the late Williamof high dramaa scene of low comedy running throughNothing like a streakuse him bodily.C

if we not destroy, which he will enrich,epic atmosphereance in this

point of disturb- Bentley is the vitalizingdo not take it at face value. that we the film-makers Heston Sampson and Delilah,like a Charlton

finale, controlled in lieu of a properlymagnificencenot offeringare that we to the audienceto signalsceneIt is vital in thisDelivered"~ BreadsFreshFinest Alexandria, and Son, Gordon St.,Mkapolous I. "T. I would even say it should have lettering:or stolen.borrowed

Bentley has begged,- somethingvehiclenot an armya civilian,

it is (About this van:them.out and joins man on the roof drives

and a van with ahorsemen,two isolatedareby the linesformed I ◄, end of the corridorAt the farmovementin onethe whole line rises

so that all togethermount,horsemenup,rearcamels excitement

With murmurous Angling down the Army as before.·LONG SHOT.215

is approaching.land somethingOver the level EXTREME LONG SHOT.214

,(J cry. a shrill ,.

his voice inHe raises in his stirrups.standingCAMERA) stiffens,

CAMERA look off (pastThe HORSEMAN nearestready.riders

their kneeling,are The camels behind them.BearersStandardtheir to mount, them ready or stand besidebeastssit theireitherSheiks .ee

men theof theirIn front very well ordered.in two long lines,

They are Angling down the ARAB ARMY ASSEMBLED.LONG SHOT.213

They '11 come for me ... LAWRENCE

glow. and his eyesslightlyHis lip quivers He is now in BIG CLOSE UP.

come for money. The best of them won't LAWRENCE

on the wall.of a frescothe backgroundagainstup in the frame· the CAMERA, loomingand walks towardsthe courtyardHe leaves

Not that much.

LAWRENCE

is! All there (off) ALLENBY

C Continued212 J•••,I.,.~-) (~-

II-78

BENTLEY and ALI, as before.220

i LAWRENCE ,i,.._)'r we can now recognisebut Exactly as for 214 and 217LONG SHOT.219 \ ,·

'../ say. I'd man, Different Oh I'd say he had. BENTLEY

No. (loyally) 0 ALI

he? hasn't Changed, BENTLEY

Yes. ALI

Sherif? came back, he since Lawrence met Majorerm,You, ~m~ C

lightly:sayscamera,with hishimself

busies BENTLEY ostensiblyALI.andBENTLEY MEDIUM SHOT.218

among them. a white figurerapidly,riding a bunch of camel men, As for 214 but the moving object is now seen to beLONG SHOT.217

keenly off towards:And staring

... is only one AurensThereWell ...

AUDA..

grumbling: man a few yards,this offensivefromhimself He removesfault.ait ashe regardsandis trueknows thisAUDA

~tall.min.cf He doesn't benefit) (he adds for ALI's taken. picture mind having hishe doesn'tLawrence; ("• for Major not for you Sheik Auda, it'sIt;s BENTLEY 0

of us! You take no picturesNo pictures! AUDA

Continued216 c··•-.J ()

II-79

' (

C by the chant "El Aurens·!"of sound underlainfuryrisingis a gradually

so that thereshouting,simplysomenam~, some shouting hisadulation, into break (On SOUND TRACK the Tribesmenthe ranks.between

BODYGUARD ride LAWHENCE and his MEDIUM CLOSE SHOT.223

But many did.No. C ALI

it? D'you take tone) apprehensiveand ALI' s .deepignoring(chirpily ( 0 BENTLEY

me money.He offered. . .hereHarith, the . . . He told me to gatherHe laughed ALI () What did he say? BENTLEY

I did. ALI >f

as before.and ALI,BENTLEY222

to the corridor.at the entranceare nearly but now LAWRENCE and his group217, 219,LONG SHOT as for 214,221

Ask Aurens.Seach me. percipience)ALI's by and pleased(amused BENTLEY

Jerusalem? in do to him,General What did the English evidently) added virtue was an (the humbleness· man humbled!same the. . . DeraaaitermansamethewasHe anger),withfear, ( (fighting down his own ALI

- in Deraa? do to him,General What did that Turkish BENTLEY

Continued220

II-80

(

by ALI.joinedareclimax,at its the adulation

now, with way up the corridorhalf LAWRENCE and his BODYGUARD,

the corridor.downoffand takeswhips his horse C>

He way to indignation.giveand alarmBut bewildermentSHEIKS.three like theexactly He is reacting The van behind him.CLOSE SHOT ALI.231

reaction.

the samewith ANOTHER SHEIKTRACKING. As for 224 and 228,230

LAWRENCE and BODYGUARD.223 and 227.As for229

Sheik with theAnother 224 TRACKING ALONG the Arab Army.As for228

";,◄ LAWRENCE and BODYGUARD.223.As for227

behind him. eyes and wildly flapping armsstaringto the open mouths,contrast

in alarmed, bewildered, The SHEIK looks horrified,As for 224.226n

I

SHEIK. LAWRENCE and BODYGUARDP. 0. V. thePANNING SHOT.225

: LAWRENCE's partyand as he seeshis men,beforehorse his sittinga Sheik, but we now passexci~ement,of wildin a stateare 'u

-e-~

All of the poorer. Arm Webbing in the case- Britishand bandoliers

But all have riflescamels. one or two doubled up on rangy farmrags,

black in literaldressed, some very poorlyeven donkeys,on mules, mountedkind, men of a differentare behind and among the Tribesmen

We now see that Along the face of the ARAB ARMY.TRACK SHOT.224

I to the tetth.armeddressed,

superblyThey are all of a kind.areTheywith him only.themseives

to LAWRENCE, they concernsold themselveshavewhoOutsiders

might. legitmate of all this merelycontemptuousThey arejoke. nasty rather a secret of a sneer,suggestionfaintfor asave perhaps immobile,facesbrutalizedtheirkeep·: but the BODYGUARDArmy,

taking in theside to side,his eyes fromLAWRENCE turnsexpert.

man anevery beautifully, The BODYGUARDridenot seen before. have - and this weof himselfin controlimperfectlyof himself,aware

- he is not fullydesperate But it is also unwittinglyhave seen before.

this we is exalted; His expressionall white.is stillthough he himself caparisoned,outrageouslywhite camel, He is mounted on a magnificent

not removed.one of them,but definitely LAWRENCE is at the head,

the screen.not fillingbunched,tightlyThey ride as he progresses)

Continued223 c --·,.I (;·

Il-81

\ \ \

but for what?Ayej (dryly) ALI

Sherif. Damascus, ,_j KHITAN

do we ride?Where, ALI C Sherif? KIDTAN

the BODYGUARD.for KHITAN, spokesman 231A CLOSE SHOT.

Khitan of Aleppo!- You·!Arab Revolt things know nothing of thetheseAurens, ALI

He reasons:of all this.the meaningto acceptunwillingALiis

mine. men areThese (flatly) LAWRENCE

men? Sheiks will hang these Do you know themurderers!areBut these (excitedly) ALI

too. on my head,a priceThere's 0 (quite quietly) LAWRENCE

on his head. without a price is not a man thereThere ALI

back: then turningaristocrat, them with the cold eye of theand inspectssaddlein hisALI turns

is my Bodyguard.This LAWRENCE

What is this? ALI I ,c Continued231 ·-··•ClI,

II-82

I

'---~-

The Army LAWRENCE.meet.tooffHe spurs CLOSE SHOT AUDA.231D.:.....#....""-L

-,l!,,.- AUDA. towards down the corridor, c, The BODYGUARDsweeping away 231.C MEDIUM LONG SHOT P. 0. V. ALI.

wondering what LAWRENCE will do.quiet,more

fall The Tribesmen full of foreboding.them,He looks aftercan.he

leaving ALI to pull his way out of it as besthim,afterGUARD surge f) He whips up his mount and the BODY-scenes.Azrak and Corruption

Secondof awakening echoes down heavily on the phrase,And he comes

men. I don't want ordinary LAWRENCE

· heavily: interrupting him. but LAWRENCE chooses to misunderstandthey are monstersHe means

ordinary~-are notThese hotly), to BODYGUARD(gesturing That is different. are needed:) though he knows theythem, to have done withoutprefer he would (un!!omfortable; ALI

The yelling tribesmen.231B MEDIUM SHOT.

Ali. here, I bought half the men deeper)cut 0 to (he makes it reasonable LAWRENCE

You have bought these things! (contemptuous) ALI

the interchange. in the face of LAWRENCE, who has heardreflected

of KHITANsmile to find the insolentis horrifiedback,ALI turning

for Aurens.Sherif, glancing at his protector) smile,little (an insolent KHITAN

Continued231A C -,./..··-- I l ()

11-83

' (

---- ----~-·---

men is silentlyimportantone of theseeveryAt the momentSignals.

Medicals, Allied Liaison,Native Affairs,--- finally the Specialists crossed; booted legsdashing, conscientiously at. the next Cavalry, busy;very Artillery,nextthe and thoughtful;administrativeInfantry, group is The largestwith papers.litteredfour tablesatOFFICERS C STAFF of high ranking Before him sit four groupsREVERSE SHOT.233

· service.active

on themselvespermit which Officersirregularitiespersonallittle those exhibits His dress a cup of tea.stirring enforced patience, of in an attitudeon a camp chairat a camp tableALLENBY sits

going up to the Front.a Brigadein low gear:vehiclesand motor

of infantry,tramp and the regular "Goodbye Tipperary",band receding a Military Outside we hear by the road to DAMASCUS.earthon bare It is pitchedInterior.Army tent,BritishA large 232_. MEDIUM SHOT.

BENTLEY andLeavingof seaweed. like streamersstragglers.trailing·

• LAWRENCE and the BODYGUARD,very rough broad arrow·behind

a away, The ARAB ARMY streamsMUSIC UP.~HOT.I AERIAL LONG231

can't put the curse on a whole army I machine My little come on Sherif.Ah, BENTLEY

tone.his· chooses

BENTLEY looking down sternly.alongside,ALI reinshim.pour past

of the Army as theyof the motley unitstaking pictureseagerlyvan, BENTLEY bumps along on the roof of his231H MEDIUM TRACKING SHOT.

to the fore.the swifterhim,afterand spurroar then in one beat theyunprepared,Tribesmenthe assembledIt catches

Damascus! LAWRENCE

crying: to a gallop,his paceand increaseshis stickraisessimply now, LAWRENCE, at the end of the corridor231G CLOSE MOVING SHOT.

but incomprehension.or foreboding,not with angerface dark,

his behind,falls He gradually LAWRENCE. cannot approachhis horse

of the BODYGUARD, AUDA onthe outsideOnCLOSE MOVING SHOT.231F

with the common herd.

contact LAWRENCE fromprotecting in which they will ride,formation the open "U" THE BODYGUARDhave formed 231E CLOSE MOVING SHOT.

•

spirit.cautiousA more on the INFANTRY GENERAL.turnAll eyes

Splendid! C up) (his face lights ALLENBY

tomorrow. 0900 hours himself)commits C he beforepause (a moment's by have him within range I can In which caseMallud place.this--- him) at map before(glances than --- be furtherhe can'tThen ARTILLERY GENERAL ';1

--- Certainly--- ALLENBY

---? assume which we'd better--- L) in any kind of orderretreatingIf the enemy's out) him to single moustachefierce a man with a---(on his feet ARTILLERY GENERAL :08

back)sits(he Now. ALLENBY C

poker-faced.Others consciousness.show a certainOfficersCavalry

good indeed.very Very good by the way,-- Table) Cavalry

off and bestows(he breaks --- and DeraaMazril gone througn The Cavalry's Very well gentlemen --- ALLENBY ( '

once:At qutside.on guard Policemana Militarybyhim whipped open and shut afterthe flap which isthroughthen goes, Arab SERVANT, whowhite-coatedby atraya largefromserved which is even now beingtableArtilleryexcept for theALLENBY)

at (i.e. at the CAMERAsternly a cup of tea and staringstirring

Continued233

II-85

I ()

··---------·---------·----·--·----------.. ,----·

() flickering.the horizonof guns,,rumbleTheNIGHT. EXTERIOR234

... pound themCharley,Pound them ALLENBY

and murmur: GENERAL to take his arm the ARTILLERYbybut he pauseselsewhereawaitingtaskspecific

some his gait shows he hasup the meeting;breakingALLENBY goes,

Yes sir. C BRIGHTON

I want to know. with them Harry;~Then irritable)A little(rising. ALLENBY

sir. Can only know that by being with them proudly)(almost BRIGHTON

they now?are And where ':.,,lll CAVALRY GENERAL

about two thousand.sir;cavalry,Irregular him) (addressing BRIGHTON ee

of? it consistWhat's sir, on the Right11Arμiy"ArabThis map)from rising superior,(rather

CAVALRY GENERAL

sir. Understood reassuring)(quietly GENERAL ARTILLERY·

what matter.The guns are GENERAL) (to ARTILLERY do for now.That'll ALLENBY

sir. by Wednesday,thereFusiliers

going supportsInfantrythe lastareWell these GENERAL INFA.i.~TRY

Continued233 ;,..,'0 I I ·~

II-86

'

-- ---------------------------------------------------

I I p I rlght.all his teeth, got the bit betweenHe's BRIGhTON

off. moves so the carhe doesAsALLENBY.byin it,himself

and seatingdoorthe car act of slammingis in theclad,similarly C

BRIGHTONkaffir.a khaki is being led away by an N, C. O. wearing

By it a camelrevving.engine we come upon ALLENBY' s Staff Car, By the side of the roadriders. as among LAWRENCE' s promi.scuous

jerking flapping, down, nothing loose,and buckledshiningeverything --- Then guns BENTLEY~- one of them with War Correspondents,filled

C is uncomfortablyOne open carLight Infantry"."Duke of Cornwall's

Yeomanry""SussexHowards""Greennames: the pastoralwe read flashes and shouldervehiclesOnprowess.their below to emphasize slightlyfrom vehiclesthe humanity,their above to emphasizeslightly

we see the men fromof shotsa seriesIngood order.the basic )'

film upon is the merest and dust but thisbe sweatmust inevitably There and laundered.bleacheduniformsis golden,hairare fair, Faces of the Arab Army.hordethe wildly individualmaybe from as All is differentus.pastswing men and vehiclesArmyBritish theme) (MUSIC, English The High Road to DAMASCUS.DAYT™E.236

CUT

God help them. (stubbon1ly) ALI

at him. ALI lookschambers. and spinning thethe hammerclickinghis pistol,witltunconsciously

playingtime, for the first LAWRENCE is,laugh softly.BODYGUARD

re Turks !They 0

(flippantly) LAWRENCE

his voice.raisessolitudehis artificial LAWRENCE fromALI.at nodding agreement,grunts AUDA, his face gloomy and disapproving,

that. men who lie undertheGod help (softly) ALI

by the BODYGUARD, the LEADERS excluded.

protectedspace,clearain LAWRENCE ridesforwards.shuffles

of the Arab Armymass Behind them the darklight.lit by the same of LAWRENCE and the LEADERS,the facesto revealCAMERA lifts faintly. The light flickerswith the rumble.MUSIC mingles

drumLow in soft sand.pace The feet of camelsREVERSE SHOT.235,C,

,.,,' ()

Il-87

'(

away from·us.it movesas whole COLUMN

SHOT of theLONOadisclosesand thus1,1pwards CAMERA CRANES

round again.his headhe turnsand·backhim on the next to him slaps A MAN bovine face. We see he has a peasant,camera.left towards to back rightand looksHe turns.column.the SOLDIER at the end of0

the BACK OF A YOUNGOnbehind)(from CLOSE TRACK1NG SHOT ..238

woman. and ending on deadShowing atrocitiesshot).LONG SHOT: (Already237

up out of the debris.HUMANHAND sticking

to be a on what appearsto restand comes way behind the smoke

OF WOMAN'S CLOTHING as it blows up a path-COLOURED PIECE a BRIGHTLYfollowinga littlePAJ.'{SThe CAMERAforeground. and charredblackfromrisingof smokewisps can be seen through ) j'

of the villagePartlens)long focus MEDIUM CLOSE SHOT (probablyA237

CUT TO

... are they where I wonder (grunts) ALLENBY

sir. Brigade, BRIGHTON

have in Mazril? What did _the Turks ALLENBY

eyes. They avoid one another's I 'o Mazril.Out ofhim.of in frontcolumn a Turkish WelL there's BRIGHTON

Unless---? ALLENBY

.... Unless sir. we do,before get to Damascushe'll I think All right.his teeth.bit between got theHe'she ...sir, More than cocky, 0 BRIGHTON

Cocky? ALLENBY

Continued236

ll-88

•

• ('

I -, I

(

beyond. COLUMN on the plain

the TURKISHdisclosing THE CAMERA CRANES upwardsthe village. over GROUP OF HORSEMEN led by AUDA as they mount the ridge of a on to the. backs THE CAMERA is shootingMEDIUM SHOT.246

certainty.and up into CLOSE SHOT, his face black with angerridesC AUDA Column). long shot with the Turkish(whom we saw in the first

of the PINIONED MANbehind a foregroundFromCLOSE SHOT.245

as LAWRENCE goes out of picture)upwards

craning (Possiblyruins.thethrough the ARAB ARMY passing0 and we seeonwardshis camelHe stirsin gasps.cominghis breath the village looking aroundon his cameltenseHe is sittinghimself. LAWRENCE disclosing out of pictureit passesbanner;Lawrence's

MAUVE, the mauve of The SCREEN is momentarilyCLOSE SHOT244

CUT TO

and louder.louderbecomesclangingtheirUP, into BIG CLOSE The LADLES swingbells.of churchlike a parodyclamourraucous

with a each other LADLES swing againstffiONTWOSHOTC~OSE243A

) ◄ now shown to come from::'isthe sequencethroughout The CLANGING NOISE which we have heardutensils.and kitchen

rugs bandoliers, of CAMP KITCHENS piled with rifles,section a GROUP OF TURKISH SOLDIERS surroundingAMEDIUM .SHOT:·243

· beyond.desert the glaringagainst The back of the TURKISH COMMANDANT silhouetted

the BACKS OF THE LEADING COLUMN.On242A CLOSE TRACKING SHOT

of him.frontin out in the desert

THE COLUMN sprawled LONG SHOT TRACKING - What he sees:242I

ahead. vacantly He stares in the background)(Chickens

and a coop of chickens.nose~agsI!:)I

buckets, of bedding, among a collectionsitsMANMIDDLE-AGED

AN EXHAUSTED A GUN CARRIAGE. CLOSE TRACKING SHOT241

faces).peasant sympatheticand select(Try

energy.flaggingtheir ·which supports MEN hanging on·. the cart0 OTHERwalkthem Besidescart.joltinga .of huddled on the floor

A GROUP .OF SICK AND EXHAUSTED MEN lyingSHOT,CLOSE240 I ' ing at one another.

along not look -They shuffle SOLDIERS (only one or two with rifles).

Il-89

I (

go round.go round,Aurens, Damascus, C Damascus.Go round.not this,Aurens. to LAWRENCE) AUDA (his eyes go from ALI

LAWRENCE and ALI.UPCLOSE253 C

ring. his sword with a grating

He draws the plain. AUDA looks out over and ALI in the background.

to a halt in BIG CLOSE UP with LAWRENCEAUDA comesCLOSE UP252

hooves. is a SOUND of horses'Therenot to have heard.LAWRENCE appears

... Aurens Damascus, and anxiously)(warningly ALI

at him closely.ALI looksmore rapid.

becomes LAWRENCE'S breathingKHITAN. BOTH MEN have heard

him in the background BIG CLOSE UP_LAWRENCE with ALI beside251

No prisoners. {very softly) KHITAN

ahead.

straightHe looks of picture. into BIG CLOSE SHOT in foregroundI KHITAN moves moving up behind. The REAR COLUMN stillthe plain. overlooking along the ridgealready THE ARAB ARMY areLONG SHOT250

loud. The BUGLE continuesanimals.

on theirand spur the SOLDIERS look back fearfullysudden activity,:ElI of is a spurtThere THE TURKISH COLUMN,MEDIUM SHOT.249

bugle. is the SOUND of a distantTheresituation.the immediate beyond conflictswith inner that he is wrestlingIt is quite apparent the plain. gazing out acrossstopsHeUP.in BIG CLOSEof picture 0 foregroundthe LAWRENCE entershim.aroundforcegatheringr_~pidly

which are by the emotionsappalledapprehensive,on the ridge,

.. standstillatoHe comesbehind) ALI (with the villageCLOSE SHOT248

the ridge.overappearing The long line of the ARAB ARMYTHE ARAB ARMY.LONG SHOT.247

II-90

I (

···--··--1......

the screen.fillingmount arehe and his CAMERA ZOOMS in until

THE the plain.across TALAAL chargesin the saddleand swaying

/___....\

Bending lowcharge. LONG FOCUS PANNING SHOT of TALAAL's263'(

\ _, C TALAAL. ALI watching CLOSE SHOT.262

TALAAL. AUDA watchingCLOSE SHOT.261

the TURKISH COLUMN in the background.towards

them away from with TALAAL gallopingof pictureforegroundinstill,C> qu: ARMY, nowARAB Shooting on to the BACKS OF THELONG SHOT:260

of breath.intakeA shivering BIG CLOSE UP .LAWRENCE.259

out of picture.and gallopsflanksmare's )4

into thestirrupshisdashessword,hisdraws hold of himself,takes suddenlyHe the Turks.afterfixedlyHe looksALAAL.TUPCLOSE258

is the 'TURKISH COLUMN.backgroundIn thehis back to camera.

1 pictureof in the foregroundto a haltALAAL comesTCLOSE SHOT.257

village!s was Talaal'This LAWRENCE)from stop any interference up his hand to(holding AUDA

Aurensl move)next stop this to him to(appealing ALI

ALI and AUDALAWRENCE, CLOSE SHOT.256

eyes are upon him.

All of the others.aheadthe line,fromout HORSEMAN is coming A SINGLE up on the ridge. THE ARAB ARMY linedLONG SHOT255

righ.,to hisover LAWRENCE glanceshooves. is the SOUND of horses Then in himself. with the diabolicconflictby a lastshakenhe islips; his he licksinwards,stareHis eyes He looks terrified.remark. KHITAN'Bheardto haveseemsheagain BIG CLOSE UP LAWRENCE,254A0

No prisoners. (to the BODYGUARD) KHITAN

C exc~ted. CLOSE UP KHITAN, now very254

II-91

']::'__\ i I he too is swept up into the frenzy.And'\.

C

ALI

to TRACK THE CAMERA beginsforward.his horseHe spurs

Oh God. 0 ALI

sword. He lugs out hishim in a wave.and pastforward the ARAB ARMY is movingIn the backgroundALI.CLOSE SHOT.272 \4.I of picture.

on out He too moveslaughing.He is almostKfilTAN.CLOSE UP271

on out of picture.

horsehls he spurs ruthlessness With a terrifying,AUDA.CLOSE UP.270

'.) ► - and he is off.

No prisoners!!No prisoners! LAWRENCE

conviction:a terrible

with then shouts He gulps convulsively, CLOSE SHOT.. LAWRENCE.269

BLOOD-SOAKED DUST AND SAND.UP,BIG CLOSErevealing

camera.towardsover body rollssTALAAL' CLOSE SHOT •EXTREME268 0

t of the TURKISH RIFLEMEN.

to the feetand slitherto the groundHORSE crash TALAAL and his

SMOKE we seeof RIFLEa foregroundThrough MEDIUM SHOT.267

and fire.kneel A GROUP OF TURKISH RIFLEMENCLOSE SHOT.266

Talaal ! ! 1!Talaal ! TALAAL

shout: tremendousainand criesswordhis 0

raisr, saddle,in theup He rises TALAAL. CLOSE TRACKING SHOT.265

weapons. SOLDIERS run for their

OTHER. In the backgroundby the charge.mesmerisedgaping,stand SOLDIERS TURKISH ONE OR TWOof pictureIn foregrounda halt. to The REAR OF THE TURKISH COLUMN has comeMEDIUM SHOT.264

II-92

- ---~----···--------·--~-.-··---

heads. above theirhands up with theirriseto camera,backstheir

the HEADS and SHOULDERS of the TURKISH RIFLEMEN,of picture In the foregroundCol11P1n,of thethe rear HORSEMEN as seen from j__\_ The CHARGING ARAB (57mm STATIC CAMERA)SHOTMEDIUM283\I ,,.,_.- C rear. about to engulf the Turkish under. camerain from wave THE ARAB ARMY streamsLike a great

line. up all along theis takenfirerifleSpasmodicthe distance. intoout THE TURKISH COLUMN is .. spreadbehind)(FromLONG SHOT282

of camera. down in front A BANNER crashes 0

horses.their swept from TWO ARABS are CLOSE SHOT TRACKING.281

a volley. Column - fire

Turkish retreatingof thethe rearfrom - now some yardsRIFLEMEN

HALF DOZEN KNEELING TURKISHA GROUP of someCLOSE SHOT.280

them. and over ARAB ARMY sweep around wave of theThe first of the picture.the foregroundHORSE form The DEAD BODIES of TALAAL and his(57 mm?)MEDIUM SHOT279

runningwheels, of turningpicturea chaotic MEDIUM SHOT disclosing into a camera away fromrapifilyand moveloudnessunnaturalwith

THE LADLES of the CAMP KITCHEN clang togetherBIG CLOSE UP278

him. :upon- is wanted - dreadedalways

he's What his pistol.raises He subconsciouslymirth.of dreadfulsort with a distortedisHis face LAWRENCE. CLOSE TRACKING SHOT277

and the CAMERA PANShis perchfrom MIDDLE-AGED MAN is dragged The EXHAUSTEDthrown aside. BEDDING and BANDOLIERS are A GUN CARRIAGE.behind)(From CLOSE TRACKING SHOT.276

mule.a the back of

from men a MACHINE GUN and its TRIPOD is being draggedpanicking0 of a backgroundAgainstbehind)(From CLOSE TRACKING SHOT.275

to rise. DUST begins

bandoliers.andriflesrun for theirbackwards, looking fearfullyMEN,/ vehicles ..of their and take up the strain MULES are whipped forward0

as HORSES andjoltsof clatteringA series TURKISH COLUMN. PANIC at the REAR of thebehind){FromMEDIUM CLOSE SHOT.274

in a cloud of dust.CAM:ERAas they pass

in crescendoriseshooves speed the thud of horsesAs they gatherplain.

C

on to the the villagefrom THE ARAB ARMY descendingLONG SHOT.273

II-93

,0

charge.GUARQ~

BODY-of the LAWRENCE and a groupTRACKING SHOT.CLOSE302

into the CAMERA.ALI saberingSHOT.FLASHCLOSE301

MUSIC. hooves ..Horses CLOSE SHOT.300

direction.the opposite

in the screenacross run diagonallyTURKISH feetSHOT.CLOSE299

the screen.across run diagonallyTURKISH feetCLOSE SHOT.298 (j

MUSIC CUTSsword.with hisdownwards AUDA hacking CLOSE SHOT.297

scream.some they turn: MUSIC continuing;CLOSE SHOT.296

of them:topon Then we are in the distance.to charge

who wheel ~ODYGUARDof thea groupfacingand areturned,backs

\ ,◄ who have their and the COMMANDER,crewsthe guntowardshurtle

of view wes pointAUD.i\fFrom. MUSIC continuing.LONG SHOT.295

MUSIC. charge. off anotherand setspointskeenly,staressection~· and hisbearer, standardby hisfollowed AUDA, still MEDIUM SHOT.294

~J

guns. two field is unlimbering of the COMMANDER,direction the frenziedunderof TurksA groupMUSIC CUT. MEDIUM SHOT.293

downwards.and hacksswordhisraises

He column}of the (On the farsideAUDA CLOSE TRACKING SHOT.292

of the feet.the placetakesand ee

into _pictureA BODY falls HORSES HOOVES ·in background.picture, of in foreground RUNNING FEETlens)(Long focus CLOSE SHOT.291

in background.past ARSIDE ARAB HORSEMEN racingthe Fvehicle,

a against TURKS sheltering A GROUP OF TERRIFIEDCLOSE SHOT.290

the column.way alongtheir ARABS as they blast CAMERA PANS with theTheand death.violenceof panic,corridor it into a dusty of the TURKISH COLU:MN, turningsideon eitherpast

galloping The ARAB HORSEMEN are(75 mm?)LONG SHOT.MEDIDM289

in all). than five feet(Not morehis horse.fromHe leaps '<f)

into the bedlamordersshouts MEN and ANIMALS,fleeingby-surrounded

HORSE rearing,his THE TURKISH COMMANDER,CLOSE SHOT.288

TURKS. into the panickingfiringside,up on eitherdashing

HORSEMEN formation,shapedfU'ma engulf the TURKISH COLUMN to The FRONT OF THE ARAB ARMY startsMEDIUM LONG SHOT.2870

them. obliteratehooveshorsesFlyingdead.

each otheroversprawledlying THE TURKISH RIFLEMENCLOSE SHOT.286

wild and staring.eyeshisLAWRENCE,TRACKING_.CLOSE UP285

saddle. 0 --····~.

the from BODYGUARD fireAUDA and his CLOSE SHOT TRACKING:284'I

:')

II-94

I (

' ,, about. He looks a trance. blinking like a man coming from C it up and staresHe picksit.forand dismountshis swordHe drops·

hard. breathingthis,watc)lingALI MUSIC CUT. CLOSE SHOT.320

The BEDOUIN wheel. MEDIUM LONG SHOT.319

cut down in a flash.The TURKS areCLOSE SHOT.318 0

them. BEDOUIN pursuethirtyof twenty orgroupA MEDIUM SHOT.317

the dust.air fromclean comparatively run intoSoldiersTurkishFour MUSIC. SHOT. MEDIUM316

and declining.is reddustthethroughThe sun seenLONG SHOT.315

firing. LAWRENCE in the dust,CLOSE SHOT.314

coughing. in the dust,ALI, CLOSE SHOT.313 ,0 I

AUDA in the dust hacking.CLOSE SHOT.312

direction. dust in everyswirling blindly'tbx.o:qgh•thestumbleSoldiersTurkishMEDIUM SHOTS.311

MUSIC CUTS.bloody.

his face backwards, TURKISH SOLDIER goes overCLOSE SHOT.310

his pistol. at the CAMERA raisesfull beltLAWRENCE ridingCLOSE SHOT.309

SOLDIER.Turkisha single Speeding towardsCLOSE SHOT.308

the screen.acrossflashes of BEDOUIN, led by LAWRENCE,massA compactCLOSE SHOT.307'©

running.us, fan away fromTurksthirty A group of someLONG SHOT.306

face. '

into a man'spoint-blankhis pistol LAWRENCE firesCLOSE SHOT.305 0

at: he stareshis horse,ALI wheels CLOSE SHOT.304

,:- and bloody.sprawled

them them leaving through and overrides'The BODYGUARDCAMERA. the before units fleekitchenThe TurkishSHOT. TRACKrnGCLOSE303

II-95

II

I , (

( ----,,

,--

e Aurens! ALI

\_) calling: of the carnage,resultthein glimpsesshows \ i

which the dust,amongst ALI searches CLOSE TRACKING SHOT...

his men firing.andAUDA CLOSE SHOT.332

and run. The TURKS turnSHOT.MEDIUM331

men follow suit.hishis rifle; C

he raisessword,his He sheathesHe stops.them. slowly towards trots of him,side AUDA, with his men on eitherCLOSE SHOT.330

away from: and backingat,straight lookinghandstheir and raisingtogetherherded SOLDIERS are >'◄ fifty TURKISHof someA group MUSIC CUTS. MEDIUM SHOT.329

with excitement.his face stupefiedcarnage,

to the returns unheeding, LAWRENCE, CLOSE FLASH SHOT.328

Aurens: ALI

him again.afterALI calls CLOSE SHOT.327

again withpastand gallops LAWRENCE wheels MEDIUM SHOT.326

Aurens! ALI

.. him past as LAWRENCE flashesHe callsALI.CLOSE SHOT.325

The TURKS fall.out. the BODYGUARD strikingfiring,

CE LAWREN the TURKS, up to and passtearTheythe dust pall. out of a thunderboltlike LAWRENCE and the BODYGUARD appear But knees. on their Then they fallstruck.terrorALI and are they seenearquite When the TURKS areMUSIC.MEDIUM SHOT.324

go. will let them

he It is obviousindifferently.themALI watches CLOSE SHOT.323

the CAMERA.pall towards

the dust of TURKS run fromgrouplittleAnotherMEDIUM SHOT.322

and horses.,

of menbodies of which lie along the fringepall of dustdrifting

C back into thedisappearing The BEDOUIN are MEDIUM SHOT.321

II-96

(

~------

and as he appearsvoice of God in an audiblethe nameHe gabbles

on a DONKEY.mountedblood,drywithcakedfacehisunarmed, TURKISH SOLDIER,It is an elderlyappears.figureapocalyptic

and a ludicrousdust In the billowing CLOSE TRACKING SHOT.343

bust. in the billowingcorpseA TurkishCLOSE SHOT.342

is aghast. ALI whose faceovercloses

The dustthem. off after the BODYGUARD takeswithandshouts again.blazes His facethem.sees LAWRENCESHOT. ME~>IUM341

away in the distance.breakstirrups,to theirclingingothers

on horses,some of TURKISH OFFICERS,A groupMEDIUM SHOT.340

instinctively.his horseHe backswidening.

eyeshis He stares, it but ALI can.seeWe cannotCAMERA. ;o us to the slowly fromhis face LAWRENCE turnsCLOSE SHOT.339

stop~ Make themEnough!

While on SOUND TRACK ALI repeats.

the pistol,reloading LAWREN CE' s handsCLOSE SHOT.EXTREME338 I

Enough: him) (Joins Aurens! ALI

of his pistol.the chambersHe is reloadingfrightening.

and verymindless It is quitecannot. but ALI approachingface his We see slightly.his head LAWRENCE turnsCLOSE SHOT.337

I 'o Aurens!

ALI appears The sun is low behind them.his back to us.the pall, of BODYGUARD on the fringeLAWRENCE and theCLOSE SHOT.336

screaming.

are and the horses is about five yardsThe rangeeach round.before reloading methodicallyanimals,baggageTurkishof harnessedgroup a BEDOUIN is shootinga mountedIn the dustCLOSE SHOT.335

,o Aurens~ ALI

handed.

two swords, BODYGUARD holdingdismountedbylatermoment a followedhis front,across A TURK runs CLOSE SHOT.334

ll-97

I

him. from at a distancebut removedstancein a parallel "'---·· ) I

ALI is which we have not yet seen.done~what he hasover'looking

'i/ i

1 on his camelmountedeminence,anoaLAWRENCESHOT. MEDIUM 358

/U

to: round the hillsCAMERA pansthe hills.

above and lovelyclear The moon has risenLONG SHOT.EXTREME357

satisfied.MarsoffaceIt is the

excitedbut not and stern is mercilessfaceHis graphic·CLOSE SHOT.356 0

the donkey.shoots

and out his rifletakeshis sword, AUDA sheathes donkey standing. the in; the dead TURK behind him;AUDA reinsCLOSE SHOT.355

) '◄ the screen. a second fills up with him and forAUDA is right

CAMERA~to theup When the TURK is rightbehind him.upcoming I is AUDAus. The MAN ON THE DONKEY towardsMEDIUM SHOT.354

donkey,his He spurs AUDA COMING.hearsThe man CLOSE SHOT.353

() him.afterofftakes AUDA sees, CLOSE SHOT.352

THE MAN ON THE DONKEY, out in the open.MEDIUM LONG SHOT.351

in his hands.pistolato the coughing; -e-e

intently his head and listensA BODYGUARD cocksCLOSE SHOT.350

in the dust. coughing is heard,trucks,littleturned

of up-- in the harnesstangled A heap of dead donkeys,CLOSE SHOT.349

ready~

riflestheir silently,trotBEDOUINor fourThree CLOSE SHOT.348

The moon is rising.open country.for

makesand the dust The MAN ON THE DONKEY leavesCLOSE SHOT.347

TUg_K.the and shootsup his rifleHe takescorpses. a group of the boots from A BEDOUIN removingCLOSE SHOT.346

upon: when he comesHe stopsdirection. the dust in anywildly throughA TURK stumblesCLOSE SHOT.345 0

ready. his riflethe dust,throughstalksAn Arab CLOSE SHOT.344

in the dust.disappears

C> Continued343 ./ ' ' (~

II-98

·.(

"·-,.

animal. an inferiorlike 0

crouching and himselfthe sky,againstfigureand romanticmagnificent a his viewpoint, LAWRENCE fromseev,eandhis camera,He aims

\-.,.,_..) man. you rottenOh, I·,(• BENTLEY C

hero:fallen

a for but of lamentationor disgust,in a tone not of hatredLAWRENCE of figure up at the mountedlookingBENTLEY,CLOSE SHOT.362

off) (He breaks C -----? Who but they (He swallows) Who but they----?cruel? and Barbarous...people!barbarous a are Arabs you know theSurely

him. CAMERA approaches

Bentley?Mr.you, it supriseDoes ALI

bitterness.

with crackingvoicehis ALI calls,·distancethisFromstooping.them, amoritwaytheir A few ARABS makeIt is a Golgotha.and rows.swathes in light, in the paleivory of the TURKS lie likebodieshalf-stripped The of battle.the field of MUSIC we seeWith a chord..LONG SHOT361

•....wept Jesus BENTLEY

and simply:Deeply understood.little t 'o

too of his too wide experience,sadnesspity and thea fund of natural discloserhis facepause.abut aftershock,of pμre is an expressionThis

wept!Jesus

changes: his expression what is to be seenBut when he seespanting.incline

up the and runs not himself,his camera, down protectingHe slithers

Lawrence!MajorMajor!Hey, BENTLEY 0,

story)hisfor (he is eagerout:He shouts CLOSE SHOT.360

a vulgarly hanging on,precariouslysaddle, with a dilapidatedcamel

'O

on a peasant'sapproachesBENTLEYBehind them MEDIUM SHOT.359 i

II-99

I

•• ' ('

r

in his hand, upon the grapes LAW.RENCE's eyes fallhis horse.turns MA: The HORSE away hoplessly.and looksbreatha shudderingHe· takes

... him remind C him ...TellAli. Take them to Sherif Shaw) of Aircraftsmanthe voice null, perfectlyprosaic, perfectly(in a voice LAWRENCE 0

in the HORSEMAN's hands.themand regards LAWRENCE hands the bunch back to the HORSEMANMEDIUM SHOT.367

palm. in LAWRENCE'soff and liebreak One or two of the grapes

"Damascus"

invitingJ:- while on SOUND TRACK tμe HORSEMAN repeatsin his hands, quiverof fruitbeadsgreen The translucentCLOSE SHOT.EXTREME366

,f) , I

at them. and staresthemHe takes LAWRENCE. CLOSE SHOT.365

Damascus~in --- night Aurenscut lastwereThese (triumphant) HORSEMAN

out the grapes.holdsand

in reins The horsemanalone. but now entirely LAWRENCE as before,364

CUT TO

grapes. a bunch of unripe

carrh°:f·He ARAB HORSEMAN.A galloping CLOSE TRACKING SHOT.363

'® CUT

flare. in the magnesiumlike marblehis faceit,LAWRENCE suffers

bloody newspapers.rottentheFor 0I his _camera again.so and aimsHe does

bloody picture. your rottenLet me takeHere. (cont) BENTLEY .JI' 'c,O Continued362

ll-100

; (

words: except the underlinedhear

we cannotwJ}ichspeech a "rhubarb"urgently, BRIGHTON is talking that echoing and we can only heara constantmakesexcited).not

purposefu;(thoughequipment,of their and the banging and slappingvoices many Their directions.in contrarycableof telephoneunwind spools swiftly while SignalmenN. C, 0. 's,of Clericalhostabyand ordered are placedand filestypewriterspapers,another;.in one aftercarried are and chairstablesTrestle BRIGHTON has the other.attention; s ALLENBY half of He has an exact through which they pass.the halls0

being made inthat are the preparationsto left and rightindicates ahead to open doors,He runs showing ALLENBY to his quarters.

and he is and self-important,fussyMajor-Domo,of Militarysort

The MAJOR is a BRIGHTON is also without Sam Browne or jacket.

and caps,their and withoutcleaneraresome time,been there

and hat and stickhis Panama DRYDEN carrieslikewise.The A.D.C. his cap. and carrieslooking,and tired ALLENBY is travel-stained arrived,minute Having this veryand DRYDEN. are the A. D. C. Behind a MAJOR. At one elbow walks BRIGHTON, at the otherhim. before CAMERA retreatingin Damascus.Headquartershis improvised through Caesar, a conquering ALLENBY is striding,CLOSE SHOT.368

CUT

The HORSEMAN goes.

ripe!not They are (laughing) HORSEMAN I 'o of the fruit.bitterness

the against lips twitch in a reflexhis does not change one iota but

of his haunted eyesThe expressionin his mouth.puts the grapes

he Slowly and mechanicallyof the man.off his awarenessHe cuts

Ali that.Tell Sherif LAWRENCE

Near. (looking at him curiously) HORSEMAN

Is Allenby in Damascus? LAWRENCE

Continued367

II-101

i ( (

sir! National Council, the Arab They call themselves BRIGHTON

outside. on the MAJOR and on the racket shuts the doorsThe A.D. C.a living room.the firstTwo rooms,

quarters.private Inside ALLENBY' s temporaryMEDIUM SHOT.371

through.passes back and salutes. as the partystepsdoor, open a doublegrandly throws The MAJOR ratherREVERSE SHOT. C

sir! everything,Stations,FireHospitals, passing) light beneath which they are the electric{He indicates House. (': Power Office,Post Exchange,Telephone BRIGHTON

the Town Hall? What else besides ALLENBY

saying:on, before passingit, and then replacestone,for the "live''

to pick up a telephone and listenALLENBY pausesdivided attention.

and equanimity at ALLEN BY' s continuingquerulousHe is almost

· Town Hall! in the--- up his own Headquartersset He'sit! done They'vesir! the town, They've occupiednight,!a day and ahere been They'vesir! A day and a night, BRIGHTON

When?. (to BRIGHTON) ALLENBY

the CAMERA. The MAJOR passesCLOSE SHOT.369

Lawrence! did it for them --- I know who I don't know how they did it --- got a thing they call the Arab Flag!They've

-- Army with the Arabis swarmingthat matters

EverythingLawrence~ do on the advice of they everything--- is behind it sirLawrence BRIGHTON

I.

Continued368

11-102

/·

-- r---

it enough?Isn't keep him out any longer.can't I Two days is what you asked me for. ALLENBY

... Two days calculating)( DRYDEN C

time. in two days'trainBy special ALLENBY

All looking at DRYDEN.MEDIUM SHOT.373 () in Damascus?beFeisalPrinceWhen will (to ALLENBY) DRYDEN

crowd noises.distantWe hearDamascus. ';14

of and gardenspalmsgreenthe DRYDEN looking overCLOSE SHOT.372

Well what then? (to DRYDEN) BRIGHTON C,; on your hands. rising full-scaleayou wantNot unless DRYDEN

Dryden?that,aboutHow ALLENBY

sir! time, in quick get 'em out of there,Well, BRIGHTON 0

the~? do you think we should do What Harry. your pigeon,Well they're ALLENBY

saying: back into the living roomALLENBY comes

in the Town Hall!They're (on SOUND TRACK}BRIGHTON

situation:of the of the urgencyproof as though this were

and bewildered,indigna.11:treiteratinghim, BRIGHTON's voice pursues

without enthusiasm. and camp bed which he testswith wash-stand

furnishedsparselyvery to the next room, {CAMERA FOLLOWING) throughstraight down his cap and walksBut ALLENBY throws

Continued371 ,,)...cl '~

Il-106

:()

r--

lo

i CUT

too~ MedicalsHarry,Yes, (harsh) C ALLENBY

sir?too, Medicals, horrified)(a little BRIGHTON

(Going)· sir. Yes, A.D.C.

Units particularly.Technical ALLENBY

sir? Units, apply to TechnicalDoes that (Pauses) sir.Yes ;U •I D.C.A ..

orders. until furtherquartered to remainAll troops And Tracey:

door. towards A.D. C. moves

Tracey. to drink, Get us something (to A.D. C.) i best. usuallyIt's Why not? ! ALLENBY i'o I to BRIGHTON, smiling:and sayssits

ALLENB\ a chair. the window towards DRYDEN moves fromattention. of strainedhis poserela~esThe A. D. C. the stillness.cry breaksThis

1®

sir~ do nothing,justWe can't and indignant)(puzzled BRIGHTON

SHOT. as before.MEDIUM374 C

ample I should think.Yes, sadly) (almost DRYDEN

Continued373 '..,,,___.(CI. /,-J)'

II-104

'(

-----·- --------·-------------·-··-·-·----

---- -------·- ·----------------- ···-··-··-··---··-···-···--·-----·--...

Auda. this is true, And have ceased to work.telephones of the Howeitat and that thein the care are Sherif Ali said that the telephones C (patiently) LAWRENCE

from Howeitat supporters.An ominous murmur

~ He insulted me )( AUDA

· says! at ALIglaring

who, exception of AUDAall with the parcialcalmsThis momentarily

Feisal! acting for PrinceCouncil, of the Arabbut Arabs nor any other trib.e Harith nor Howeitat,We here are neither, LAWRENCE

mostly seated.and·silentsufficientlyare

they seats) into their souls pulling the othersSHEIKS, until (the graver at the He goes on, looking fiercelyin the surface.dentsleaving pistol) with the butt of histablethesuddenly and poundsriseshimself,

LAWRENCE looks up, girds"Harith".repeatedly,and,"Howeitat"

except: We cannot hear what AUDA says,and the effort of self control.

his face grim with forebodingALI is seated,yelling into ALI's face.

is standingwith rage, AUDA, beside himselfdefeat.ofpremonition

at the table with astaringLAWRENCE is seatedfrom without. now and then under pressur·. BODYGUARDare by the door which trembles i Some of LAWRENCE's ownshouting fiercely.other on the same side, ,0

each the table or towardsleaning acrossin two factions,SHEIKS are the At the moment,with noise. or as now merelybulletsblows, with masters to the teeth and ready to back theirarmedSHEIK ---

or four to eachsay three individual BODYGUARDS---ranged their

them areRound and uncontrol. in a mood of total excitementmost are

one or two uneasy, One or two of the SHEIKS look grave,collars. with stiff winged are one or two SYRIANSin pale suits,the occasion., brought in for At the foot of the table on bentwood chairsthe walls. fez look down from clothes and the Turkishin Europeandignitaries,

I City are now pushed away and scattered.but theseplaced along it, and pens have beenpaperink stands,Absurdly,polished surface.

down its beautifullyarsenalmake a smallriflestable and theirthedown

I J range The others AUDA is by LAWRENCE.ALi's.on the other,

On one side of it is LAWRENCE's place,is unoccupied.---throne

a almost---chair head the principalitsAt long mahogany table.

(or standing) at aseated Some two dozen of the leading SHEIKS are

reigns. Pandemonium THE COUNCIL CHAMBER of the Town Hall.375

II-105

i(.

-----------. !

II /----·----.

the telephones?forno electricitythereWhy is 0 LAWRENCE

i \__) ELDER HARITH: \ ; He addressesof events. to break the trainthe opportunityseizes

quickly LAWRENCE in his chair.back gloomilyhimselfHe throws 0

... trick~ is athis Well, ·AUDA

and depression.filled with unease

He is suddenlyis not fear.that his motivesees AUDA looking at him,

.......

Yes . ALI

AUDA, ·replies: ·.'.Cj

at glaringend, upon the tablehis fistsclencheshis lips,ALI licks

Harith? Humbly, Humbly? AUDA ,◄) Then he sneers: He is astonished.his eyebrows.AUDA raises I

I ask pardon of Auda !bu Tayi.

his voice:ALI raises i~v ~ hand which is removed.ALI1sHe releasesin.thisLAWRENCE takes

Do you speak to me of bloodshed? (looks at LAWRENCE: sotto) ALI 0) be bloodshed.they'llIf you answer at him) sotto but not looking(to ALI, LAWRENCE

his wrist.grips

and LAWRENCEALI startsof abuse. word is said as a termThis last

Harith!me --- You insulted ALI)(to

Harith!of thethe care is· in electric~tyAnd the no electricity. given they are They will not work because (sullenly) AUDA

Continued375

II-106

,c I I ,--··

end of the table:at the farto the others

out The SYRIAN screechesthe door.who closethe BODYGUARD by back to follow and is beatenattemptspetitionersA mob of yellingC in. SHEIK and SYRIAN burstopen and a dishevelledThe door bursts

· --- Take Government~English and you takeengineersEnglishTakeNo! LAWRENCE

engineers. Then we need the English ALI

absolute: The need is LAWRENCE

desperately:

, out cryingin,breaksagain, pounding the tableLAWRENCE rises,

but deep and philosophic.time,thisnot excitedof agreement,A chorus

telephones?What needsburn.Let them ANOTHER

It is so with all machines. (sententiously) I M3 SHEIK HAffiEDWHITE

but helpless.size,of incredibleThey are pityingly) smiling to the others,(He turns_ is burning.One of them 0 +'AWRENC,.E)(to So? (Courteously) ELDER HARITH

generators.He means SYRIAN

to LAWRENCE:up the tablehelpful calls A SYRIAN, patronisingly

... machineslargethreeareThere 0 House Aurens. to the ElectricalI have been ELDER HARITH

sp_irits. and graverof the olderparticularlyattention

he has thefigure,A respected for a speech. ELDER HARITH rises

Continued375

II-107

·-·--·---------- -----·----·----·--·-------·----·---·-···---·--- ---------·---·-·~----·--------·~-----·--···/·-····-·----

they good for?areWhat else mischief)of sheer (in the spirit AUDA

water. not carrydo The Rualla (with dignity) _)I ' DISHEVELLED SHEIK

it! carry Then you must stamping)(almost LAWRENCE ()

in the water.no force for the word "pressure")he seeks with his hands asmovements pushing desperate(He makes

is no ...There Aurens. We have tried, SHEIK DISHEVELLED

brigade! use the firename, Then in God's property)for hisalarm and of the savagesstupidity ).. at the exasperation(between SECOND SYRIAN

will spread.It (looking at him with cool dislike) LAWRENCE

that matters.districtais notIt reassuringly) (to LAWRENCE,

:o

District!JinsibiThe DISHEVELLED SYRIAN

instant. in the same

silent and fallingexploding what district?""In "In what quarter?" "Where?" clamour: in an overlappingfeetto theirThe SYRIANS start

waterfront!All along the

both hands) with gesture a graphicmakes 0 again,breathfor (He fights out~ brokenhasFire breath)for (He fights Fire! DISHEVELLED SYRIAN

Continued375

Il-108

... the war up after going to take thisI'm (murmuring) ALLENBY

absorbed.totallyHe seemsthere.

as decreed the· motionsperforms ALLENBY dutifullyCLOSE SHOT.382

of a cast.motions

the going through in knickerbockersgentlemanan Edwardianshows and a diagram book on fly fishingIt is a textCLOSE SHOT.EXTREME381 :.,-.J

i

· to it. attachedof stringlengthawith of cane aloft a piecehe holdsthe other, with one leg beforestance

in a highly artificialand, has one eye upon an open book upon a table

ALLENBY reading.ease,at his DRYDEN sitsplates.and used :,1

...

glasses,Bottles, is burning.lightelectricThe MEDIUM SHOT.380

to look at:He turnsalso heard.arescreamoccasional

and now anshouts which distantglow in it fromredsky with a faint out upon a darkhis lip lookingbitingthe windows,olby oneuneasy and stiff BRIGHTON standsCLOSE SHOT.ROOM. ALLENBY'S379

CUT

enterprise.a hopelessmob,individual intemperately

the through forwards LAWRENCE fightingwe seeHall whereTown_the of the stepstowardsquartereveryrun from And peopleside.on its lies the Town Hall a cartoutsideor squareIn the streetLONG SHOT.378

... afternoonThis afternoon!thispetitionsWe will hear LAWRENCE

the uproar.intoshouting LAWRENCE is of the Town Hall,On the stepsSHOT.MEDIUM377

to depart.

one who preparesashurriedly,garment,into the fold of hisink stands silver is stuffing ONE OF THE SHEIKS at the tableCLOSE SHOT.376

the open double doorway.Hall towards the lobby of the Townextend throughouttheyWe see thator tearful.0

indignantbullying,beseeching, waving papers,in,pourthe petitioners rnusic the risingand underopen,thrownareThe doors follow him. SHEIK to DISHEVELLEDgesturing LAWRENCE rises,mounting)

MUSIC (Arab themequick to respond.and the othersfurious,

allies and theirthe Ruallalaughing,someagain, is an uproarThere

Continued375

II-109

(t

J'",-..>( onto the balcony and look down.They go quicklywindow.

the under and thud of horsementhe jinglewe hearthisis saying·Ashe

' •,t the power.it'ssir,No, DRYDEN

off and on.lampof a readingthe switch DRYDEN clicks

It may be the bulb. ALLENBY

happened.what's BRIGHTON has fully registeredhis rod before

ALLENBY has laid downandthan real,apparentALLENBY was more

of DRYDEN and We see that the torpor beyond one of the windows.

and showing us the moonin moonlightputting themThe light goes off,

...sir Sorry, . / 'f' (awkwardly) BRIGHTON

at him. resentment a look of venomousALLENBY directs

responsibility~heavy a it's--sir Well all I can say is, (hotly) BRIGHTON

~ .. Mm 'O eye on the diagram)(absently, 'ALLENBY

sir? Are you an old man, moc}{ery) (with dry and admiring DRYDEN

... sport an old man'sIt's ALLENBY

murmuring:it totally, but ALLENBY ignoreshis spectacles,up at him overDRYDEN looks

sir? we should do something,Surely out) (bursting BRIGHTON

Continued382

I

II-110

··-- I ------------~-----------·-·--·------.r-.-,.

'

Is it this?What is it? AUDA

as before. AUDA watchesto it.attention

his returns and apparentlythe paper LAWRENCE gently extracts

you heart.kriow_!...Back of the head)jerka(with AUDA

Come where? LAWRENCE

AUDA blankly and mildly:

He looks atthe paper.to retrieveno attempt LAWRENCE makes

me! Come with!Aurensit,Leave

: I AUDA V-!

~ paper.

upon the Suddenly his hand descendshim with displeasure.watches and AUDA LAWRENCE is writingLAWRENCE.oppositeAUDA sits

they did before. WRENCE sit whereALI and LASHEIK is asleep.

The OLD with papers.litteredareand floorBoth tablecups. with coffeeis litteredthe tablesaucers;insome lovely candelabra,in some is lit by many candles,The room TOWN HALL INTERIOR.384

CUT

they?aren't looking beggars,Marvellous regretful)curiously (he looks down intently, it then.That's ALLENBY

sir. leavingThey're whisper) (an excited DRYDEN

sides. at their C

animals they lead ladeninscrutable,silent,veiled,riders,camel '-------'

, I :~

and horse of mixed A caravan MEDIUM SHOT ANGLING DOWN.383

11-111

(

u.p. but does not lookwriting?stops LAWRENCE hesitates,

politics. And learnhere.stayI shallNo» ALI ·c

background.inALI LAWRENCE. CLOSE SHOT.388

Ali? you» What about LAWRENCE

then: space,aforworkhistoback He goestable. ALI looking at him down thehis head and seesLAWRENCE raises

Immediately the door open and shut.On SOUND TRACK we hear

for you. is only the desert. . . there ; 1]f - ! says:

AODA On SOUND TRACKLAWRENCE. EXTREME CLOSE SHOT.387

... Well will you come 1'1)

AUDA

me God.Hear again. see the desertmay neverIprayI LAWRENCE

formality:deliberate

with one hand and sayshe raisesDeadpan,emotion.shows no facial LAWRENCE AUDA in background.LAWRENCE,CLOSE SHOT.386

blood than you could think of.more up has dried you the desertI tell

comforting.confident,warm,

TRACK, AUDA co_ntinues on SOUNDLAWRENCE.CLOSE SHOT.385

Is it . . . the blood? AUDA·

AUDA pauses.At the door,n~rve. does not move a

but ALI who is all earspassing down the room to the door,walks and rises AUDA moved.veryHe is LAWRENCE goes on writing.

is nothing.you thisI tell AUDA (cont)

paper. the room with its litteredindicatesHe contemptuously

Continued384

II-112 '

I

C

(

--

in aiterhateis thuscorridorThe.,ppursalso which the moonlight through archwayan open:w~thendswallThis one wall.punctuate

windows whicha,rchthethroughpoμrswhichmoonlightbyonly

It is lit which he has entered.corridorDown theMEDIUM SHOT.392

f'; the door. ALI goes through

strangers.·already and themselvescomplete,alreadyparting

know the and friends from the shoretoo far when the ship is already it is ashandstheirraise but as theyback, LAWRENCE half-smiles 0

Much. smile)afor (He tries Yes. ALI

appeal.nakedaIt is

? . . . somethingbe . • . it would. quickly) (ALI turns And then -./,1·~' I~--. LAWRENCE l

ALI by the door. SHOT FROM HIS VIEWPOINT.REVERSE391

for. what I cameIt's LAWRENCE

LAWRENCE says mildly:himseli,controltopauseaAfter

Damascus!

to give ushardvery You have tried accusing)almost (half resentful, ALI

in paper.absorbedseemingly LAWRENCE is POINT OF VIEW.ALI'SFROM LONG SHOT.390

at his friend.down the tableglancing

He hesitates,a farewell. knows he is makingon his feet,himself and finding but compelled,not purposelyALI risesCLOSE SHOT.389

you.met of it when I I had not thought ALI

low occupation.a veryThat's LAWRENCE

Continued388

11-113

... r-,---

....

Howeitat!. •.

gloom.

in thearc a bright which (CLOSE SHOT) carveshis daggerdrawing

simultaneouslybound,with a cat-likefreehimselfALI wrenches

Take your hand away ... and ALI shouts furiously) throughpouringcomes (Suddenly all the emotion 0 himself? who hateshimself,he fearmustHow him . . . who love him ...If I fear ALI

n. reply .

ALI canbefore or two of silenceis a momentTherebeyond question. is far whose virility but as men speak of weeping naturallysympathy, not with womanishand certainlysneer,not as ais said certainlyThis

Then why do you weep? -.•I~ I~',, AUDA

a little.peers

AUDA on his eyes.lightsbrightsave for shadow of his headcloth is in thefaceALi'sit; that we can seesois angledAUDA's face

him. No, I fear ALI

You love him. ' this) (Ignoring ~o AUDA

Take your hand away. I ALI I i r@

averted.his face off down the corridor,setsALI immediatelyAt this,I

He is your friend? Accusing) silence: moment!sa(After

AUDA

gripped. but finds himselfrecoils

He instinctivelyhim by the arm.and graspssilentlystepsMANa shadows one of theseFromshadows. light and greybands of silver

le•-, _J'\//I Continued392 •"!I.

II-114

----·--·--------------·---·-·-·-··---··-------··------··---···-·--···~·-·-·-·---···-..

----'

into CAMERA.straightGlares of BRITISH COLONEL.faceindignantTheCLOSE SHOT.EXTREME396

DISSOLVE

Harith~--- you suppose than will be thornierBeing an "Arab", AUDA

the stars: AUDA is calHng under

AUDA. back towardsturnsshadowsth~ALI in REVERSE SHOT.395

~ ... thee what thoughI tell

· · calls:

and shadows,the who is enteringALI, his head and watchesHe lowers

Allah be thanked. AUDA '1·;

in the open air.breathesandluxuriouslyHe stretches

and I am an old dog. (Complacently) ... new tricksareWell these AUDA

up to the moon and stars.turnedhis faceAUDA,CLOSE SHOT.394.

archway. is anothershadows

among thewhei:ecornera fartowards it diagonallyis crossingALI'393

CUT to the courtyard. They have come to an open archway.

Not yet. ALI

determinedly:and says, but looks up at thishis knife,sheathingALI is

politician. not entirelyYou're0-h-h-•. (grinning) AUDA

the wall. one hand againstis leaning

He pleased.Ewenand unruffledALI, and now regardsinstinctively, blow, to avoid themovementnecessary AUDA has made the minimum

Continued392

Il-115

(

/ --------.----····~~---·...· --•--···-·--------. -···-·---·-···-··------.----------·--·--·-··-··--------··-------···-----·-

indeed~Had you I I COLONEL . \ &,

I had for gotten. simple) quite exhausted,(Totally LAWRENCE

line. to ALLENBY'sresponse

in to be speakingthat he appears and the CUT so timedCAMERA, up intostraight LAWRENCE lookingCLOSE SHOT.EXTREME398

'' CUTTP ·,::

what they say. to the Town Hall and seego overNow, (Then) yourself.Control -.•• ,n

Contemptuously)emotion\by the excessirritated

by the insubordination,(not angered ALLENBY

not~ l willsir,No, COLONEL

obey your orders.. at all you must Under any circumstances automatically)(almost ALLENBY ·

immediately.over I think I must take Under the circumstancessir.sorry,I'm· COLONEL

Council.the Arab of within the jurisdictionIt comes ALLENBY

morning. It is broadaction.immediate We see that he expectsgown.on his dressingbed and is wrapping

from risen He has justhim. ALLENBY confrontsMEDIUM SHOT.397

it~ anything likeseenI've never Officer, as a Medical In all my years COLONEL

Continued396

• ►

II-116 r

(·

/ -----·--···--···--·-·-·

the emotions).not assaultfact~a we want to establishall passing; it see we must on an.y one thing;lingE>rnotCAMERA must(But the strewn.lie containersand enameldressingsdirtycaked?bloodare bandagestheir unwashed,areTheydead.areSome patients. the Moving with LAWRENCE amongCLOSE TRACKING SHOT:401

C

side. at the farcourtyard

the entered LAWRENCE hasof flies.buzzingand the horrible it We hear awning.flappingthisunderFromSHOT. REVERSE400

sound. with a soft insidiousand slowlyheavilyand flapscorner·o at oneloosecomehas ranee~ent the hospitaloverone of these, but rigged,beenhave awnings tarpaulinand thereHere courtyard. into the overflowedareThe bedsHospital.Military the Turkish of The courtyard MUSIC CONTINUING. MEDIUM LONG SHOT.399

CUT

it like?. What's

· he asks: to his question,

the answer as one who fearsThen,and he rises. Sad MUSIC begins,

Yes. look at him)(cannot LAWRENCE

I understand!·that, ways thaninmore responsibilityyourare and many of whomCouncil]Arabprecious yourof the responsibilityof whom are All wounded in it.Turkishtwo thousand aboutare There beds. It has six hundred COLONEL

many? Are there (fearfully) Yes. LAWRENCE

Hospital~ I ,·· Military the Turkish But you "forgot" COLONEL 0

•.• hospitalscivic We did what we could in the ~

exculpation)useless 1° (as one who offers LAWRENCE \o"·-- Continued398

II-117

,(

,••----••n--•-••-•--•---._/~•••--------•-----••-•-•-•-•••.,-•-•-•••-••---••••••-----••••••----•••---•--•••-"------------------------------------------------------r·····

wog. liUleFilthy :,~ out) as he strides(carelessly, r-'··--..., MEDICAL OFFICER

the wall. his feet againstfromhimas flingshis faceacrosssmack a full-armedhim suchdealsthen incredulously,staresOFFICER The MEDICALto laugh.He beginsonce again.his featureshaunts

ghost of his old mockeryThe paleLAWRENCE.CLOSE SHOT.408

Outrageous: up to LAWRENCE)(he comes Outrageous! Outrageous: it) (he is enjoying outrageous!• . •. . . isisThis MEDICAL OFFICER

· and fleshy.enormous

He is is crimson.His face of the Golf Club.the ChairmanSchool, of the Prep. He is the Captainat LAWRENCE.He stopslong ward. up the by TWO ORDERLIES marchesattendedM-.0.militaryand very A moustachedthe bunks. sweepi.ng betweenis studiouslyforegrounc:I,

•

LAWRENCE in ANGLING DOWN A WARD,MEDIUM LONG SHOT.407

i of heaven. It is like a visioncompetent. i

and starchedclean,They are SISTERS and a SCORE OF ORDERLIES.~ a DOZEN DOCTORS, we can see SIXAlreadybeing unloaded.

i

are Stretchersthe beds.out between and ORDERLIES are fanning

I NURSING SISTERS MEDICAL OFFICERS, drawing up and drawn up.I r

are Army ambulances THE COURTYARD. MEDIUM LONG SHOT.406

instructions.shoutingvoicesand crispslamming drawing up 1 doorscarswe hearso 9and as he doesit up,picks

He upon a broom.eye lightsHis wanderingshelves.dispensary the back againstHe leansjug.thedown CLOSE SHOT. He puts405

away to silence.dies

MUSIC is in it.No water THE TAP. CLOSE SHOT.EXTREME404

hopefully. The MUSIC risinga tap.turns

he Frantically,in.and dartsdispensaryto aHe comescontents. of theirwardsinside glimpsescatching with patients,litteredalso

{()

down a corridor,franticallyHe searches CLOSE TRACKING SHOT.403

it tj•it into the hospital.jug and dartswater I I

up an enamelsnatchescoming to,LAWRENCEPuntilit,understand tt

so that we do notword is usedThe Turkishmonotonously.•.. cl

"Water"... "Water"croakVoiceshi.m.with we pause the entrance, o'·----'~

: ', with LAWRENCE to the awning andtrackedHavingMEDIUM SHOT.402~I;~

II-118

(

.., Colonel Lawrence not sir~ describing~me you'reThat's

' ALLENBY i

the silence,in .ALLENBY coughs uncomfortably()

manage. he can possiblyall thataregood mannerselementary and attentionthat It is simply not to be any kind of nuisance.cerned con- fie is indeedpoint.at thisdistastefulwould be veryattitudenising of Any suggestion he is committed.economy to whichbut a necessary posture,is not aAnd this to nothing.and reacts to ·everything,politely

and carefullyHe listensworld.outerwith thedealings only 10% for

\.

leaving his own nature;ofburdenthesustainingin merelytakenis energy LAWRENCE'sof90% Now and henceforthmet him.only just hadhe as thoughalmost without even distaste,judgment,without back at him LAWRENCE looks silentlyMEDIUM CLOSE SHOT.411,I

) I•·I L, gentleman. Engli.shof the and . . . all the activities trout he catches in imaginationAlready with all that)familiar to be own pretentious )◄ ·hisat a little (he smiles is it not?--"Surrey"of --cottages for the GothicHe pinesland.his native

of He longs for the greennessproudly~how

phrase, to use thatthe rightmen will claim how many-- Lawrence""my friend--that him if I may callLawrence,My friend FEISAL·

yet see.

whom we cannotdiscourseFEISALrsofthe objecttowardsALLENBY, 0

looking as isstands,BRIGHTONagain~behindhands;clasped

his regardingseated~ of him DRYDEN is Behind and to one side desk. and useless at an enormous ALLENBY is seatedtreatment. the full portraits,royalfurniture,polishedoffice; not his working room, is his prestigeThis in Damascus.roomgreatALLENBY's

he is inthat CAMERA DRAWS AWAY to revealhe speaks,

As gently and humorously_..persuasively,1melodiously1 speaking is King, FEISAL in all the panoply of an ArabianCLOSE SHOT.4·10

DISSOLVE'QUICK

mind)

of his state"explain" quite ruinouslyWhich would alsois self pity. at this point --man - particularlystrangethisfromacceptpossibly could no audience The only thingtears.ofoneit may remind

j

though but that .!!_is laughter,mistake~be no(And let therelaugh.,Ii

_.)_\Ci

to the wall continuesagainstLAWRENCE crouchedCLOSE SHOT.409; i l

()·'

II-119

'· \ ; C

And then old men hope for the future. and courage-- of young menvirtues l__j the of war arevirtuesand--wars ,,~-)I Young men makework.Old men's

sincerely: and adds more1comfort

to with the desire FEISAL is touchedof any kind.without comment

without condemnation,1without anger LAWRENCE looks at hiin,

bargains.We drive 0 ,-deprecation)self(unreal here. a warriorfor is nothing furtherThere FEISAL

◄) FEISAL cuts in with quick persuasion.

"God speed"....Well then ALLENBY

ruthlessly: chin out and saysLAWRENCE~to look athimselfThen he forces some papers. ALLENBY aligns awkward pause.is anotherThere

you. thankThen interest)of real(a flicker LAWRENCE

home. on the boat have a cabin to yourselfa Colonel you'll4s (roughly) ALLENBY 0

kind. Be a littleColonel.9 Take the honour (quickly) FEISAL

not aggressively)interestpolite with the question(He asks What for?Yes. LAWRENCE

Colonel.promotedYou're down again) LAWRENCE and quickly looking up at(roughly, ALLENBY (Cont) I -o'--,.., i I Continued.411 f

•

II-120 I

I I. (, /

-....., ------.-.---,;,-·-.. /

----~--------·-- ------ --- ------,,..---..

L

it. my men will resistit,your men attempt 0 And if not bring down my Flag.I shall FEISAL

Flag! you must bring down yourthen,In fairness C ALLENBY

assistance. I shall be glad of any technical FEISAL

sir. will be no water, the Pumping Plant thereIf you retain ALLENBY

peasants. of bargaining the desk like a pairacrossanother They face oneand indignant.horrifiedhim.,, BRIGHTON looks at

Plant I must retain. The PumpingI concede.theseExchange, the Telephone The Power House, FEISAL

themselves.reseatas the others

of chairs and scrapingof throatsa clearing.. On SOUND TRACK we hear

has been made of the occasion.that no moreconcernedfor the man,

Concerned concerned.him, BRIGHTON looks afterCLOSE SHOT.412

of the door.the closing LAWRENCE completes

What I owe you is beyond evaluation. looking at him) not and quick,low· voice, (in a different FEISAL

by: it when he is arrested door and is awkwardly half way through He goes to theTongue-tied.also.have risenthe othersQuietly,

out of the room.himthat will getsayor what tocap,histo do with

wondering whatmomentarilyHe pausesgets up. LAWRENCE simply

\ It must be so. (gently) and caution. mistrust of old men --the vicesare of peace and the vices make the peace, FEISAL (Cont)

Continued411

II-121

--- ------------·----····----------·-~---

man. was a hardthought_!I and dis gust) (between admiration ALLENBY

we not?are rid of him glad to beequallyWe are two edges. is a sword withBut then AurensAh yes. smile) (a small FEISAL

Officer:serving by a Britishyou,may I remindLed, ALLENBY

ALLENBY CLOSE SHOT.414

by the Arab Army.liberatedDamascus of with the picture The wor Id is delighted (on SOUND TRACK) FEISAL

On SOUND TRACK:.the blood-bath.after

BENTLEYbytaken the photographofreproductionaisand there

Daily Courier" one is the "ChicagotopThelanguages.several They are in THE NEWSPAPERS.CLOSE SHOT.EXTREME413

on ALLEN:SY's desk.of newspaperspileadropand letsHe rises

form. when they take this

Particularly can be very powerful.Illusions FEISAL

illusory~Jt?ssir.9no powerhaveThey (impatiently) ALLENBY

in my name. the Arab Council took power It is widely known light of an aggressor. in the Conference at the Peaceappear does not wish toyour Governmentsure I am ugly incident.veryathat makes It is the kind of thingEnough for that. FEISAL

sir. men 9 Have you any ALLENBY

Continued412

II-122

_j

CUT

Wells. i.n Tunbridgewish I'd stayed I whole~On the your Highness?Me, DRYDEN

What do you think?compromise. delicately) the word (he chooses

... of this chief architectaresuspect,IYou,

(to DRYDEN) FEISAL

so you keep saying.sir:Yes, (murmuring) DRYDEN

soldier. a I'm God, Thank Not my business. ALLENBY

it was worth it?D'youthink both)(to an Arab Flag on it.WithWater Works,

I a Britishhavetowe're Well it seems

I

DRYDEN ro

l I

brightness:with bittersaysguiltiihisand out oftoo fires

he but at this,as before,his fingers DRYDEN in fact was examining

Well? ALLENBY

aggressively:snarls,almost DRYDEN and barkstowards

his head he half turnsan attack, him to anticipateguilt causing his then, wryly-, him rather ALLENBY looks afterLAWRENCE. after from the room without waiting for permission,And strides

••n.sir me, cuse'S BRIGHTON • says: salutes, his hat on his head,

I he rams Indignantly, But CLOSE SHOT BRIGHTON.between them. centuries dignity which puts severalwith an archaicHe speaks

I must a General.merelyYou are FEISAL

Continued414

II-123

;(

\. j

i ·1. lobby on to the steps.theHe runs throughLAWRENCE.1'\.}.. ;~ ( ✓..I··----/" as that taken bydirectionsamP.theit inthroughswiftlywalking

Lounge Officers'in theHe appearsdoor. it and in through another runs acrosscourtyard,a littleintothrough a doorHe appearsoffice. through an and walks rapidlyof double doorsopen a pairpushes He two at a time. quickly at the head of them and descendsappears BRIGHTONstairs. UP a flight of narrow MEDIUM SHOT ANGLING417

CUT.-:

that. I should have rememberedNo, sir, (smiling confidently) •..sir Don't think so, (frowning) MEDICAL OFFICER

met before?weHaven't LAWRENCE

curiosity: with deep and serious

but not lightly,say,back toand then turns LAWRENCE is going,

sir.it, Just want to be able to say I've done

MEDICAL OFFICER

fervour:manlywith and says attention,~t Then he steps back LAWRENCE. without help from chuckling apologetically,He does so,

sir? Well may I shake your hand, J \ LAWRENCE nods.

it? isn't Colonel Lawrence,It's MEDICAL OFFICER

on him. MEDICAL OFFICER advances

The who it is.he seeswhen.and flinches LAWRENCE turns

s~y~I MEDICAL OFFICER·

as LAWRENCE walks past him.his chair

from MEDICAL OFFICER springsThe red-facedCLOSE SHOT.416

it off again.takesand hastily LAWRENCE absently puts on his cap,

mostly reading papers.about,sitA few OFFICERSHeadquarters. Lounge in the Damascusthe Officer'sLAWRENCE is crossing415

II-124

I ·~-·--·--··--•···-·---., ----------------------

;'°"--~ \

END THE ? \'

·· machine throws upwards.his is enveloped in the dust whichscreenthe RIDER and theWe glimpse in the same direction. on a motor bicycle passesRiderDispatch

an Army behind us and immediatelyswiftlysinging disappearstheir The sound of") I must leave you ..•Dolly,("Goodbyethe period. of ditty singing a music-hallfull of Tommiesand swings past us, approacheslorryArmyA second swings endlessly past us.desert The level word or expression.by LAWRENCE does not answer

sir~ Home, DRIVER

Mm? been addressed) has that he (realising LAWRENCE

onwards. The car purrs

going home!sir,-Well, DRIVER

LAWRENCE.hidden, last moment he isin thisthat

by him soobscuredand, The DRIVERSHOT. CLOSE TRACKING422

behind in our dust.themwe leaveand accelerating, We hear the car accelerating,of recognition.:signshow noThey

faces.Their LAWRENCE.P.O. V.SHOT. TRACIONGMEDIUM421

crawls past.cartheasfacesinto their up hopefullyand peersHe standsLAWRENCE. CLOSE SHOT.--420

going in the same direction.

camels of BEDOUIN ona file car must slow down forthen the staff directio.n; us in the oppositepasseslorryArmyAnengine.~heand \_.· winq.the sound butnoisThere LAWRENCE.and.DRIVERtheare In the frontstaff car. of a travellingis in rearCAMERA-desert. a levelisIt of sunset. in the after-glow THE ROAD from Damascus419

disappointed, he looks crestfallen,face;hisfromdies awayeagerness ,/'';, The down the drive.andup He looks eagerlyCLOSE SHOT.418

ll-125